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.

On the way to 'duende' (through Lorca's 'Elogio de Antonia Merce, 'la Argentina', 1930)

This article analyzes how Lorca develops the concept of ‘duende’, finding a crucial missing link in the Elogio de Antonia Mercé, ‘la Argentina’ (1930). ‘Duende’ crystallizes around 1929/1930 when the poet explicitly takes into account the art of the dancer in performance. Three aspects of performance are singled out and systematically traced through Lorca's evolving reflections on popular art and the struggle of the modern artist to create the new – from his first lecture on the cante jondo in 1922 to the Arquitectura del cante jondo (1930) and finally Juego y teoría del duende (1933). The conclusion is drawn that it is in the performance and reception of a text – whether it is heard or read – that the artist's agonistic stand between tradition and modernity, repetition and singularity, is played out, in an invitation to the listener or reader to celebrate his or her mortality.

Improvising (Il)legality: Justice and the Irish Diaspora, NYC, 1930-32

The Seabury Commission, 1930-32, probed allegations of corruption made against, amongst others, the Irish-American Mayor of New York City, James J. ‘Jimmy’ Walker, and the Irish-dominated Tammany Hall, the Democratic political machine that had supported Walker. Taking the Seabury inquiry as its focus, this article explores these allegations from the perspective of Critical Studies in Improvisation (C.S.I.) fused with postcolonial critique. Improvisation, in accordance with C.S.I. principles, is not a lawless or extempore event; it is, instead, lawful, or full of law. The laws of improvisation may appear impenetrable to those unfamiliar with the practice. However, when read through a hibernocentric postcolonial perspective, their meaning and form become more understandable. As will be argued in this article, diasporic communities are inherently improvisatory; that is, they utilise improvisational techniques to help adapt and respond to new situations and social contexts. To be queried is whether the law and politics practiced by Tammany and Walker, taken together, constituted a markedly Irish approach to justice, one that entailed not scripted or planned illegality, as was alleged by Judge Seabury, but improvisations on Anglo-Protestant law as a response to the displacement of and discrimination against the Irish Diaspora in early twentieth century America.

A.J. Raffles and Arsène Lupin in Literature, Theatre, and Film: On The Transnational Adaptations of Popular Fiction (1905-1930)

As a consequence of the accelerating technological development and the impact of cultural globalisation, the transnational aspects of the process of adaptation have become increasingly crucial in recent years. To go back to the very beginnings of the twentieth century and research the historical connections between popular literature, theatre, and film can shed greater light on the origins of these phenomena. By focusing on two case studies from turn-of-the-century crime fiction, this paper examines the extent to which practices of serialisation, translation, and adaptation of literary works contributed to the formation of a transnational market for popular culture. Ernest W. Hornung’s A. J. Raffles and Maurice Leblanc’s Arsène Lupin were the heroes of two crime series that were immediately translated, imitated, and adapted into countless theatrical plays and films all over the world. Given the resemblance between the two characters, the two franchises frequently ended by overlapping. Their ability to move from a medium to another as well as from a country to another was the result of the logic of ‘recycling, remaking, retelling’ (Brian Naremore) that guides not only the process of adaptation but also the creation of any work of popular culture.

The Long Aftermath: Cultural Legacies of Europe at War, 1936-2016

In its totality, the “Long Second World War”—extending from the beginning of the Spanish Civil War to the end of hostilities in 1945—has exerted enormous influence over European culture. Bringing together leading historians, sociologists, and literary and film scholars, this broadly interdisciplinary volume investigates Europeans’ individual and collective memories and the ways in which they have shaped the continent’s cultural heritage. Focusing on the major combatant nations—Spain, Britain, France, Italy, Germany, Poland, and Russia—it offers thoroughly contextualized explorations of novels, memoirs, films, and a host of other cultural forms to illuminate European public memory.

Aspectos do nacionalismo pianístico do Rio de Janeiro dos anos de 1930

Dentro do recorte temporal dos anos 1930-1940, esta tese pretende investigar de que forma as características e especificidades da corrente nacionalista e do Nacionalismo musical se espelham na criação artística e musical brasileira em especial no corpus da obra para piano solo para concerto daquele momento. A investigação consiste em dois momentos distintos de pesquisa, sendo o primeiro compreendido de revisão bibliográfica sobre a corrente nacionalista, Nacionalismo e Nacionalismo musical, além de uma contextualização histórica acerca dos anos 1930 no Brasil, Europa e Estados Unidos da América e também biografia de compositores nacionalistas brasileiros do período; seu segundo momento compreende elaboração de dados acerca de programas de concerto de piano relativos ao Nacionalismo musical, análise de peças além de discussões acerca de notícias de periódicos daquele momento. Discussões em torno de problemáticas correlatas ao tema são aqui também proporcionadas.

O Administrador de Concelho [1835-1936]: caso de estudo de Portimão

Dissertação de mest., História do Algarve, Faculdade de Ciências Humanas e Sociais, Univ. do Algarve, 2011

Ensino da música em Portugal (1868-1930) : uma história da pedagogia e do imaginário musical

Tese de doutoramento, Educação (História da Educação), Universidade de Lisboa, Instituto de Educação, 2015

A censura sem limites : as práticas de censura no cinema e seus ecos na contemporaneidade demográfica luso-brasileira (1930-1950)

Tese de doutoramento, Educação (História da Educação), Universidade de Lisboa, Instituto de Educação, 2015