The portrait of the first poster artists of Spanish cinema: From the genre scene to the realistic portrait

The article, which is part of a more detailed piece of work, aims to highlight the use of the portrait on the film posters of the first Spanish poster artists before the Star-System was introduced in Spain. For this it is posed the evolution that occurs in the representation of the characters in the film poster from the second decade to the beginning of the thirties in the twentieth century, a historical period of profound influences of the artistic and advertising vanguards in our poster artists�� work. However, in the late twenties moving from the simple inclusion of the scene based on the picture of a film, to the chromatic and realistic representation of the star��s face. These were the years when the influence of the major North American studios began to show in Spain. Nevertheless, it highlights their technical and compositional freedom and their influence on subsequent poster artists, as many of them will integrate the portraits and settings on their posters, following the guidelines of the major studios or the independent ones. But without forgetting their own personal way of painting the film stars��� faces on their posters.

The redemption of the gaze: the crisis of observation in the "fin de si��cle" and the advent of cinema

The intention of this article is not to affirm, but rather to question wether it is possible to speak of a loss of the ability to gaze in the context of the nineteenth century and especially in the context of the fin de si��cle, in the bosom of the epistemological crisis that beset the Turn of the Century. And very especially, this article tries to question about the impact this crisis had, perhaps, in the birth of cinema. Is in this context that arises the work of Marey and the advent of the cinematograph of the Lumi��re brothers in the fin de si��cle Europe, both of them showing a deep faith in a mechanical apparatus that would allow the redemption of a battered gaze. And it seems to be a dream that continues over time through the tradition of shooting the everyday life.

Between representation and figuration. Nouvelle Vague���s cinema: a history revision

50 years after the birth of the Nouvelle Vague, the inheritance that the contemporary cinema receives from it is inevitable. Figures and visual motifs; stories, themes, faces or common places; aesthetic and language devices. The echoes appear in various ways, each affiliation involves a different relationship and therefore a dissimilar approximation to its analysis. And yet, both the academy and the film critics maintain their will to think the Nouvelle Vague as a whole, a universe, a stream or an aesthetic trend. However, does a Nouvelle Vague���s aesthetic exist? And if so: why and how to address their historical revision? Taking Deleuze���s thesis on the time-image and Serge Daney���s assertion according to which 50 years after the birth of the Nouvelle Vague, the inheritance that the contemporary cinema receives from it is inevitable. Figures and visual motifs; stories, themes, faces or common places; aesthetic and language devices. The echoes appear in various ways, each affiliation involves a different relationship and therefore a dissimilar approximation to its analysis. And yet, both the academy and the film critics maintain their will to think the Nouvelle Vague as a whole, a universe, a stream or an aesthetic trend. However, does a Nouvelle Vague���s aesthetic exist? And if so: why and how to address their historical revision? Taking Deleuze���s thesis on the time-image and Serge Daney���s assertion according to which

Analysis about the society of 'Pa Negre' (Agust�� Villaronga, 2010)

This article has developed with the intention of analyzing how the stereotypes, prejudices and lies can influence the education of the children. Formation, that usually comes from family and teachers, who sometimes move for extremist ideologies. There exist multiple fictions in which we observe these social archetypes, but it is the case of the movie Pa negre (Agust�� Villaronga, 2010), where the principal personage evolves psychologically, because of that its eyes observe and the ideas that the people transmit him on its family, in the rural environments, where the tradition of the rumors coexists.

Super-villains of the "real world": the political use of the characterization of villains in Chistopher Nolan's "Dark Knight Trilogy"

It is almost a tradition that celluloid (or digital) villains are represented with some characteristics that remind us the real political enemies of the producer country of the film, or even enemies within the country according to the particular ideology that sustains the film. The case of Christopher Nolan The Dark Knight trilogy, analyzed here, is representative of this trend for two reasons. First, because it gets marked by political radicalization conducted by the US government after the attack of September 11, 2001. Secondly, because it offers a profuse gallery of villains who are outside the circle of friends as the new doctrine ���either with us or against us��� opened by George Bush for the XXI century. This gallery includes from the very terrorists who justify the War on Terror (Ra's al Ghul, the Joker), to the ���radical left��� (Bane, Talia al Ghul) including liberal politicians (Harvey Dent), and corrupt that take advantage of the softness of the law to commit crimes with impunity (Dr. Crane, the Scarecrow).

Cine polic��aco del tardofranquismo: El thriller en el ���Per��odo Oscuro��� del cine espa��ol (1969-1975)

Definici��n de la etapa de crisis del aparato cinematogr��fico franquista, llamada aqu�� ���Per��odo Oscuro��� (1969-1975), discusi��n de la etiqueta de subg��neros aplicada al cinema bis de la ��poca, y caracterizaci��n hist��rica del thriller espa��ol y de sus corrientes est��ticas y conceptuales internas en dicho per��odo. La acotaci��n del per��odo 1969-1975 es clarificada previamente ante el vac��o historiogr��fico al respecto. Se caracteriza la crisis que tiene lugar en el ���Per��odo Oscuro���, desde su comienzo oficial en 1969, que supuso el definitivo cierre de las pol��ticas proteccionistas emprendidas por el Director General de Cinematograf��a Garc��a Escudero en 1962. Despu��s se define y discute la etiqueta de subg��neros aplicada tradicionalmente al cine espa��ol de g��nero de bajo presupuesto. Luego, se especifican, definen y analizan las diversas categor��as dentro del thriller espa��ol de 1969-1975: se trata de categor��as tem��ticas y argumentales, est��ticas, o bien relacionadas con corrientes internacionales del polic��aco europeo. Por ��ltimo, se extraen las conclusiones pertinentes.

La gran pantalla en guerra: Segunda Guerra Mundial y noticiarios cinematogr��ficos "Luce" (1940-1945

En la Segunda Guerra Mundial la propaganda se convirti�� en un campo de batalla m��s: en el caso de Italia era necesario crear en una opini��n p��blica favorable a la guerra sin crear alarmismos. Para ello se utiliz�� uno de los instrumentos m��s eficaces para la propaganda del fascismo: el noticiario cinematogr��fico Luce. Este art��culo analiza la representaci��n que los noticiarios producidos desde 1940 hasta 1945 ofrecen de la Segunda Guerra Mundial. Se apuntan los temas m��s recurrentes, las caracter��sticas de las noticias sobre la guerra y se se��alan las grandes ausencias debidas a la censura del R��gimen de Mussolini.