La Dolce Morte: Vernacular Cinema and the Itallian Giallo Film

Koven, M. (2006). La Dolce Morte: Vernacular Cinema and the Itallian Giallo Film. Lanham: Scarecrow Press. RAE2008

Audiences and Receptions of Sexual Violence in Contemporary Cinema

Barkre, M.; Mathijs, E.; Sexton, J.; Egan, K.; Hunter, R. and Selfe, M. (2007). Audiences and Receptions of Sexual Violence in Contemporary Cinema. London: British Board of Film Classification. RAE2008

Memoria-proyecto Unidad de Hospitalización “A” de cirugía ortopédica y rehabilitación neurológica

Este Trabajo Fin de Máster (TFM) propone la elaboración de una memoria proyecto de la unidad de hospitalización A de un centro monográfico de Cirugía Ortopédica y Traumatología (COT) integrado en un hospital general de nivel terciario. Se trata de una memoria con carácter retrospectivo que abarca desde Enero de 2013 hasta Diciembre de 2015. Una memoria que recoge un análisis de la situación junto con todos los aspectos de la nueva organización de la unidad y con propuestas de mejora futuras. Se realiza un análisis externo del modelo organizativo del sistema sanitario regional, del hospital general, de su centro monográfico de COT y de la unidad la cual está integrada en el mismo. El análisis interno ha supuesto una descripción pormenorizada de la unidad, tanto de espacio físico y recursos materiales como de recursos humanos y actividad asistencial junto con los cambios realizados en este periodo y las necesidades que se objetivan para los próximos años y que formarán el eje principal de la parte del proyecto de la presente memoria. Tras ambos análisis se realiza una matriz DAFO, método de ordenación de la información en cuatro categorías básicas: Debilidad, Amenaza, Fortaleza y Oportunidad, a partir del cual se iniciará un proceso de identificación de propuestas de mejora de cara a plantear acciones que se deberían poner en marcha para aprovechar las oportunidades detectadas y permitieran prepararse contra las amenazas teniendo conciencia de las debilidades y fortalezas.

Artesanías en paja toquilla : La Cruz - Nariño : ayuda memoria de capacitación en el oficio.

13 hojas : ilustraciones.

Memoria final de prácticas del máster universitario de profesorado de educación secundaria obligatoria, bachillerato, formación profesional y enseñanza de idiomas (especialidad de matemáticas)

Esta memoria se realizó durante la fase de prácticas docentes durante la realización de un máster de formación inicial de profesores. Se muestra un análisis detallado tanto del contexto del centro, como de los alumnos y un diario de clase.

Ghost/Machine: cinema in a digital age

Cinema, with its passive cinematic apparatus and linear narrative is often characterised as a contrast to new media narrative strategies, yet from Vertov’s Man with a Movie Camera to Mike Figgis’ TimeCode and Wong Kar Wei’s 2046 cinema provides narrative strategies and spatial conceptualisations which prefigure or are contiguous with new media environments. Both our perception of what cyberspace constitutes and the technology that actualises those perceptions arise out of and are driven by fantasy and desire. This paper will explore the metaphors used to represent and understand new media aesthetics through cinematic representations of new media environments. Two key themes relevant to new media aesthetics emerge. Irigaray, Haraway, and Grosz are used to explore the de-essentialising haptic and penetrative potential of new technologies and their ability to collapse the boundary between the body and the machine. The second fantasy, of new media as a liminal space that expresses the memorialising function of technology and its relation to mourning, is analysed using Benjamin, Burgin and Rutsky. These altered spaces and perceptions of the body and memory of the post-cinematic subject are illustrated through an analysis of Gondry’s Eternal Sunshine of the Spotless Mind and Jonze’s Being John Malkovich. [From the Author]

Representations of multicultural identities in British Cinema

This paper explores the transnational and interstitial dimensions of cultural production in Britain today, and the representation of migrant and diasporic identities in contemporary mainstream British cinema. The box office success of films like Gurindha Chadha’s Bhaji on the Beach (1993) and Bend it Like Beckham (2002) and East is East (Daniel O’Donnell 1999) and their precursors My Beautiful Launderette (Stephen Frears 1985), Sammy and Rosie Get Laid (Stephen Frears 1987) and the TV mini-series Buddha of Suburbia (Roger Mitchell 1993) seem to celebrate and articulate a set of values around hybridity and alterity: a discourse of multiculturalism. This paper will engage with a series of key questions. Are there ideological values implicit within and common to all these texts? Can we map a rhetoric or discourse of multiculturalism within popular culture? Do mainstream representations of immigrant identities represent a discourse of resistance, a decolonising global culture or is this Western brand of multiculturalism still located within an Orientalising gaze? In what ways are multiculturalism and postcolonialism overlapping and yet opposing rhetorics? [From the Author]

Analysis about the society of 'Pa Negre' (Agustí 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 (Agustí 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.

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.