Montiel, A. (2001). Film ideology (what weight!). The mattress. (39): 51-52. http://hdl.handle.net/10251/41972. ; 51 52 39 ; Montiel, A. (2001). Film ideology (what weight!). The mattress. (39): 51-52. http://hdl.handle.net/10251/41972. ; Importación Masiva ; Montiel, A. (2001). Film ideology (what weight!). The mattress. (39): 51-52. http://hdl.handle.net/10251/41972. ; Montiel, A. (2001). La ideología del film (¡qué pesadez!). La madriguera. (39):51-52. http://hdl.handle.net/10251/41972.
The article analyzes film discourse, both informative and fiction, in the United States during the First World War. The article places "the division of films" in the framework of the complex campaign of institutional communication started by W. Wilson's government after the war declaration by analyzing "publicity" and "propaganda" strategies deployed by the Committee on Public Information, which was created ad hoc for the military campaign. On the one hand, the paper explores the film stories, both documentary and fiction, distribution apparatus in both the United States and the international markets, the administration policies and the involved agencies, especially in the international distribution. On the other hand, it examines the model of production concerning the contracts signing with film companies and the organization adopted by the Committee on Public Information to create its own productions and participate in joint projects with film companies. The paper places emphasis on the "theory" developed by the Committee on Public Information about script-writing and film staging, particulary on the case of documentary stories, which were based in a model, hybridized with fiction stories, in order to stimulate demand for "educational", "propaganda" film-making, to which the exhibitors initially showed signs of resistence. The paper also highlights, in overall terms, how iconical representation was categorized and, in particular, the assessment on the role silent cinema can play in the Committee's development of communicative strategies. In spite of the Comittee's avoidance of the "propaganda" category, as its own name shows, iconical representation was given "highest propaganda value" and was granted a place of privilege, particularly, in the international campaign's call to spread "the gospel of americanism" around the globe ; El artículo analiza el discurso cinematográfico norteamericano, informativo y de ficción, del periodo de la Primera Guerra Mundial. Inscribe el trabajo de "the division of films" en el marco de la compleja campaña de comunicación institucional desplegada por el gobierno de W. Wilson tras la declaración de guerra, analizando las estrategias "publicitarias" y "de propaganda" del Committee on Public Information, creado ad hoc para la campaña bélica. Se estudia, por una parte, el aparato de distribución de los relatos cinematográficos documentales y de ficción tanto en el mercado norteamericano como en el mercado internacional, las medidas administrativas y los organismos implicados, especialmente en la distribución internacional. Por otra, se estudia el modelo de producción tanto en lo relativo a los contratos firmados con las principales productoras norteamericanas como en lo relativo a la organización de la que se dotó el Committee on Public Information para realizar sus propias producciones y participar en proyectos de coproducción con las empresas cinematográficas. Se prestará especial atención a la "teoría" desarrollada por el Committee on Public Information, en lo relativo a la escritura del guión y en lo relativo a la puesta en escena de los films, sobre todo en el caso de los relatos documentales, para los que se habilitó un modelo, basado en su hibridación con los relatos de ficción, que perseguía estimular la demanda de un cine "educativo", de "propaganda", frente al que los exhibidores mostraron en un principio no pocas resistencias. El estudio prestará especial atención a la categorización de que es objeto la representación icónica, en términos generales, y, en particular, la valoración que se hace del papel que puede desempeñar el silent cinema en el desarrollo de las estragegias comunicativas del Committe on Public Information. A pesar de la prevención con que el Comité utiliza la categoría de "propaganda", como lo atestigua su propia denominación, a la representación icónica se le reconocerá el "máximo valor propagandístico", concediéndole lugar de privilegio, en especial, en la campaña internacional llamada a difundir por todo el planeta "the gospel of americanism".
In Spain, since the Democratic Transition, there has been a regular production of movies about the Spanish Civil War and its consequences, and this article intends to approach the generic nature of these movies. As a basis we take the analysis of an important corpus of films that deal with both the Civil War and the transition to democracy in order to omit those movies where there is a recurring narrative structure and redundant content. To do so, the article addresses the particularities of other genres, such as fantasy, melodrama and tragedies that can be traced back to the 'civil war' genre. ; Desde la Transición democrática existe una producción regular de películas sobre la Guerra Civil y sus consecuencias. El presente artículo pretende aproximarse a la condición genérica de estas películas. Se parte del análisis de un amplio corpus cuyo tema son ambos acontecimientos para filtrar aquellas películas en las que puede apreciarse una estructura narrativa recurrente y unos contenidos redundantes. Para ello el artículo aborda las particularidades de otros géneros, como el fantástico, el histórico, el melodrama o la tragedia, que pueden rastrarse en el género "guerra civil".In Spain, since the Democratic Transition, there has been a regular production of movies about the Spanish Civil War and its consequences, and this article intends to approach the generic nature of these movies. As a basis we take the analysis of an important corpus of films that deal with both the Civil War and the transition to democracy in order to omit those movies where there is a recurring narrative structure and redundant content. To do so, the article addresses the particularities of other genres, such as fantasy, melodrama and tragedies that can be traced back to the 'civil war' genre.
Europe's leading film-producing countries are France, Germany, Italy, Spain, and the United Kingdom. They were all hit by the global economic crisis, which had a particularly severe impact on Europe in 2010–2012. The consequences of this crisis for film policies and the film industry are understudied. Spain is a unique case for this study because it had to ask the European Union for a financial assistance programme. What changes were made to State film policies as a result of the crisis? How did those changes reflect on the feature film production? This article aims to answer these questions. The method used includes an analysis of film-industry policy documents and official data, and in-depth interviews. The period studied is 2007–2017. The results refer to topics such as State aid for film production; tax incentives; value-added tax (VAT); the obligation to provide advance funding for European audiovisual production, and the number, genre, and mean cost of the feature films produced.
Presentación -- Prefacio -- El filme como narración histórica -- Resistencia y supervivencia: Espartaco -- Ceremonia y revuelta: Queimada y La Última cena -- Testigos del trauma: Amistad y Beloved -- Diciendo la verdad -- Apéndice. Dalton Trumbo y Stanley Kubrick debaten de historia
If the cinema study became a powerfull toll to understand the social analysis, this lecture brings the intention to discuss aspects of the current society and the institutional influence. The relationships of the characters are strongly crossover by the natural knowledge of the conservative middle class family in Spain below influence of the catholic religion, specifically the Opus dei. From some topic´s of the Javier Fesser´s film, Camino, like life, health and ethics appear in tension whit theoretical constructions in gender and biopolitic. The mass media and the cinema usually shows exacerbated stereotypes of class and gender in the social net. The analysis we pretend to offer, represent a critical view of the institutional that it shows as given, the rules we passive assume as society, the stereotype roles we accept and the relation of politics and the strongest representative institution in Iberoamerica: family and religion ; Partiendo de entender el cine como una herramienta fundamental en el análisis social, es que este artículo pretende problematizar algunos aspectos de la sociedad actual y las instituciones que la sostienen. Puntualmente, desde algunos tópicos que propone el film Camino de Javier Fesser (2008), el objetivo de este trabajo es discutir, junto con la película, el aspecto bio-ético y político que vincula la salud, la vida y la ética; el rol de la Iglesia Católica en la vida de sus fieles; y los estereotipos de género que aparecen en las relaciones interpersonales de los personajes. Particularmente el cine, pero también los medios masivos de comunicación, muchas veces reflejan las situaciones sociales más estereotipadas, y el rol que éstas ocupan en ello, contribuyendo en su arraigo social. Por ende, utilizarlo como herramienta conceptual para poner en discusión algunas de las instituciones más enquistadas en la sociedad actual, es una apuesta más que interesante en pos de la profundización de estos análisis.
El primer movimiento cinematográfico en la historia del cine documental fue uno de los más controversiales, inasibles y malinterpretados de todos. El Movimiento Documental Británico, surgido al amparo de instituciones estatales, fue justamente definido más corrientemente por su vinculación con los intereses de la Corona y el gobierno inglés que por su aporte al desarrollo del cine documental durante sus primeros veinte años de vida. En buena medida las manifestaciones de los realizadores protagonistas de esta historia (y no las representaciones configuradas por los mismos) otorgaron materia a las malas interpretaciones posteriores. Pero en este estudio incluiremos lo que pocos: las películas. Es allí en donde los estudios sobre el Movimiento Británico no se pararon más que circunstancialmente. Es allí también en donde encontraremos los elementos que nos permitirán superar el umbral de «lo pedagógico institucional» de este conjunto de filmes para recuperar la real envergadura de los trabajos de Grierson y sus muchachos. Es allí en donde, por último, como dice Brian Winston: «Grierson y sus seguidores pusieron los problemas sociales con una puesta "poética"» (1995:55). ; The first film movement in the history of documentary cinema was one of the most controversial, elusive and misunderstood of all. The British Documentary Film Movement, which emerged supported by state institutions, was precisely more commonly defined by its links with the interests of the Crown and the British government, than by its contribution to the development of documentary film during its first twenty years of life. To a great extent, demonstrations by protagonist filmmakers of this history (and not the representations set by them) granted subject to bad subsequent interpretations. In this study, however, we will deal with what few have dealt with before: the movies. This is what studies on the British Movement only analyzed circumstantially. It is in movies where we find the elements that allow us to overcome the threshold of «the pedagogical and institutional» in this set of films, to recover the actual importance of the work of Grierson and his boys. This is where, finally, as Brian Winston says: «Grierson and his followers portray social problems with a "poetic" staging» (1995:55). ; Fil: Campo, Javier Alberto. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Tandil; Argentina. Universidad de Buenos Aires. Facultad de Filosofía y Letras; Argentina. Universidad Nacional del Centro de la Provincia de Buenos Aires; Argentina
A análise da relação entre realidade e cinema nacional é fértil e reflete a história do país. No início do cinema nacional, os filmes policiais enfocando os crimes que ocupavam as principais manchetes eram lançados para disputar espaço com as produções estrangeiras, predominantes no mercado. A consolidação da televisão levou o cinema a perder essa função de comentar a realidade. No entanto, ao longo da ditadura militar, foi o cinema policial que resgatou a realidade das ruas para as telas numa linguagem mais popular do que o "Cinema Novo", com "O Assalto ao trem pagador" (1962), "A Grande Cidade" (1966), "Lúcio Flávio, Passageiro da Agonia" (1977). No processo de Retomada, "Cidade de Deus" (2002) vai representar um novo momento dentro dessa cinematografia, seguido por "Tropa de Elite1" (2007), cuja sequência, de 2011, bateu o recorde de filme mais exibido da história do cinema nacional. ; The analysis of the relationship between reality and Brazilian cinema is rich and reflects the country's history. At the onset of Brazilian cinema, crime films focused on the felonies that occupied the main headlines were released to compete against foreign productions, which prevailed in the market. With the rise of television,cinema lost this function of commenting on reality. However, during the military dictatorship, crime films put the reality of the street back on the screen in a more down to earth language than "New Cinema", with "O Assalto ao Trem Pagador" ("Assault on the Pay Train" - 1962), "A Grande Cidade" ("The Big City" - 1966) and "Lúcio Flávio, Passageiro da Agonia" ("Lúcio Flávio, Passenger of Agony"). In the process of resurgence, "Cidade de Deus" ("City of God" - 2002) represents a new phase in this genre of cinematography, followed by "Tropa de Elite 1" ("Elite Squad 1" 2007), whose sequel, in 2011, beat the record as the most viewed film in the history of Brazilian cinema.
The analysis of the relationship between reality and Brazilian cinema is rich and reflects the country's history. At the onset of Brazilian cinema, crime films focused on the felonies that occupied the main headlines were released to compete against foreign productions, which prevailed in the market. With the rise of television, cinema lost this function of commenting on reality. However, during the military dictatorship, crime films put the reality of the street back on the screen in a more down to earth language than "New Cinema", with "O Assalto ao Trem Pagador" ("Assault on the Pay Train" - 1962), "A Grande Cidade" ("The Big City" - 1966) and "Lúcio Flávio, Passageiro da Agonia" ("Lúcio Flávio, Passenger of Agony"). In the process of resurgence, "Cidade de Deus" ("City of God" - 2002) represents a new phase in this genre of cinematography, followed by "Tropa de Elite 1" ("Elite Squad 1" 2007), whose sequel, in 2011, beat the record as the most viewed film in the history of Brazilian cinema. ; A análise da relação entre realidade e cinema nacional é fértil e reflete a história do país. No início do cinema nacional, os filmes policiais enfocando os crimes que ocupavam as principais manchetes eram lançados para disputar espaço com as produções estrangeiras, predominantes no mercado. A consolidação da televisão levou o cinema a perder essa função de comentar a realidade. No entanto, ao longo da ditadura militar, foi o cinema policial que resgatou a realidade das ruas para as telas numa linguagem mais popular do que o Cinema Novo, com O Assalto ao trem pagador (1962), "A Grande Cidade (1966), Lúcio Flávio, Passageiro da Agonia (1977). No processo de Retomada, Cidade de Deus; (2002) vai representar um novo momento dentro dessa cinematografia, seguido por ;Tropa de Elite; (2007), cuja sequência, de 2011, bateu o recorde de filme mais exibido da história do cinema nacional.
En la memoria colectiva de los europeos, la Guerra Civil española ocupa un lugar destacado. El lenguaje cinematográfico y la representación fílmica de esa contienda forman un ámbito relevante en el que estudiar algunos rasgos de la matriz cultural europea. El presente trabajo selecciona parte de la producción fílmica de propaganda del gobierno republicano, en concreto los filmes de montaje supervisados por Luis Buñuel. Al inicio de la contienda el cineasta aragonés vuelve a París siguiendo las indicaciones del Ministerio español de Asuntos Exteriores para colaborar, en la embajada española en la capital francesa, en diversas labores de contraespionaje y propaganda. Entre ellas y principalmente, Buñuel se ocupa de reunir, organizar y montar diverso material fílmico prorrepublicano. A diferencia de otras producciones proyectadas en España, los filmes parisinos de propaganda republicana se caracterizaron, en términos generales, por estar dirigidas a públicos de distintos países europeos con el objetivo de romper la doctrina de no intervención en el conflicto y se inscriben dentro de las teorías y concepción de Buñuel sobre el documentalismo filmado, donde primaba lo reflexivo y los recursos psicológicos que motivaran a la acción o a la toma de conciencia individual. El presente texto se ocupa, en ese contexto, de la descripción y el análisis del lenguaje y las prácticas fílmicas en esos años. De todas ellas, el filme «España, 1936» (1937), es a la vez un ejemplo emblemático y singular.____________________________________________________The Spanish Civil War occupies an important place in the European collective memory. The film language and depiction of that conflict provide an important platform from which to study certain features of the European cultural matrix. This paper examines propaganda films produced by the Republican government, especially those films produced under the supervision of Luis Buñuel, the Spanish surrealist filmmaker. At the start of the war, the Aragonese filmmaker returned to Paris following a summons by the Spanish Foreign Ministry to collaborate with the Spanish embassy in Paris in counterespionage and propaganda. Buñuel's main task was to gather, organize and edit pro-Republican footage. Unlike films made for viewing in Spain, the Paris-produced propaganda films were aimed at audiences in Europe with the objective of changing the doctrine of non-intervention in the conflict. They are also characterized by Buñuel's theories and conception of documentary film-making, in which reflection and the psychological resources that motivate action or move an individual conscience predominate. This paper describes and analyses the film language and practice of that era, in particular the unique and emblematic film «España 1936» (1937).
