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6 produkter
6 produkter
Inbunden, Engelska, 2017
1 048 kr
Skickas inom 5-8 vardagar
Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumière Cinématographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.
Häftad, Engelska, 2017
456 kr
Skickas inom 5-8 vardagar
Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumière Cinématographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.
Inbunden, Engelska, 2021
1 283 kr
Skickas inom 5-8 vardagar
Uses extensive archival research to explore the manifold contributions of foreign film workers to emerging film industries in Latin America from the 1930s to early 1940s.Alton's Paradox builds upon extensive archival and primary research, but uses a single text as its point of departure-a 1934 article by the Hungarian American cinematographer John Alton in the Hollywood-published International Photographer. Writing from Argentina, Alton paradoxically argues of cine nacional, "The possibilities are enormous, but not until foreign technicians will take the matter in their hands and with foreign organization will there be local industry." Nicolas Poppe argues that Alton succinctly articulates a line of thought commonly held across Latin America during the early sound period but little explored by scholars: that foreign labor was pivotal to the rise of national film industries. In tracking this paradox from Hollywood to Mexico to Argentina and beyond, Poppe reconsiders a series of notions inextricably tied to traditional film historiography, including authorship, (dis)continuation, intermediality, labor, National Cinema, and transnationalism. Wide-angled views of national film industries complement close-up analyses of the work of José Mojica, Alex Phillips, Juan Orol, Ángel Mentasti, and Tito Davison.
Häftad, Engelska, 2022
391 kr
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Uses extensive archival research to explore the manifold contributions of foreign film workers to emerging film industries in Latin America from the 1930s to early 1940s.Alton's Paradox builds upon extensive archival and primary research, but uses a single text as its point of departure-a 1934 article by the Hungarian American cinematographer John Alton in the Hollywood-published International Photographer. Writing from Argentina, Alton paradoxically argues of cine nacional, "The possibilities are enormous, but not until foreign technicians will take the matter in their hands and with foreign organization will there be local industry." Nicolas Poppe argues that Alton succinctly articulates a line of thought commonly held across Latin America during the early sound period but little explored by scholars: that foreign labor was pivotal to the rise of national film industries. In tracking this paradox from Hollywood to Mexico to Argentina and beyond, Poppe reconsiders a series of notions inextricably tied to traditional film historiography, including authorship, (dis)continuation, intermediality, labor, National Cinema, and transnationalism. Wide-angled views of national film industries complement close-up analyses of the work of José Mojica, Alex Phillips, Juan Orol, Ángel Mentasti, and Tito Davison.
363 kr
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E-bok
PDF, Spanska, 2026173 kr
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Salas, negocios y públicos de cine en Latinoamérica, 1896-1960 nos brinda claves para aventurarnos a una mirada más compleja de las sociedades del siglo XX, cuando el cine se constituía en una experiencia cultural que ocupaba el centro de la escena; y lo hace considerando la necesidad de situar espacial y temporalmente nuestras tradiciones académicas sobre el tema para no reproducir viejas, y no tan viejas, prácticas de dependencia intelectual que obliteran los aportes teóricos y artísticos latinoamericanos. A partir de la última década del siglo XX se acentuaron en Latinoamérica las líneas de investigación que iluminaron no sólo la resignificación de los textos fílmicos, sino también las historias de las salas más importantes, los negocios de diferentes sectores de la industria cinematográfica (producción, distribución y exhibición) y las prácticas diversas de diferentes públicos de cine. En ese sentido, este libro reúne estudios de destacados investigadores que escriben sobre las experiencias que afectaron a los públicos de la región.Los autores de los capítulos revelan datos y memorias que nos llevan a reflexionar sobre qué era el cine para los públicos en la primera mitad del siglo XX, más allá de las películas. ¿Cuáles eran los modos ver? ¿Cómo se forjaron las negociaciones entre los empresarios de la comercialización y los públicos? ¿Qué identidades culturales se jugaban en esas largas tardes de disfrute ante las pantallas? ¿Qué lazos de sociabilidad progresaban allí? Clara Kriger es Doctora en Historia y Teoría de las Artes por la Universidad de Buenos Aires, donde se desempeña como docente y coordinadora del Área Cine y Audiovisuales del Instituto de Artes del Espectáculo. En la actualidad dirige una investigación sobre historia de los públicos de cine en Buenos Aires entre 1933 y1955. Es autora de Cine y Peronismo: El estado en Escena (2009), y Cine y propaganda. Del orden conservado al peronismo (2022), compiladora de libros, entre los últimos, Nueva cartografía de la producción audiovisual argentina (2019), e Imágenes y públicos del cine argentino clásico (2018).Nicolas Poppe es profesor asociado de Estudios Luso-Hispánicos en el Middlebury College. Es coeditor de las antologías Cosmopolitan Film Cultures in Latin America, 1896-1960 (2017) y En la cartelera. Cine y culturas cinematográficas en América Latina, 1896-2020 (2022). Basado en extensas investigaciones de archivo, su libro Alton''s Paradox: Foreign Film Workers and the Emergence of Industrial Cinema in Latin America (2021) explora las múltiples contribuciones de trabajadores extranjeros a las emergentes industrias cinematográficas en América Latina desde la década de 1930 hasta principios de la de 1940 en términos panorámicos y en análisis detallados del trabajo de José Mojica en Hollywood, Alex Phillips y Juan Orol en México, y Ángel Mentasti y Tito Davison en la Argentina.