The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema

Mexico is one of the countries which has adapted American cinematographic genreswith success and productivity. This country has seen in Hollywood an effectivestructure for approaching the audience. With the purpose of approaching nationaland international audiences, Meximo has not only adopted some of Hollywoodcinematographic genres, but it has also combined them with Mexican genres such as“Cabaretera” in order to reflect its social context and national identity. The Melodramaand the Film Noir were two of the Hollywood genres which exercised a stronger influenceon the Golden Age of Mexican Cinema. Influence of these genres is specifically evidentin style and narrative of the film Aventurera (1949). This film shows the links betweenHollywood and Mexican cinema, displaying how some Hollywood conventions weretranslated and reformed in order to create its own Mexican Cinema. Most countriesintending to create their own cinema have to face Hollywood influence. This industryhas always been seen as a leading industry in technology, innovation, and economiccapacity, and as the Nemesis of local cinema. This case study on Aventurera showsthat Mexican cinema reached progress until exceeding conventions of cinematographicgenres taken from Hollywood, creating stories which went beyond the local interes

The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema

Mexico is one of the countries which has adapted American cinematographic genreswith success and productivity. This country has seen in Hollywood an effectivestructure for approaching the audience. With the purpose of approaching nationaland international audiences, Meximo has not only adopted some of Hollywoodcinematographic genres, but it has also combined them with Mexican genres such as“Cabaretera” in order to reflect its social context and national identity. The Melodramaand the Film Noir were two of the Hollywood genres which exercised a stronger influenceon the Golden Age of Mexican Cinema. Influence of these genres is specifically evidentin style and narrative of the film Aventurera (1949). This film shows the links betweenHollywood and Mexican cinema, displaying how some Hollywood conventions weretranslated and reformed in order to create its own Mexican Cinema. Most countriesintending to create their own cinema have to face Hollywood influence. This industryhas always been seen as a leading industry in technology, innovation, and economiccapacity, and as the Nemesis of local cinema. This case study on Aventurera showsthat Mexican cinema reached progress until exceeding conventions of cinematographicgenres taken from Hollywood, creating stories which went beyond the local interes

La única defensa es el exceso : traduciendo y sobrepasando las convenciones de Hollywood para establecer un cine mexicano relevante

RESUMEN: Uno de los países que ha adaptado géneros cinematográficos de los Estados Unidos con más éxito y productividad es México, país que ha visto en Hollywood una estructura efectiva para alcanzar al público. Con el objetivo de llegar a audiencias locales e internacionales, México no sólo ha adoptado algunos de los géneros cinematográficos de Hollywood, sino que también los ha combinado con géneros mexicanos como el de Cabaretera, para reflejar su contexto social e identidad nacional. El melodrama y el Film Noir fueron dos de los géneros de Hollywood que más influenciaron la Época de Oro del cine mexicano. La influencia de estos géneros se evidencia particularmente en el estilo y la narrativa de la película de Alberto Gout Aventurera (1949). Este filme evidencia las conexiones que hay entre Hollywood y el cine mexicano, ilustrando cómo México tradujo y reformó algunas de las convenciones de Hollywood para crear un cine mexicano propio. Muchos de los países que buscan crear un cine propio han tenido que lidiar con la influencia de Hollywood. Esta industria ha sido siempre vista como líder en tecnología, innovación y capacidad económica, así como también ha sido vista como el némesis de cines nacionales. El presente estudio de caso de Aventurera revela que el cine mexicano progresó hasta exceder las convenciones de los géneros cinematográficos tomados de Hollywood, creando historias que fueron más allá del interés local.ABSTARCT: Mexico is one of the countries which has adapted American cinematographic genreswith success and productivity. This country has seen in Hollywood an effectivestructure for approaching the audience. With the purpose of approaching nationaland international audiences, Meximo has not only adopted some of Hollywoodcinematographic genres, but it has also combined them with Mexican genres such as“Cabaretera” in order to reflect its social context and national identity. The Melodramaand the Film Noir were two of the Hollywood genres which exercised a stronger influenceon the Golden Age of Mexican Cinema. Influence of these genres is specifically evidentin style and narrative of the film Aventurera (1949). This film shows the links betweenHollywood and Mexican cinema, displaying how some Hollywood conventions weretranslated and reformed in order to create its own Mexican Cinema. Most countriesintending to create their own cinema have to face Hollywood influence. This industryhas always been seen as a leading industry in technology, innovation, and economiccapacity, and as the Nemesis of local cinema. This case study on Aventurera showsthat Mexican cinema reached progress until exceeding conventions of cinematographicgenres taken from Hollywood, creating stories which went beyond the local interest

Colombia vista por el Norte: Imágenes desde el cine de Hollywood

El presente estudio analiza cómo Colombia es representada por Hollywooden términos de lo bárbaro y lo exótico. Las imágenes de Colombia quenos presenta el cine de Hollywood se deben en gran parte a la influenciaeurocéntrica de relatos exóticos hechos por viajeros, al avance económico ytecnológico de Estados Unidos en comparación con un aparente retraso en eldesarrollo colombiano y a la visión general de un país suramericano, que segúnHollywood, debe ser exótico. A partir del análisis de tres películas, Romancingthe Stone; Delta Force 2: The Colombian Connection y Colombiana, argumentamosque, aunque Colombia se estereotipa como el país en el cual convergenenmarañadas geografías, insoportables climas e incivilizados habitantes, lavisión de Hollywood apunta más a mostrar un país latinoamericano genérico,que no representa puntualmente las características propias de Colombia,sino que utiliza a dicho país como símbolo para escenificar lo suramericanoen términos de lo violento

Colombia seen form the North: images from Hollywood Film

RESUMEN: El presente estudio analiza cómo Colombia es representada por Hollywood en términos de lo bárbaro y lo exótico. Las imágenes de Colombia que nos presenta el cine de Hollywood se deben en gran parte a la influencia eurocéntrica de relatos exóticos hechos por viajeros, al avance económico y tecnológico de Estados Unidos en comparación con un aparente retraso en el desarrollo colombiano y a la visión general de un país suramericano, que según Hollywood, debe ser exótico. A partir del análisis de tres películas, Romancing the Stone; Delta Force 2: The Colombian Connection y Colombiana, argumentamos que, aunque Colombia se estereotipa como el país en el cual convergen enmarañadas geografías, insoportables climas e incivilizados habitantes, la visión de Hollywood apunta más a mostrar un país latinoamericano genérico, que no representa puntualmente las características propias de Colombia, sino que utiliza a dicho país como símbolo para escenificar lo suramericano en términos de lo violento.ABSTARCT: This article analyzes the way how Colombia has been represented by Hollywood in terms of barbarian and exotic features. Images of Colombia shown by Hollywood movies should be mostly due to the Eurocentric influence of exotic stories of travelers, the economic and technological development of the United States when compared to an apparent delay of the Colombian development, and the general view they have about a South American country that, according to Hollywood, should be an exotic place. From the analysis of three movies: Romancing the Stone; Delta Force 2: The Colombian Connection; and Colombiana, it is alleged that, despite Colombia has been stereotyped as a country where tangled geographies, harsh climates, and uncivilized inhabitants converge, the view of Hollywood is more addressed to show a generic Latin American country that does not specifically represent the characteristics incidental to Colombia but it uses such a country as a symbol to represent what is South American in terms of violence

Post-Franco Theatre

In the multiple realms and layers that comprise the contemporary Spanish theatrical landscape, “crisis” would seem to be the word that most often lingers in the air, as though it were a common mantra, ready to roll off the tongue of so many theatre professionals with such enormous ease, and even enthusiasm, that one is prompted to wonder whether it might indeed be a miracle that the contemporary technological revolution – coupled with perpetual quandaries concerning public and private funding for the arts – had not by now brought an end to the evolution of the oldest of live arts, or, at the very least, an end to drama as we know it

¿Qué tan indómita es Colombia?

Entrevista con la profesora Paula Andrea Barreiro Posada, autora del libro Indómita: Colombia según el cine extranjero. La autora es doctora en artes de la Universidad de Antioquia y habló con la Editorial de la Universidad del Rosario sobre su texto y sobre la manera en que se construyó la representación y escenificación de lo colombiano en el cine extranjero durante los últimos cuarenta años.Interview with Professor Paula Andrea Barreiro Posada, author of the book Indómita: Colombia según el cine extranjero. The author has a PhD of arts from the University of Antioquia and spoke with the Editorial of the Universidad del Rosario about her text and about the way in which the representation and staging of the Colombian was built in foreign cinema during the last forty years

Tendencia Editorial UR Número 16

La divulgación académica, que está inserta dentro de la circulación del conocimiento, es una arista del proceso científico y de publicación que contempla la necesaria reflexión sobre qué hacer con los textos y resultados que producimos los académicos ¿Lo dejamos en un repositorio, lo publicamos como artículo, lo publicamos como libro, lo usamos para el beneficio de la sociedad o solo es un requisito de la academia? En este primer número temático tomamos las ciencias humanas y sociales como un punto de referencia para mostrar realidades sociales que nos interesan a todos como sociedad. La incidencia de la antropología, la sociología, la historia, las artes liberales, el periodismo, la filosofía, los estudios culturales, los estudios de la religión, y muchas más de las ciencias sociales y humanas, hacen aportes clave para comprender y visibilizar problemáticas que deben estar en la mira de las políticas públicas y para entendernos mejor entre nosotros. Una invitación a conocer y leer más ciencias sociales porque hay mucho que decir y leer

Benito Pérez Galdós

In Galdós\u27 time, the tensions between such diverse phenomena as coins and credit, free trade and protectionist tariffs, factory work and domestic economy, masculine and feminine, and private and public exacerbated friction among peoples—those of pueblo and rural origins, whose voices rasped and whose bright colors raked the eye, and a nascent, insecure bourgeosie who, fearful of the masses, strove to imitate the aristocracy. Old and new converged also with the question of suffrage and citizenship to aggravate social malaise and political upheavals—Carlist wars, palace intrigues, the Revolution of 1868 and overthrow of Queen Isabel, the brief reign of Amadeo of Savoy, the aborted First Republic and the Bourbon Restoration (1875-1885), which reached Spain from England in the imported person of Alfonso XII. These turbulent events undergird the cultural, historical, and political events of the novels by Benito Pérez Galdós (1843–1920) to be discussed in this chapter. Galdós is the author of seventy-seven novels, twenty-six original plays, and numerous occasional pieces, written between 1867 and 1920. These divide into two main categories: the historical and the contemporary social novels, now more appropriately described as novels of modernity The forty-six historical novels, called Episodios nacionales, make up five series, each consisting of ten interconnected novels, except the fifth series, left unfinished. The thirty-one novels of modernity, published between 1870 and 1915, also divide into two groups: Novelas de la primera época ( Novels of the Early Period, 1870–1879) and Las novelas de la serie contemporánea ( The Contemporary Social Novels, 1881–1915). The novels of the early period comprise Galdós\u27 first attempts at novel writing, as well as four so-called thesis novels : Doña Perfecta (1876), the sequel Gloria (1876–1877), Marianela (1878), and La familia de León Roch ( The Family of León Roch, 1878–1879). The next group of novels represents what Galdós called his segunda manera —his second style, a different kind of writing ... a more sophisticated and varied mode of narrative presentation