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Argentine Classical Cinema
The Golden Age of Argentine cinema (Spanish language, Spanish: ''Época de Oro del cine argentino'' or other equivalent names), sometimes known interchangeably as the broader classical or classical-industrial period (Spanish: ''período clásico-industrial''), is an era in the history of the cinema of Argentina that began in the 1930s and lasted until the 1940s or 1950s, depending on the definition, during which national Film industry, film production underwent a process of industrialization and standardization that involved the emergence of mass production, the establishment of the Studio system, studio, Film genre, genre and Star system (filmmaking), star systems, and the adoption of the institutional mode of representation (MRI) that was mainly—though not exclusively—spread by Cinema of the United States, Hollywood, quickly becoming one of the most popular film industries across Latin America and the Spanish-speaking world. Argentine industrial cinema arose in 1933 wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Film Poster
A film poster is a poster used to promote and advertise a film primarily to persuade paying customers into a theater to see it. Studios often print several posters that vary in size and content for various domestic and international markets. They normally contain an image with text. Today's posters often feature printed likenesses of the main actors. Prior to the 1980s, illustrations instead of photos were far more common. The text on film posters usually contains the film title in large lettering and often the names of the main actors. It may also include a tagline, the name of the director, names of characters, the release date, and other pertinent details to inform prospective viewers about the film. Film posters are often displayed inside and on the outside of movie theaters, and elsewhere on the street or in shops. The same images appear in the film exhibitor's pressbook and may also be used on websites, DVD (and historically VHS) packaging, flyers, advertisements in newspap ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
José A
José is a predominantly Spanish and Portuguese form of the given name Joseph. While spelled alike, this name is pronounced very differently in each of the two languages: Spanish ; Portuguese (or ). In French, the name ''José'', pronounced , is an old vernacular form of Joseph, which is also in current usage as a given name. José is also commonly used as part of masculine name composites, such as José Manuel, José Maria or Antonio José, and also in female name composites like Maria José or Marie-José. The feminine written form is ''Josée'' as in French. In Netherlandic Dutch, however, ''José'' is a feminine given name and is pronounced ; it may occur as part of name composites like Marie-José or as a feminine first name in its own right; it can also be short for the name ''Josina'' and even a Dutch hypocorism of the name ''Johanna''. In England, Jose is originally a Romano-Celtic surname, and people with this family name can usually be found in, or traced to, the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Classical Hollywood Cinema
In film criticism, Classical Hollywood cinema is both a narrative and visual style of filmmaking that first developed in the 1910s to 1920s during the later years of the Silent film#Silent film era, silent film era. It then became characteristic of Cinema of the United States, United States cinema during the Golden Age of Hollywood from about 1927, with the advent of sound film, until the arrival of New Hollywood productions in the 1960s. It eventually became the most powerful and persuasive style of filmmaking worldwide. Similar or associated terms include classical Hollywood narrative, the Golden Age of Hollywood, Old Hollywood, and classical continuity. The period is also referred to as the studio era, which may also include films of the late silent era. History Silent era and emergence of the classical style For millennia, the only visual standard of narrative storytelling art was the theatre. Since the first narrative films in the mid-late 1890s, filmmakers have sought to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tango Music
Tango ( or ; ) is a style of music in Time signature, or time that originated among Great European immigration wave to Argentina, European immigrants of the Great Wave to Argentina and Uruguay. It has mainly Culture of Spain, Spanish, Culture of Italy, Italian, Gaucho culture, Gaucho, Culture of Africa, African, and Culture of France, French cultural roots. It is traditionally played on a solo guitar, guitar duo, or an ensemble, known as the ''orquesta típica'', which includes at least two violins, flute, piano, double bass, and at least two bandoneóns. Sometimes guitars and a clarinet join the ensemble. Tango may be purely instrumental or may include a vocalist. Tango music and tango (dance), dance have become popular throughout the world. Origins Even though present forms of tango developed in Argentina and Uruguay from the mid-19th century, there are records of 19th and early 20th-century tango styles in Cuba and Spain,José Luis Ortiz Nuevo ''El origen del tango amer ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Silent Cinema
A silent film is a film without synchronized recorded sound (or more generally, no audible dialogue). Though silent films convey narrative and emotion visually, various plot elements (such as a setting or era) or key lines of dialogue may, when necessary, be conveyed by the use of inter- title cards. The term "silent film" is something of a misnomer, as these films were almost always accompanied by live sounds. During the silent era, which existed from the mid-1890s to the late 1920s, a pianist, theater organist—or even, in larger cities, an orchestra—would play music to accompany the films. Pianists and organists would play either from sheet music, or improvisation. Sometimes a person would even narrate the inter-title cards for the audience. Though at the time the technology to synchronize sound with the film did not exist, music was seen as an essential part of the viewing experience. "Silent film" is typically used as a historical term to describe an era of cinema pri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Román Viñoly Barreto
Román Viñoly Barreto (8 August 1910 – 20 August 1970) was a Uruguayan-Argentine film director notable for his work during the classical era of Argentine cinema. Biography Viñoly Barreto directed 28 feature films between 1947 and 1966 including '' The Black Vampire'', '' Paper Boats'', the 1954 film '' El Abuelo'' which starred Enrique Muino and Mecha Ortiz and Esta Es Mi Vida starring Miguel de Molina. His 1958 film '' Los dioses ajenos'' was entered into the 8th Berlin International Film Festival. His 1965 film '' La pérgola de las flores'' was entered into the 4th Moscow International Film Festival. Two years later, he was a member of the jury of the 5th Moscow International Film Festival. He was also a notable screenwriter, theater and opera director. Personal life The director was the father of architect Rafael Viñoly, artist Daniel Viñoly, and Dr. Ana Maria de la Merced Viñoly. He died in 1970 in Buenos Aires Buenos Aires, controlled by the governme ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Luis Bayón Herrera
Luis Bayón Herrera (23 September 1889 – 30 March 1956) was a Spanish film director and screenwriter who worked in Argentine film of the 1940s and 1950s. He was "one of the most important directors of the Golden Age of Argentine cinema". Herrera was born in Bilbao, Spain. He directed some 40 different Argentine feature films and in the last few years of his career in the early 1950s he worked on Cuban production with films such as '' A La Habana me voy'' in 1951. IMDb. He died in Buenos Aires in 1956, aged 66. Filmography * '''' (1935) * ''[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alberto De Zavalía
Alberto de Zavalia (4 May 1911 – 7 May 1988 in Buenos Aires) was an Argentina, Argentine film director and film producer notable for his work during the Golden Age of Argentine cinema, classical era of Argentine cinema. Biography De Zavalía was born in Buenos Aires to a middle-class, well-off family. He completed law school but never worked as a lawyer, instead dedicating himself to movie-making, an industry that was then thriving. In 1935, he co-founded with Luis Saslavsky the producer SIFAL, which disbanded that very same year, but each of its founders managed to debut as filmmakers: De Zavalía directed ''Escala en la ciudad'', which he also wrote, while Saslavsky directed his second and most famous movie, ''Crimen a las tres''. De Zavalía went on to writer and direct ''The Caranchos of Florida (film), The Caranchos of Florida'' in 1938, but came to prominence in 1939 when he was asked to adapt a biography of the recently deceased Carlos Gardel to the screen, starri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Daniel Tinayre
Daniel Tinayre (14 September 1910 – 24 October 1994) was a French-born Argentine film director, screenwriter and film producer notable for his work during the Golden Age of Argentine cinema, classical era of Argentine cinema (1930s–1950s) and the 1960s. Moving to Buenos Aires at a young age, Tinayre directed 23 films between 1934 and 1974, such as the 1947 thriller ''A sangre fría'' (In Cold Blood) which is starred by actors such as Amelia Bence and Tito Alonso. He was also an acclaimed screenwriter and producer simultaneously contributing in these areas to the films he directed in Argentine cinema. In 1949 he directed ''Dance of Fire (film), Dance of Fire'', which was later entered into the 1951 Cannes Film Festival. His 1960 film ''La patota (1960 film), La patota'' was entered into the 11th Berlin International Film Festival. His 1963 film ''The Dragonfly Is Not an Insect'' was screened on the 3rd Moscow International Film Festival. In 1969, he directed ''Kuma Ching''; ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carlos Schlieper
Carlos Schlieper (23 September 1902 – 11 April 1957 in Buenos Aires) was an Argentine film director and screenwriter notable for his work during the classical era of Argentine cinema. His father, Hermann Heinrich Schlieper Feldmann (1842–1925), was an industrialist of German nationality and his mother, very Catholic, was Spaniard (from Andalusia). Schlieper, who had three male and three female siblings, received a careful education that included traveling abroad and studying at a high school in Switzerland. He directed about 30 films between 1939 and 1957, writing for over 20 of them. He was particularly noted for his romantic comedies in 1940s and 1950s, directing films such as '' La serpiente de cascabel'' (1948), '' Arroz con leche'' (1950), '' Cuando besa mi marido'' (1950), '' Mi mujer está loca'' (1952) and '' Mi marido y mi novio'' (1955). He also directed '' Alejandra'' in 1956 and died on 11 April 1957. Filmography Director * '' Cuatro corazones'' (1939) * '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leopoldo Torres Ríos
Leopoldo Torres Ríos (27 December 1899 – 10 April 1960) was an Argentina, Argentine film director and screenwriter notable for his work during the Golden Age of Argentine cinema. His brother Carlos Torres Ríos was a notable cinematographer. His son was the film director and screenwriter Leopoldo Torre Nilsson. Rios initially solely began as a screenwriter, writing for his first film ''Palomas rubias'' in 1920 but by 1923 he began simultaneously directing and writing for his films, producing over 40 films between the early 1920s and 1959 when he was taken ill with lung cancer. He died on 10 April 1960, aged 60, in his native Buenos Aires. Filmography As director * ''El puñal del mazorquero'' (1923) * ''Buenos Aires bohemio'' (1924) * ''Empleada se necesita'' (1925) * ''El conventillo de la Paloma'' (1936) * ''Lo que le pasó a Reynoso'' (1937) * ''Adiós Buenos Aires'' (1938) * ''La vuelta al nido'' (1938) * ''La estancia del gaucho Cruz'' (1938) * ''El sobretodo de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Luis Moglia Barth
Luis Moglia Barth (12 April 1903 - 18 June 1984) was an Argentina, Argentine film director and screenwriter, and one of the influential directors in the Golden Age of Argentine cinema. He directed some 30 films between 1927 and 1959, often screenwriting for his pictures. He died in Buenos Aires, aged 81. Filmography Director: * ''Puños, chárleston y besos'' (1927) * ''El 90'' (1928) * ''Consejo de tango'' (1932) * ''¡Tango!'' (1933) * ''Dancing (1933 film), Dancing'' (1933) * ''Riachuelo (film), Riachuelo'' (1934) * ''Picaflor'' (1935) * ''Amalia (1936 film), Amalia'' (1936) * ''Santos Vega (1936 film), Santos Vega'' (1936) * ''¡Goal!'' (1936) * ''Melgarejo'' (1937) * ''La casa de Quirós'' (1937) * ''Melodías porteñas'' (1937) * ''El último encuentro'' (1938) * ''Paths of Faith'' (1938) * ''Doce mujeres'' (1939) * ''Una mujer de la calle'' (1939) * ''Huella (1940 film), Huella'' (1940) * ''Con el dedo en el gatillo'' (1940) * ''Confesión ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
