cine y TV


Como empezó el mes de Junio, y es el mes de orgullo LGBT, me pareció apropiado recomendar unas películas, algunas de estas no las he visto aun así que no emitiré una opinión personal, pero daré la descripción. Tengo muchas películas en mente así que haré una segunda parte en otra oportunidad. Disfruta y te recomiendo que las veas! 

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Arte inspirado en comidas del cine y la TV
Joshua Budich es un artista estadounidense que se dedica a crear pinturas inspiradas en comidas famosas de la cultura pop. Desde las hamburguesas de 'The Simpsons' pasando por los productos Dharma de la serie de TV 'Lost', no hay platillo suculento que se le escape a su inventiva. - Página 1

Joshua Budich es un artista estadounidense que se dedica a crear pinturas inspiradas en comidas famosas de la cultura pop. Desde las hamburguesas de The Simpsons pasando por los productos Dharma de la serie de TV Lost, no hay platillo suculento que se le escape a su inventiva.

…I have tried to draw attention to how European Film Theory has been very interested in the question of the spectator, to quote Christian Metz, “the I who am at the cinema, I am present at a film, I am present, I help it to be born,” - this is Christian Metz - “I help it to be born, I help it to live, since only in me will it live, since it is made for that purpose. This peculiar form of spectatorial arrogance, if you like, when you say that "this entire apparatus is me, I am it, I am watching, it is watching.” The capacity to not recognise in Europe that there was a politics to this, that there was a sort of a difficulty in a sense, that Europe was having in drawing attention to the fact that such an ‘I’ was a citizen, you know, and dubiously a citizen, and so forth. These were the kinds of confusions that we were going into.

On the other hand, I mean, what I have drawn attention to in this essay is to show how non-European practices - and I’m thinking about Latin-American cinema, and also African cinema - has been profoundly interested in this phenomenon and to a great extent have talked about it. So, for example, in Africa, the Fèdèration Panafricaine des Cinèastes of Apache, it’s a very important Pan African film agency which runs the Ouagadougou Film Festival, and was established in Algiers in 1969, to use film as a tool for the liberation of the colonised countries, and as a step towards the total unity of Africa - and it works as a close participant of the OAU, the Organisation of African Unity - was actually an informed signatory to the African Charter of Human and People’s Rights, better known as the Banjul protocol, adopted in 1981.

This Charter of Rights constitutes an explicit commitment to the individuated conception of the rights-bearing citizen, declaring, in fact, (it) echoes the UN, universal declaration of Human Rights, that, I quote, “fundamental human rights stem from the attributes of human beings, which justifies their national and their international protections, given that” - I quote the report - “human beings are inviolable. And furthermore that the family shall be” - not the tribe, not the community - “the natural unit and basis of society. It shall be protected by the state, which shall take care of its physical health and moral health.”

Curiously, the Latin-American tradition as well, you know, given the landmarks here - the foundation of the Fundación, there’s the Fundación del Nuevo Cine Latinoamericano i.e the New Latin-American Film Foundation, and the third world film school, Escuela Internacional de Cine y TV; and as Anna Lopez shows for example, “the New Latin-American cinema is not just a film-making movement, it was a social practice intimately related to other movements struggling for the socio-cultural, political, and economic autonomy of Latin America.”

And there are these famous manifestos - Fernando Birri, the famous Argentinian film-maker who asked this question, “for which audience do you make films,” says, “we can no longer put off the question” and lists who he makes his films for in some considerable detail. He will make them for the best of working class and a peasant audience, but also for urban and suburban proletariat in areas of newer industrialization, and peasants, small farmers and herdsmen on both small immigrant farms, large estates and so on. And to quote another famous essay of Tomas Gutirrez Alea, the Cuban film-maker, who says “we can say therefore the condition of being spectator - this is Thomas Alea - "the condition of being spectator at a moment in the process of the subject’s appropriating or interiorising – a reality which includes, of course, the cultural sphere as a product of specific human activity – is fundamental.”

So you can see spectatorship theory in the sense in which you are talking about it is starting to be born, but Europe is not particularly drawing attention to it. In other words, European fourth looks or third looks’ structures don’t seem to recognise this dimension to spectatorship theory. Militant, active, engaged spectatorship theory, where, as I’ve said earlier, the putting of cinema to use towards a certain end is starting to be put in place.

Ashish Rajadhyaksha (CSCS Culture and Democracy Lecture Series)


Grease de la toma - Colectivo Fauna (Facultad de Arquitectura y Urbanismo / Cine y TV, Universidad de Chile

Hay distintas maneras de protestar por una mejor educación, y esta probablemente sea una de las maneras más originales.

Este video se lleva todos los jumbitos!!! (sin lucrar, claramente)

Gran Hermano 13

Me gusta Gran Hermano, el programa que cumple su decimotercera temporada, el Reality que revolucionó la televisión hace doce años. El foco hacia donde apuntan los insultos de quien llama telebasura a todo lo que no le gusta o no alcanza en su escala de valores el rango de intelectual.

- Pero tu, Paolo, te creía inteligente, no se, con más gusto, nunca pensé que te interesase el morbo barriobajero de los vagos chupópteros de fama.

Os puedo explicar la magnifica calidad profesional de su equipo de técnicos, os puedo explicar que se trata de ocio, espectáculo, entretenimiento y perspectiva del espectador, os puedo explicar que quien decide si sigue o no en antena es la audiencia, vosotros, ellos, esos, la masa, la misma a la que habéis dado la potestad absoluta para que abandere vuestra vara de medir cultural e intelectual: 

-Si no sabes venderte es porque no vales, si nadie te lee, te ve o escucha tus obras, por algo será. 

El dinero por encima, que ponga y disponga a su voluntad. ¿O ahora no vale? Perdone su excelencia, ponga usted las normas del pensamiento y las redacte para que sepamos en que marco intelectual hay que moverse.

¿O es culpa de la audaz periodista Mercedes Milá? ¿Por su carácter? ¿Su belleza? ¿esa que admiráis de Scarlett Johansson o Ronaldo y luego reís bufonamente y con sorna de la bella desnudez de Lucía Etxebarría? ¿Qué hipocresía es la que os mueve?

Seguramente sea por el 13, el de la superstición y los prejuicios.

Paolo AC