eBooks de Cine, página 21 de 64

¿De qué tienes miedo? Del dolor, de la muerte, de la pérdida... La mayoría de nuestros terrores son innatos, espontáneos, pero también pueden ser aprendidos, sociales, colectivos. Hemos aprendido a temer muchas cosas en lo que va de siglo, empezando por los atentados del 11 de septiembre y siguiendo con la crisis financiera. Este volumen se centra en el cine de terror estadounidense estrenado entre el 11-S y el comienzo de la crisis (2001-2011), para analizar los cambios que se han producido en la ideologia dominante. A traves del terror, los excesos del orden y las amenazas de la otredad se vuelven transparentes, pero para verlos debemos elucidar la relacion entre el cine y la ideologia, entre nuestros miedos cotidianos y los de la ficcion. Desde una perspectiva teorica y analitica, este libro analiza con rigor como el cine de terror dialoga con la ideologia de nuestra epoca.

Estos textos de Isabel Coixet son un mapa de los intereses, preocupaciones, aficiones y pasiones de la cineasta. En ellos reflexiona sobre sus viajes, la política, el cine, los libros, la música y, en definitiva la vida. Isabel Coixet comparte sus recomendaciones sobre que peliculas ver, que libros leer, que musica escuchar. En estas paginas encontramos a Isabel Coixet hablando de la vida, de la amistad, de los premios, del nacionalismo, del feminismo, de sus peliculasson los destellos certeros e inteligentes de todas las Isabel Coixet posibles: comprometida, graciosa, curiosa, culta, fragil.

El crítico más seguido y temido del cine español nos cuenta su vida sin tapujos.Carlos Boyero es una de las figuras más seguidas y temidas del cine español. La polémica le persigue desde que hace más de cincuenta años publicara su primer articulo y, desde entonces, nunca ha dejado de estar en el ojo del huracan. Boyero ha sido siempre acido en sus criticas, irreverente e inconformista en todos los aspectos de su vida. Ahora nos cuenta su vida sin tapujos y con el tono provocador que le caracteriza: la inclasificable existencia de un tipo inclasificable, con sus neuras, sus ternuras, sus conocimientos, sus desmedidas aficiones hedonistas, sus amores, sus amistades, sus soledades, los paraisos artificiales, la imposible relacion con la tecnologia, la depresion, la euforia todo eso es Carlos Boyero, ese fenomeno sociologico que rompio y rompe los moldes de la correccion politica, una leyenda que no sabe encender un ordenador ni enviar un Whatsapp y cree que las redes sociales son bolsas de supermercado para llevar comida a los pobres, pero ha sido uno de los personajes mas multimedia del periodismo español.Una vida y una voz contra la correccion politica, los intereses creados y la mentira disfrazada de prestigio. Con la colaboracion de Borja Hermoso

Las memorias del actor Michael J. Fox sobre las etapas de su vida relacionadas con la salud, desde su experiencia con el Párkinson hasta la operación de un tumor benigno en la médula espinal, y en las que relata en primera persona los problemas de salud que ha tenido, y como le hicieron perder su optimismo temporalmente.A traves de capitulos dinamicos llenos de recuerdos, reflexiones y de un gran sentido del humor relata de forma amena sus momentos mas duros.Una historia de lucha, coraje y superacion que ofrece un final lleno de esperanza, asi como una mirada resiliente ante la dureza de la vida.Unas memorias conmovedoras, a menudo divertidas, en las que Michael J. Fox revela como recupero su sentido del optimismo y reflexiona sobre la edad, la familia y la vida con una discapacidad.

Um dos tradicionais conceitos de nação é o de uma comunidade política autônoma e de território definido que partilha instituições comuns (constituição, governo, sistema judiciário). Ou o de uma comun

"Ninguém abandona o Paraíso pela porta da frente" conta a história de Bella Butler, uma atriz de sucesso casada com Ulisses, diretor de cinema 21 anos mais velho, que se recupera de um AVC. À medida

Nightmare Abbey Thomas Love Peacock - Nightmare Abbey is an 1818 novella by Thomas Love Peacock which makes good-natured fun of contemporary literary trends. Nightmare Abbey was Peacocks third long work of fiction to be published. It was written in late March and June 1818, and published in London in November of the same year. The novella was lightly revised by the author in 1837 for republication in Volume 57 of Bentleys Standard Novels. The book is Peacocks most well-liked and frequently-read work. The novel was a topical work of Gothic fiction in which the author satirised tendencies in contemporary English literature, in particular Romanticisms obsession with morbid subjects, misanthropy and transcendental philosophical systems. Most of its characters are based on historical figures whom Peacock wished to pillory. It has been observed that "the plots of Peacocks novels are mostly devices for bringing the persons together and the persons are merely the embodiment of whims and theories, or types of a class". Nightmare Abbey embodies the critique of a particular mentality and pillories the contemporary vogue for the macabre. To his friend Percy Bysshe Shelley, Peacock described the object of his novel as being "to bring to a sort of philosophical focus a few of the morbidities of modern literature". Appearing in the same year as Northanger Abbey, it similarly contrasts the product of the inflamed imagination, or what Peacocks Mr Hilary describes as the "conspiracy against cheerfulness", with the commonplace course of everyday life, with the aid of light-hearted ridicule. Several of the chapters take a dramatic form interspersed with stage directions in order to illustrate without comment how much the speakers characterise themselves through their conversation. The actor and director Anthony Sharp was eventually to take this approach to its logical conclusion and reduced the whole novel to a successful and popular script. First performed in February 1952, it was eventually published in 1971.

The term New Wave conjures up images of Paris in the early 1960s: Jean Seberg and Jean Paul Belmondo, the young Jean-Pierre Leaud, the three protagonists of Jules and Jim capering across a bridge, all from the films of French filmmakers Jean-Luc Godard and François Truffaut.The impact of the French New Wave continues to be felt, and its ethos of shooting in real places, with non-professional actors and small crews would influence filmmakers as diverse as John Cassavetes and Martin Scorsese to Lars von Triers Dogme 95 movement, all of whom sought to challenge the dominance of traditional Hollywood methods of both filmmaking and storytelling.But the French were not the only new wave, and they were not even the first. In New Waves in Cinema, Sean Martin explores the history of the many New Waves that have appeared since the birth of cinema, including their great forebears the German Expressionists, the Soviet Formalists and the Italian Neorealists. In addition, Martin looks at the movements traditionally seen as the French New Waves contemporaries and heirs, such as the Czech New Wave, the British New Wave, the New German Cinema, the Hollywood Movie Brats and Brazilian Cinema Novo. The book also covers other new waves, such as those of Greece, Hungary, documentary - Cinema Verite and Direct Cinema - animation, avant garde and the so-called No Wave filmmakers.New Waves in Cinema also explores the differences - and similarities - between the concept of a new wave and a national cinema, citing, among others, the example of the new Iranian cinema, which has given us directors as important as Abbas Kiarostami and the Makhmalbaf family, examines resurgent trends in the national cinemas of Mexico, Japan, American independent cinema and concludes with an examination of the most celebrated movement of the 1990s and 2000s, Dogme 95.New Waves in Cinema makes a convincing case for the necessity for the continued existence of new waves and national cinemas in the face of Hollywood and American cultural imperialism.

Over the past year the success of British films at international film festivals - as well as the numerous awards bestowed on 12 Years a Slave - have demonstrated that British cinema has undergone a genuine renaissance that has caused new voices to emerge. At the same time, directors whose work has enthralled over the past five years have also continued to develop and expand their visions. The boundaries of British film-making are being redefined. Beginning with a preface exploring some of the factors that have led to this fertile environment, New British Cinema features in-depth interviews with the film-making voices at the vanguard of this new wave. Figures such as Clio Barnard, Richard Ayoade, Steve McQueen, Jonathan Glazer, Carol Morley, Yann Demange, Peter Strickland and Ben Wheatley provide a valuable insight into their work and working methods.

In his highly acclaimed novel Never Let Me Go, Kazuo Ishiguro (The Remains of the Day) created a remarkable story of love, loss and hidden truths. In it he posed the fundamental question: What makes us human? Now director Mark Romanek (One Hour Photo), writer Alex Garland and DNA Films bring Ishiguros hauntingly poignant and emotional story to the screen. Kathy (Oscar nominee Carey Mulligan, An Education), Tommy (Andrew Garfield, Boy A, Red Riding) and Ruth (Oscar nominee Keira Knightley, Pride & Prejudice, Atonement) live in a world and a time that feel familiar to us, but are not quite like anything we know. They spend their childhood at Hailsham, a seemingly idyllic English boarding school. When they leave the shelter of the school and the terrible truth of their fate is revealed to them, they must also confront the deep feelings of love, jealousy and betrayal that threaten to pull them apart.

A world-weary detective, a seductive femme fatale, a mysterious murder - these elements of classic film noir live again in more recent hardboiled detective films from Chinatown to Sin City. But the themes and styles of noir have also spilled over into contemporary films about gangsters, cops and serial killers (Reservoir Dogs, The Departed, Se7en). New hybrid genres have been created, including psycho-noirs (Memento), techno-noirs (The Matrix) and superhero noirs (The Dark Knight).Beginning with an introduction that shows how neo-noir has drawn upon contemporary social and historical events as well as the latest technological advances in filmmaking, this book discusses the neo-noir films that have made the biggest splash in the field (landmarks), the directors who have become cult figures of neo-noir, (auteurs), films from non-English speaking countries (international) and neo-noirs that put a new spin on past noirs (remakes).The main credits and a plot summary are given for each neo-noir, followed by an in-depth analysis containing original insights into the meaning of the film. Factoids also present fascinating facts, behind-the-scenes anecdotes and lively quotes from the cast and crew.

Interpreta la construcción, pero también la consiguiente deconstrucción de las identidades colectivas en el cine mexicano a partir de la Época de Oro y hasta comienzos del siglo XXI desde un punto de vista historico. El objetivo es el estudio de las epocas mas importantes del cine mexicano y su desarrollo tanto tematico como formal centrando tal estudio en la cuestion de las identidades y la construccion de la nacion.

From Mr Darcy diving into the lake at Lyme to Harry Potter exploring the cloisters at Lacock Abbey, National Trust on Screen goes behind the scenes of some of the most iconic film and TV moments. Ranging from lavish costume dramas such as Poldark and Wolf Hall to epic fantasies including Game of Thrones and The Dark Knight Rises, the historic houses and stunning landscapes of the National Trust have been chosen as backdrops by some of the worlds most famous directors.This fact-filled guidebook is organised geographically enabling the planning of single visits or entire adventure trips.Films and TV series featured: Poldark, Sense and Sensibility, Wolf Hall, The Other Boleyn Girl, the Harry Potter films, The Duchess, The Crown, Snow White and the Huntsman, Never Let Me Go, Remains of the Day, Miss Potter, The History Boys, Game of Thrones and many many more.

Ya que el cine de ficción nos posibilita rastrear discursos y construcciones simbólicas, nos permite reconocer narrativas e imágenes asociadas a la figuración de unos rasgos comunes, constantes o diversos de un posible "nosotros". Esta vez, en unos contextos representados por las migraciones, por las relaciones de personajes colombianos con extranjeros. Este trabajo se propone, por lo tanto, identificar, analizar e interpretar que tipo de elementos simbolicos y narrativos aparecen asociados a los colombianos, y por extension a Colombia, en un conjunto de ocho largometrajes de ficcion realizados durante el cambio de siglo. De ahi inquietudes como las siguientes: ¿Como son representados personajes colombianos en algunas peliculas de comienzos del siglo XXI? ¿Como se presentan en relacion con "otros" no colombianos? En una etapa de cambio de siglo, ¿cuales narrativas de nacion se pueden reconocer en este grupo de ficciones cinematograficas? No se trata de una lectura de semiotica narrativa. Metodologicamente, el abordaje se concreta en varios conceptos que en las peliculas se transfiguran en imagenes y actos: espacio, cuerpos, acciones y lenguaje son las claves para buscar la legibilidad de los filmes. ¿Por que la ficcion? Ya desde Aristoteles, quien discurrio propiamente sobre la poetica, reconocemos la dimension antropologica de la ficcion, su caracter constitutivo en la formacion de comunidad. Mas que por ser puestas en escena, las peliculas son ficcionales porque inventan formas de estructurar los acontecimientos. Sus narrativas tambien inventan el pais. Sus imagenes contribuyen a formar recuerdos compartidos.

Sally Potter has been renowned for her rapport with actors, and for the luminous performances she works with them to produce. Now she strips bare the art and craft of directing actors for the camera, from casting a film to the moment of first screening when the work goes public. A brilliant writer for the screen, here Potter shows herself to be expert at translating the experience of film directing to the page. She addresses us in prose that is both unsentimental and inspired, tracing the energies that pass between actor, director and audience; shaping for the reader the acts of transmission and imagination, performance and witness, the sum of which make up a film. In addition to the core text, the book contains interviews with actors with whom Sally Potter has worked, whose voices will counterpoint Sally Potters, and will inform and illuminate the readers sense of her work. Those interviewed include: Julie Christie, Johnny Depp, Jude Law, Judi Dench, Simon Abkarian, Annette Benning, Timothy Spall, Steve Buscemi, Riz Ahmed, Elle Fanning, Alessandro Nivola, and Lily Cole.

A más de diez años de la muerte de Rufo Caballero, uno puede leer sus argumentaciones y darse cuenta de cuán proteica fue su personalidad creativa, observada como un compuesto de lucidez emocional, sagacidad analitica y comunicabilidad movilizadora. Si algo, ademas del cine, sirve para unificar los textos que conforman Nadie es perfecto, tendriamos que pensar de inmediato en la limpieza de la mirada, del juicio, del entusiasmo con que Rufo Caballero se aproxima a la formidable tentacion de compartir la experiencia de lo bello, de lo singular y de lo que, en el territorio del arte, puede resultar conmovedor.

Dos de los más exitosos profesionales de la TV argentina, Jorge Maestro y Pablo Culell, un autor y un productor, explican cómo generar productos exitosos en los medios audiovisuales repasando el paso a paso que va de la idea hasta la puesta en pantalla y estimulando la creatividad y la capacidad de concrecion.El camino que se recorre desde la creatividad a la concepcion, desde la idea al guion y desde el guion a la produccion y puesta en pantalla. La construccion de la historia y los personajes. Los generos, la estructura, la produccion como tarea creativa. El presupuesto. El marketing. El publico y el rating. Las nuevas plataformas y sus contenidos. La experiencia de los autores del libro puesta al servicio del estudiante, del profesional y de aquel que se interese por el tema de la escritura y la produccion y con ejemplos propios en un apendice.

Nací para ser breve se transforma en una máquina delicada y precisa, que da cuenta -mientras vela, mientras desnuda- de las particularidades del mundo intelectual porteño desde los años cincuenta y, mas alla, de la historia social del pais en el siglo XX. Pero tambien de una mirada profunda sobre los vinculos.En la intimidad, aquellos encuentros en los que repasaban tarde a tarde su vida intelectual, artistica y afectiva fueron un subterfugio para superar el dolor y la incertidumbre. Massuh pregunta para estar cerca de la persona querida. Pregunta porque la intrigan las formas que toma el talento en un artista. Pregunta porque en esas respuestas parece estar no solo el modo de entenderla, sino tambien la clave de la propia busqueda existencial.Las grabaciones, transcriptas a paginas oficio, revisadas de puño y letra por la protagonista y guardadas durante decadas en cajas, esperaron el tiempo propicio para la relectura. Enlazados amorosamente las ideas y los recuerdos de ambas, Nací para ser breve se transforma en una máquina delicada y precisa, que da cuenta -mientras vela, mientras desnuda- de las particularidades del mundo intelectual porteño desde los años cincuenta y, mas alla, de la historia social del pais en el siglo XX. Pero tambien de una mirada profunda sobre los vinculos. Porque, como dice la autora de este libro, "no hay nada mas desgarrador que revivir la juventud en voces o imagenes que dan constancia de la inexorable materia de la que estamos hechos: el tiempo".

An alternative autobiography of the well-loved actor and man of the theatre, winner of the Sheridan Morley Prize for Theatre Biography.In My Life in Pieces Simon Callow retraces his life through the multifarious performers, writers, productions and events which have left their indelible mark on him.The story begins with Peter Pan his first ever visit to the theatre before transporting us to southern Africa and South London, where Callow spent much of his childhood. Later, he charms his way into a job at the National Theatre box office courtesy of his hero, Laurence Olivier and thus consummated a lifetimes love affair with theatre.Alongside Olivier, we encounter Paul Scofield, Michael Gambon, Alan Bennett and Richard Eyre, all of whom Callow has worked with, as well as John Gielgud, Ralph Richardson and Alec Guinness, David Hare, Simon Gray and many more.He writes too about figures he did not meet but who greatly influenced his life and work, figures such as Stanislavsky, Nureyev and Cocteau, as well as Charles Laughton and Orson Welles. And he even makes room for not-quite- legit performers like Tony Hancock, Tommy Cooper, Frankie Howard and Mrs Shufflewick.The result is a passionate, instructive and beguiling book which, in tracing Simon Callows own sentimental education, leaves us enriched by his generosity and wisdom.first rate... the best writer-actor we haveDavid HareSimon Callow combines zest, originality and passion and has elegantly turned his views and life in the theatre into an astonishing memoirRichard Eyre

Omar is a restless young Asian man, caring for his alcoholic father in the hustling London of the mid-1980s. His uncle, a keen Thatcherite, offers Omar an entrepreneurial opportunity to revamp a dingy laundrette, and ambitious Omar rolls up his sleeves, enlisting the assistance of his old school-friend Johnny, who has since fallen in with a gang of neo-fascists. Omar and Johnny soon form an unlikely alliance that leads to business success, as well as other, more intimate surprises.