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Journal articles on the topic 'Chili – Au cinéma'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Bello, María José, and Marialy Rivas. "Marialy Rivas pionnière du cinéma gay au Chili." Cinémas d’Amérique latine, no. 18 (December 1, 2010): 99–101. http://dx.doi.org/10.4000/cinelatino.1378.

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2

Lattanzi, M. Laura. "Le cinéma comme objet d’étude au Chili : un domaine en transformation." Cinémas d’Amérique latine, no. 27 (April 1, 2019): 26–33. http://dx.doi.org/10.4000/cinelatino.5613.

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3

del Valle, Ignacio. "Indépendance et cinéma historique en Argentine, à Cuba et au Chili (1968-1976)." Cinémas d’Amérique latine, no. 18 (December 1, 2010): 10–15. http://dx.doi.org/10.4000/cinelatino.1198.

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4

Hadouchi, Olivier. "Mémoire des luttes contre les dictatures du Cône Sud (Argentine, Chili et Uruguay) dans le cinéma documentaire contemporain." L’Ordinaire des Amériques, no. 213 (May 31, 2010): 55–76. http://dx.doi.org/10.4000/orda.2412.

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5

Wani, Aarti. "‘The child’ of new Marathi cinema." Studies in South Asian Film & Media 7, no. 1 (2016): 59–70. http://dx.doi.org/10.1386/safm.7.1-2.59_1.

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6

De Aguiar, Carolina Amaral. "A ditadura chilena pelas câmeras estrangeiras: a vida social sob a repressão na TV e no cinema internacionais." Estudos Ibero-Americanos 43, no. 3 (2017): 667. http://dx.doi.org/10.15448/1980-864x.2017.3.24759.

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O golpe de Estado no Chile teve um grande impacto fora das fronteiras nacionais, podendo ser caracterizado como um “evento-mundo”. No caso das televisões e dos cineastas estrangeiros, o 11 de setembro de 1973 motivou a realização de reportagens e filmes que denunciassem a repressão no país sul americano, visando a desconstruir a imagem de um cotidiano “normalizado” que os militares procuravam vender para o exterior. Na segunda metade dos anos 1970, indo mais além da denúncia, essa produção audiovisual estrangeira se dedicou a compreender os processos de recomposição da vida social e de criação

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Rodrigues, Rejane Cristina de Araujo. "O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA." GEOgraphia 20, no. 42 (2018): 89. http://dx.doi.org/10.22409/geographia.v20i42.1096.

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Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares impla

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Rodrigues, Rejane Cristina de Araujo. "O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA." GEOgraphia 20, no. 42 (2018): 89. http://dx.doi.org/10.22409/geographia2018.2042.a13835.

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Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares impla

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9

Rodrigues, Rejane Cristina de Araujo. "O CINEMA DO TERCEIRO MUNDO SOB O OLHAR DA ANTIGEOPOLÍTICA: DITADURA E RESISTÊNCIA NA AMÉRICA LATINA." GEOgraphia 20, no. 42 (2018): 89. http://dx.doi.org/10.22409/geographia2018.v20i42.a13835.

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Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares impla

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10

Bettella, Patrizia. "Vicarious Mothers in Fascist Regime Cinema." Mnemosyne, no. 8 (October 15, 2018): 24. http://dx.doi.org/10.14428/mnemosyne.v0i8.13923.

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Fascist regime proclaimed that women’s preeminent roles were those of wife, mother and breeder of many children fot the Fatherland. The myth of motherhood became central in Fascism. Yet a limited number of documentaries and commercial films deals with motherhood. In commercial films it is remarkable to find that some maternal melodramas focus on the vicarious mothers, a generous, self- sacrificing woman, who acts as the mother of a child who is not her own. The article examines Righelli’s La canzone dell’amore, Ballerini’s La fuggitiva and Poggioli’s Sissignora where the surrogate mother, a yo

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11

Toropova, Anna. "Science, Medicine and the Creation of a ‘Healthy’ Soviet Cinema." Journal of Contemporary History 55, no. 1 (2019): 3–28. http://dx.doi.org/10.1177/0022009418820111.

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Cinema had long been hailed by Bolshevik party leaders as a crucial ally of the Soviet mass enlightenment project. By the mid-1920s, however, Soviet psychologists, educators and practitioners of ‘child science’ (pedology) were pointing to the grave effects that the consumption of commercial cinema was exerting on the physical, mental and moral health of Soviet young people. Diagnosing an epidemic of ‘film mania’, specialists battled to curtail the NEP-era practices of film production and demonstration that had rendered cinema ‘toxic’ to children. Campaigns to ‘healthify’ Soviet cinema, first m

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12

Laviosa, Flavia. "New Visions of the Child in Italian Cinema." Journal of Modern Italian Studies 20, no. 5 (2015): 761–63. http://dx.doi.org/10.1080/1354571x.2015.1096541.

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13

Melo, Luís Rocha. "Historiografia Audiovisual: a história do cinema escrita pelos filmes." ARS (São Paulo) 14, no. 28 (2016): 221. http://dx.doi.org/10.11606/issn.2178-0447.ars.2016.122967.

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Este artigo objetiva apresentar o trabalho desenvolvido pelo Grupo Historiografia Audiovisual (UFJF), que tem como foco o estudo de filmes que apresentem como tema o próprio cinema. Nosso percurso tem início com a pesquisa em andamento Historiografia audiovisual do cinema no Brasil; em seguida, estabeleço relações entre o meu trabalho como realizador e o conceito de historiografia audiovisual; por fim, trago dois estudos de caso, o primeiro sobre Panorama do cinema brasileiro (Jurandyr Noronha, 1968) e o segundo comparando Carnaval Atlântida (José Carlos Burle, 1953) e La dama de las camelias

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14

Souza, Ildembergue Leite de, and André Luiz Maranhão de Souza Leão. "A transposição de mitos na intertextualidade entre Cinema e Publicidade: uma análise semiológica de Pornochanchada, campanha da marca Chilli Beans." Intercom: Revista Brasileira de Ciências da Comunicação 37, no. 2 (2014): 242–62. http://dx.doi.org/10.1590/1809-5844201411.

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O caráter simbólico se tornou decisivo para o consumo atual. Nesse fenômeno, ganha relevo o papel de agentes como a Publicidade, que apela de forma destacada para a simbologia dos mitos reproduzidos em suas mensagens, geralmente, construídas com base na intertextualidade que se apropria e modifica significados importados de linguagens variadas, entre elas, o Cinema. O uso desse recurso aparece claramente em uma das campanhas da Chilli Beans, inspirada na pornochanchada. Por meio da semiologia barthesiana, este trabalho se propõe responder como a marca Chilli Beans, por meio da intertextualidad

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15

Czernis, Loretta. "The Canadian Experimental Camera-Child." Articles divers 2, no. 1 (2011): 155–67. http://dx.doi.org/10.7202/1001057ar.

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Experimental film is not highly visible but it has had an impact on cinema as both art and technique. Conceptual and technical experiments in film take many forms depending on their cultural contexts. Canadian experimental filmmakers have recorded our inability to invent ourselves as they imagine that we might have been. They are influenced by European and American avant-garde filmmakers and their relationship to the camera as a "living" and technological entity.

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16

Rabbani, Darian Soheil rahnamaye, and Julio Groppa Aquino. "a infância no cinema de abbas kiarostami." childhood & philosophy 15 (January 30, 2019): 01–28. http://dx.doi.org/10.12957/childphilo.2019.36890.

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This article analyzes the theme of childhood in the films of Abbas Kiarostami in the context of the 1979 Iranian Revolution, which toppled the secular, modernizing regime of Shah Reza Pahlavi and ended in the establishment of Islamic Republic of Iran under the leadership of Ayatollah Khomeini. It pays special attention to the Institute for the Cultural Development of Children and Adolescents, or Kanun. Founded during the Shah’s regime with the objective of creating educational materials, Kanun played an important role in Iran’s artistic-cultural production, both before and after the Revolution

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17

Lebeau, Vicky. "‘Stick that knife in me’: Shane Meadows’ Children." Journal of British Cinema and Television 10, no. 4 (2013): 878–89. http://dx.doi.org/10.3366/jbctv.2013.0185.

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This article brings Shane Meadows’ Dead Man's Shoes (2004) into dialogue with the history of the depiction of the child on film. Exploring Meadows’ work for its complex investment in the figure of the child on screen, it traces the limits of the liberal ideology of the child in his cinema and the structures of feeling mobilised by its uses – at once aesthetic and sociological – of technologies of vision.

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18

Thomas, Sarah. "Sentimental Objects: Nostalgia and the Child in Cinema of the Spanish Memory Boom." Revista Canadiense de Estudios Hispánicos 42, no. 1 (2018): 145–71. http://dx.doi.org/10.18192/rceh.v42i1.2005.

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This article explores how two films from the so-called Spanish “memory boom” represent their child protagonists via a certain “anxiety of influence” in relation to their cinematic forebear El espíritu de la colmena (Erice, 1973 ). It argues that, despite their intertextual connection, these two more recent films differ from Erice’s in terms of their representation of childhood, making use of the child as an instrument of didacticism and nostalgia. In so doing, they offer an image of the child instrumentalized as object, rather than fully realized as subject.

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19

Johnson, Ida Moen. "Jörgen Lindström and the troubled status of the sexualized child on-screen." Journal of Scandinavian Cinema 9, no. 2 (2019): 175–90. http://dx.doi.org/10.1386/jsca.9.2.175_1.

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This article examines the problem of using child actors in sexual scenes in film, with special attention to Ingmar Bergman’s Tystnaden (The Silence) (1963) and Mai Zetterling’s Nattlek (Night Games) (1966), both featuring the Swedish child actor Jörgen Linström. I argue that seeing the sexualized child in film can evoke the viewer’s concern for the well-being of the child actor, thus disrupting absorption in the fictional world on-screen. I further contend that two modes for managing the problematic presence of the sexualized child on-screen – cuteness and queerness – ultimately fail to elimin

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20

Sutton, P. "The bambino negato or missing child of contemporary Italian cinema." Screen 46, no. 3 (2005): 353–60. http://dx.doi.org/10.1093/screen/46.3.353.

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21

Keene, Judith. "The child witness and cultural memory in European war cinema." International Journal of Media & Cultural Politics 12, no. 1 (2016): 95–113. http://dx.doi.org/10.1386/macp.12.1.95_1.

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22

Henzler, Bettina. "Shifting perspectives: the child as mediator in New German Cinema." Screen 59, no. 2 (2018): 213–34. http://dx.doi.org/10.1093/screen/hjy022.

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23

Gonzalez Fulle, Maria Beatriz. "Imágenes sobre Chile: dos miradas para construir la memoria." eari. educación artística. revista de investigación, no. 10 (December 20, 2019): 262. http://dx.doi.org/10.7203/eari.10.13895.

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Resumen: Este artículo presenta un material pedagógico que, a través del cine, permite desarrollar contenidos incluidos en los programas de estudio del curriculum escolar chileno. Se trata de la obra de los cineastas Raúl Ruiz y Patricio Guzmán que, desde miradas muy diversas nos permiten acercarnos a un mismo país, antes y después de la dictadura militar. Estos materiales integran la colección editorial Educación Artística realizada por el Ministerio de las Culturas, las Artes y el Patrimonio, de Chile.  Palabras clave: Educación artística, cine, formación ciudadana, memoria, didá

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24

Vega, Alicia. "Taking wonders to the margins ( Maravillas al Margen )." Film Education Journal 3, no. 2 (2020): 87–122. http://dx.doi.org/10.14324/fej.03.2.01.

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Translated into English for the first time, this article by film educator and outreach worker Alicia Vega describes her experiences conducting a series of Cinema Workshops in highly disadvantaged communities across Chile, which sought to provide younger children with early, formative understandings of cinema. A rich account of the experience, incorporating a variety of images drawn from the workshops, the article provides an intimate, detailed reflection on a remarkable film education and humanitarian endeavour. It concludes with a series of testimonials from children who participated in the p

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Lury, Karen. "Children in an open world: Mobility as ontology in New Iranian and Turkish cinema." Feminist Theory 11, no. 3 (2010): 283–94. http://dx.doi.org/10.1177/1464700110376279.

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In a series of non-Western films — Times and Winds, A Time for Drunken Horses, Turtles Can Fly and Buddha Collapsed out of Shame — contemporary child figures inhabit their world in a manner that demonstrates the child’s resilience and their intimacy with the land. Drawing on non-representational theory (NRT) and relating this to feminist theories of affect and subjectivity, the article suggests that these films present child figures for whom mobility has effectively become their ontology and that this demonstrates that there may be a different form of kinship between the natural world and the

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Filho, Cláudio Almeida Silva. "CINEMA E UTOPIA: UMA ESPERANÇA POSSÍVEL PARA A AMÉRICA LATINA." Revista Prelúdios 8, no. 8 (2020): 131. http://dx.doi.org/10.9771/revpre.v8i8.33198.

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<p>O livro escrito por Bruno Vilas Boas Bispo analisa a trilogia da <em>Batalha do Chile</em> do cineasta Patrício Guzmán buscando compreender as representações utópicas presentes nos filmes. Através das imagens fílmicas o autor tem como horizonte a investigação dos elementos de <em>utopia</em> da realidade chilena expressas pela obra cinematográfica, a qual destaca o processo do governo de Salvador Allende na década de 1970. Dividido em quatro partes: <em>Introdução; Cinema e realidade Social; A esperança enquanto perspectiva de construção de mundo; A batal

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27

Corrêa, Felipe Borim. "Immaterial cultural heritage and a sense of place in film-based art education: A case study of a documentary film project with secondary school children as part of Cine en curso Chile." Film Education Journal 3, no. 2 (2020): 123–37. http://dx.doi.org/10.14324/fej.03.2.02.

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The following article describes the process of a documentary filmmaking programme at a secondary school in Chile, which encourages students to engage with a sense of place and intangible cultural heritage. Run by Gaticine – Centro de desarrollo social del cine (Centre for the Social Development of Cinema) in partnership with A Bao A Qu, a non-profit organization based in Barcelona, the programme assists students in discovering and analysing documentary films from different times and cultures over the course of a year, while performing practical filmmaking inside and outside the school. At the

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28

Quigley, Paula. "‘Robbed of one’s eyes’: Re-viewing the Holocaust." Short Film Studies 4, no. 2 (2014): 211–14. http://dx.doi.org/10.1386/sfs.4.2.211_1.

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The literal and/or figurative violation of the human eye has been a striking figure of cinema since its inception, reflecting back on the act of spectatorship itself. Here, an uncanny confrontation between our role as spectators and how we ‘see’ history takes place directly through the eyes of a child.

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Ryabokon’, Anastasia V. "The image of prince Myshkin in Russian cinema." Journal of Flm Arts and Film Studies 11, no. 2 (2019): 54–63. http://dx.doi.org/10.17816/vgik11254-63.

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The research is dedicated to the screen adaptations of Fyodor Dostoevskys The Idiot made in Russia in different cultural and historical periods. Films produced from 1910 to 2003 are analyzed in chronological order, with the aim of showing the transformation of the image of Prince Myshkin (Prince Christ), one of the key images of Russian culture1 within Russian national consciousness. The essay analyzes the following films:  The Idiot (1910), directed by Pyotr Chardynin Idiot (Nastasya Filippovna) (1958), directed by Ivan Pyryev Idiot (1981), directed by Vladimir T

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30

Olivera, Guillermo. "Reframing the figure of the sexual child/teen in Argentine cinema." Journal of Language and Sexuality 7, no. 1 (2018): 105–40. http://dx.doi.org/10.1075/jls.17007.oli.

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Abstract Drawing on a detailed analysis of a corpus of three key Argentine post-2000 films in which the figure of the child as a sexual/gendered being is central, this article explores three core affective dimensions of the processes of queer child/teenage relational subjectivation. Firstly, it discusses the queer shameful or injured selves of LGBTIQ children/teens as nevertheless being able to open up new spaces of affective performativity that can potentially challenge gender/sexuality norms and boundaries. Secondly, it addresses early queer antagonism associated with the configurative role

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31

Prokhorov, Alexander. "The adolescent and the child in the cinema of the Thaw." Studies in Russian and Soviet Cinema 1, no. 2 (2007): 115–29. http://dx.doi.org/10.1386/srsc.1.2.115_1.

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32

Bieber, Ada. "The Authority of Wax: The Child Flâneur in East German Cinema." Children's Literature 49, no. 1 (2021): 40–58. http://dx.doi.org/10.1353/chl.2021.0004.

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33

Silva, Adriana A. "INFÂNCIA ROUBADA: MEMÓRIAS E POÉTICAS DA RESISTÊNCIA NO CINEMA LATINO-AMERICANO." Atos de Pesquisa em Educação 10, no. 3 (2015): 690. http://dx.doi.org/10.7867/1809-0354.2015v10n3p690-710.

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A partir de uma tese de doutorado, o presente texto apresenta reflexões sobre a infância pelas lentes do cinema, com foco nas ditaduras militares latino americana. A metodologia utilizada articulou a estética da infância no cinema com o conceito de rememoração de Walter Benjamim, analisando entre outros, os filmes: “A História Oficial” e <em>Infância Clandestina</em> (Argentina), <em>Machuca</em> (Chile), <em>O ano que meus pais saíram de férias</em> (Brasil). Como “resultados” da pesquisa evidenciamos poéticas das resistências analisadas nas narrativas cine

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34

Venkatesh, Vinodh. "Argentina in Crisis: Superheroes in Zenitram (2010) and Kryptonita (2015)." Galactica Media: Journal of Media Studies 2, no. 3 (2020): 295–309. http://dx.doi.org/10.46539/gmd.v2i3.89.

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While the study of superheroes has become a comprehensive field in itself, a focus on global superheroes has only recently begun to take shape. Vinodh Venkatesh’s Capitán Latinoamérica: Superheroes in Cinema, Television, and Web Series (2020) furthers a comprehensive examination of the superhero in Latin American moving images from the late 1950s to the present day, covering contexts from Mexico to Chile. Missing from this study, however, is an examination of Argentine superheroes. The present essay fills this gap by addressing two films, Zenitram (2010) and Kryptonita (2015), that portray and

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De Oliveira Azeredo, Verônica Pacheco, and Marília Sousa Andrade Dias. "Alícia Vega: Taller de Cine para Niños nos labirintos do tempo." Revista Maracanan, no. 22 (October 1, 2019): 197–211. http://dx.doi.org/10.12957/revmar.2019.40250.

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Este artigo tem o objetivo apresentar parte de uma investigação acerca da teoria pedagógica de Alícia Vega, intelectual latino-americana com atuação importante na criação de projetos de formação estética audivisual de crianças pobres do Chile. Foram realizadas entrevistas narrativas concedidas na Galeria Macchina, Pontifícia Universidade Católica do Chile, em Santiago por ocasião da exposição “Taller de Cine para Niños” nos meses de abril e maio de 2018, em homenagem aos 30 anos desse projeto voltado para a educação e cinema. A pesquisa, realizada pela perspectiva historiográfica da História d

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Jain, Chhaya. "OVERALL VIEW ON HINDI CINEMA." International Journal of Research -GRANTHAALAYAH 7, no. 4 (2019): 141–46. http://dx.doi.org/10.29121/granthaalayah.v7.i4.2019.883.

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In today's era, cinema is such a genre, towards which a child of two years and an old man of eighty years is also attracted. Even a person from a small town to a small town is not untouched by its hypnosis. Cinema is a complete genre in itself, as it includes all arts like painting, theatrical art, poetry, fiction. The cinema that we see today has a developed and sophisticated form in front of us, a century of hard work behind it. In the present times, cinema has taken the form of industry but it has not only given us entertainment, but also education, so it has become a powerful medium to exp

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37

O'Brien, Charles, and Edward Baron Turk. "Child of Paradise: Marcel Carne and the Golden Age of French Cinema." SubStance 23, no. 2 (1994): 141. http://dx.doi.org/10.2307/3685083.

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da Silvia, Antonio Marcio. "Little Adults: Child and Teenage Commercial Sexual Exploitation in Contemporary Brazilian Cinema." Hispania 99, no. 2 (2016): 212–22. http://dx.doi.org/10.1353/hpn.2016.0057.

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Banwari, Girish. "Cinema may help break the silence around child sexual abuse in India." Asian Journal of Psychiatry 14 (April 2015): 71–72. http://dx.doi.org/10.1016/j.ajp.2015.01.010.

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40

Bettella, Patrizia. "Children in Fascist Regime Cinema: The Case of Luigi Ballerini’s La Fuggitiva (1941)." Quaderni d'italianistica 34, no. 2 (2014): 11–28. http://dx.doi.org/10.33137/q.i..v34i2.21032.

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After a sustained presence in silent movies, children almost vanish in Fascist cinema, which was dominated by the light comedies of the white telephones—a fact that clashes with the regime’s promotion of large families, population increase and the valorization of motherhood. Children begin to reappear in the melodramas of the early Forties mainly as a complement to the figure of the mother, who is depicted in sentimental stories about single parenthood, illegitimate children, hard negotiations between traditional motherhood and self-realization. Piero Ballerini’s film La Fuggitiva (1941) offer

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41

Pavisic, Jovana, Julie Chilton, Garry Walter, Nerissa L. Soh, and Andrés Martin. "Childhood Cancer in the Cinema." Journal of Pediatric Hematology/Oncology 36, no. 6 (2014): 430–37. http://dx.doi.org/10.1097/mph.0000000000000195.

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Aguiar, Carolina Amaral de. "Cinema e História: documentário de arquivo como lugar de memória." Revista Brasileira de História 31, no. 62 (2011): 235–50. http://dx.doi.org/10.1590/s0102-01882011000200013.

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O artigo analisa a relação entre cinema e história considerando esse suporte como um 'lugar de memória'. Para isso, analisa-se o filme A Espiral (1975), dirigido por Chris Marker e Armand Mattelart, um documentário montado com materiais pesquisados em arquivos que se dedica a analisar a Unidade Popular no Chile. Após o golpe de Estado de 1973, seus realizadores pretenderam construir um conhecimento histórico que combatia a visão de que a ditadura 'normalizava' o caos instaurado no país, denunciando que o governo de Salvador Allende havia sido vítima de um grande boicote organizado pela direita

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Chataignier, Gustavo. "Apresentação." ALCEU 18, no. 36 (2018): 157–59. http://dx.doi.org/10.46391/alceu.v19.ed36.2018.110.

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O presente dossiê sobre o filósofo francês Guy Debord (1931-1994) retoma as exposições do colóquio realizado pelo Departamento de Comunicação Social da PUC-Rio nos dias 16 e 18 de outubro de 2017, com o título “50 anos de ‘A Sociedade do Espetáculo’: entre arte e crítica”, cujo ensejo foi o cinquentenário de sua grande obra, A sociedade do espetáculo, de 1967 (Rio de Janeiro: Editora Contraponto, 1997, tradução de Estela dos Santos Abreu). A Revista Alceu tem o prazer de apresentar a seus leitores e colaboradores os artigos dos professores doutores Gustavo Celedón (Universidade de Valparaíso,

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Anderson, Martin. "A Century in Music: Manuel Rosenthal in Conversation." Tempo, no. 212 (April 2000): 31–37. http://dx.doi.org/10.1017/s0040298200007592.

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Well, no. We are led by destiny, really. When I was very young, I was held to be a literary phenomenon. It was thought I was going to be an important writer. Even when I was very small, the teachers said ‘This child is already writing books’. I had an imagination, 1 knew my spelling and things like that almost from birth. And then when I was 14 years of age – in fact, on 11 November 1918, the day of the armistice of the First World War – my father died. My mother was ill, I had a younger sister – I became the head of the family. What could I do? I didn't have a trade, of course, but like every

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Eleftheriotis, D. "Early cinema as child: historical metaphor and European cinephilia in Lumiere & Company." Screen 46, no. 3 (2005): 315–28. http://dx.doi.org/10.1093/screen/46.3.315.

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Lapsky, Igor. "Arte x Política: um debate sobre o cinema sul-americano e conservadorismo no tempo presente (2017-2019)." Revista Eletrônica da ANPHLAC 20, no. 28 (2020): 313–37. http://dx.doi.org/10.46752/anphlac.28.2020.3849.

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Resumo: o objetivo deste artigo é analisar produções cinematográficas sul-americanas entre os anos de 2017 e 2019, considerando sua repercussão na mídia, sobretudo a partir da atuação de grupos conservadores dos países dos filmes escolhidos. Para tal, utilizamos três longas-metragens e um média-metragem que tratam de temáticas relacionadas, como religião, família e gênero, questões centrais defendidas pelos conservadores no Paraguai, Chile e Brasil. Consideramos a relação cinema e política a partir da análise do contexto político dos países com as histórias desenvolvidas. Os filmes apresentado

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Martausová, Martina. "Authenticity and the Forest in Captain Fantastic (2016) and Leave No Trace (2018)." Miscelánea: A Journal of English and American Studies 63 (June 30, 2021): 129–49. http://dx.doi.org/10.26754/ojs_misc/mj.20215876.

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A number of recent productions would appear to suggest that American cinema in the 21st century has abandoned the traditional, culturally defined tropes of the American wilderness in favor of its portrayal as an alternative environment for the contemporary American man. This study focuses on the role of the forest as a specific form of the wilderness in two contemporary American films, Captain Fantastic (2016) and Leave No Trace (2018), analyzing how this background motivates and shapes the authentic representation of the main male protagonist. This form of authenticity, as the study suggests,

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Silva, Alexsandro De Sousa e. "O cinema em busca da inspiração revolucionária: uma análise de Sandino (1990), de Miguel Littín." Diálogos 21, no. 1 (2017): 116. http://dx.doi.org/10.4025/dialogos.v21i1.37163.

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O artigo analisa o filme Sandino (1990), o último dirigido pelo chileno Miguel Littín no exílio. A narrativa fílmica tenta fazer uma monumentalização do líder revolucionário Augusto César Sandino (1895-1934). No enredo, o protagonista organiza a resistência armada contra os militares norte-americanos em território nicaraguense; porém, com a saída das tropas estrangeiras, o líder foi assassinado a mando de Anastasio Somoza García. Pretendemos analisar o filme de Miguel Littín e verificar de que maneira o enredo está dialogando com um duplo contexto: a crise do « socialismo real » e a transição

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De Mello, Cintia Rejane da Silveira, Leticia Brandalise Moletta, Carolina Dea Bruzamolin, Marilisa Carneiro Leão Gabardo, Eduardo Pizzatto, and Wellington Menirval Zaitter. "Knowledge of dentists on child abuse in two Brazilian southern cities Cintia." RSBO 1, no. 1 (2017): 30. http://dx.doi.org/10.21726/rsbo.v1i1.383.

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Introduction: The child abuse against children and teenagers is relevant and the dentist has a fundamental role in the process of identification of suspected cases. Objective: To evaluate the level of knowledge of the dentists about child/teenager abuse and the attitude towards identified cases, in the cities of Rio Negro (Paraná, Brazil) and Mafra (Santa Catarina, Brazil). Material and methods: Questionnaires were applied to 44 professionals of these cities, whopracticed in private and/or public health service. The questions covered the profile of respondents regarding gender, institution (pu

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Czerkawski, Piotr. "Peryferie mają głos. O książce Jarosława Pietrzaka "Smutki tropików. Współczesne kino Ameryki Łacińskiej jako kino polityczne", Warszawa 2016, ss. 312." Studia Filmoznawcze 39 (July 17, 2018): 185–90. http://dx.doi.org/10.19195/0860-116x.39.13.

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PERIPHERIES HAVE VOICE. THE REVIEW OF THE BOOK SMUTKI TROPIKÓW. KINO AMERYKI ŁACIŃSKIEJ JAKO KINO POLITYCZNE BY JAROSŁAW PIETRZAK, WARSZAWA 2016, 312 PP.This text is a review of the book by Jaroslaw Pietrzak Smutki tropików. Kino Ameryki Łacińskiej jako kino polityczne Tristes Tropiques. The Cinema of Latin America as a Political Cinema. The review draws attention to the specifics of the author’s viewpoint, which connects his interest in politics, culture, cinematography, while drawing from a strong influence of leftist sensibilities. In the line of arguments presented in the text, the essayis

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