Search results for "Hollywood"
showing 10 items of 29 documents
El didactismo clásico de Hitchcock y la crisis de Hollywood
1989
Los films de Alfred Hitchcock abren una problemática que es a la historia a quien interesan y, sólo por esto, sus investigaciones representan la avanzadilla del cine americano durante casi dos décadas. Más tarde, cuando se produzca la revolución tecnológica de comienzos de los sesenta, cuando las escrituras europeas consigan dejar su impronta en el cine mundial, cuando los experimentos underground comiencen a reclamar un pequeño espacio, entonces la representatividad de ' Hitchcock para la historia del cine deberá ceder su lugar. Sus trabajos a partir de aquel momento serán -que nos perdone el hitchcockiano impenitente- irrelevantes para la historia. Sus obras a partir de 1963 podrán ser al…
Book Review: General Politics: Hollywood and the CIA: Cinema, Defence, and Subversion
2014
Review ofCouple Conversation: The Art of Creating Intimacyby Theodore E. Chaffee
2010
“… and they lived happily ever after.” This staple concept in folklore which can be found in fairy tales and Hollywood movies alike, is anything but a workable model for leading a life and for buil...
"That's Real! That's What You Want!": Producing Fear in George A. Romero's Dawn of the Dead (1978) vs Zack Snyder's remake (2004)
2011
International audience; This article examines traditional oppositions between terror and horror in Dawn of the Dead (1978) and its recent remake (2004), by focusing on one of the major changes made by the producers of the remake: the use of running zombies, which emphasizes the danger the creatures represent to the characters, and enables the film-makers to resort to the kind of cheap startle effects that abound in contemporary slasher and action movies. That the living dead of 1978 were slow-moving allowed for contemplation of their pathetic state and questioned the border between living and dead. The 1978 film underlined how incompatible the living dead were with such techniques that rely…
La primera aproximación de Hollywood a la Guerra Civil española: <em>The Last Train From Madrid (1937)</em> / First Approach of Hollywood…
2017
La Guerra Civil española fue un tema prohibido de forma tácita en el Hollywood regulado por la autocensura de la Oficina Hays y la PCA. Como consecuencia, las productoras cinematográficas norteamericanas sólo realizaron tres films sobre la contienda mientras se desarrolló (1936-1939). Este artículo analiza el contenido histórico y discurso ideológico de The Last Train From Madrid (James Hogan, 1937), la primera aproximación de Hollywood a la guerra de España. Se trata de un film menor, apenas estudiado, que sigue sin estar editado comercialmente. Sin embargo, posee gran relevancia en lo que atañe a la visión inaugural que se ofreció al público estadounidense sobre la beligerancia española e…
Hollywood ups ante in copy protection fight
2002
The little analog-to-digital converters found everywhere in computing and consumer electronics might, if the entertainment industry gets its way, become the new front line against illicit copying of movies and music. Not surprisingly, the industry's proposal to hardwire copy protection into all these converters has provoked a storm of indignation among consumer electronics producers and civil liberties groups. Concerned that movies might be redigitized, with no copy protection. The Motion Picture Association of America (MPAA) wants analog-to-digital converters to recognize a copyrighted video or audio signal and prevent it from being copied. However the MPAA's plan will be hard for others t…
Hollywood y la Guerra Civil española: análisis de sus tres únicas cintas de ficción coetáneas (1937-1938) = Hollywood and the Spanish Civil War: anal…
2017
<p>El presente artículo propone un análisis comparativo de las tres únicas películas realizadas por Hollywood sobre la Guerra Civil española mientras esta se desarrollaba: <em>The Last Train From Madrid</em> (James Hogan, 1937), <em>Love Under Fire</em> (George Marshall, 1937) y <em>Blockade</em> (William Dieterle, 1938). A la postre, se demostrará que, en contra de lo afirmado por buena parte de la historiografía, las tres –y no únicamente <em>Blockade</em>– efectúan una denuncia de la intervención de las potencias del Eje en la Guerra Civil española.</p><p>The purpose of this article is to provide a comparative analysis of …
Comment Hollywood figure l’intériorité dans les films « hollywoodiens » de David Lynch, Lost Highway (1997), Mulholland Dr. (2001) et Inland Empire (…
2011
The article takes Zachary Baqué's study of Los Angeles in the films of David Lynch as a starting point to explore David Lynch's Hollywood movies. The author contends that the films offer more than a satirical representation of a corrupt, unhealthy system which threatens dreams and artistic creativity, or a parodic play on Hollywood genre and narrative conventions. Rather, Hollywood is a character, a presence, revealed as both horizontal and vertical, physical and abstract, evoking the city, the studio system, cinema and dreams, so that the satire, the visual motifs and clichés and the topography of Hollywood, and the references to Hollywood films, constitute a complex fabric of subjectivity…
Hollywood by Hollywood: the backstudio picture and the mystique of making movies
2019
In comparison with some of its other great genres, what Steve Cohan terms ‘the backstudio picture’ has been relatively unexplored in film studies, though screen fictions that focus on the film indu...
Da Hollywood alla Spagna : le lettere di Edgar Neville a José Lòpez Rubio
2010
Il lavoro analizza un corpus di epistole inviate dall’umorista spagnolo Edgar Neville (Madrid, 1899-1967) all’amico José López Rubio (Motril, Granada, 1903-Madrid, 1996) alla fine degli anni ’20 - inizio degli anni ’30 durante il periodo trascorso in California. In particolare, l’ambito che in questo contesto si desidera evidenziare è la testimonianza dell’autore sulla sua esperienza a Hollywood, luogo nel quale Neville visse per alcuni anni lavorando come direttore scenico e dialogista e nel quale López Rubio lo raggiunse nel 1930 per collaborare anche lui con le grandi case cinematografiche americane, la Metro-Goldwin-Mayer e la Fox. Dalle missive inviate da Neville all’amico ‘Pepe’ si ev…