 |
Cinematography in Galicia is in the main in Galician language, although there is also a minority done in Spanish and Portuguese.
| |
Cinematography in Galicia is in the main in Galician language, although there is also a minority done in Spanish and Portuguese.
After the arrival to Galicia of the first film projectors, there were some pioneers that carried out filmings. It is the case of authors as Xosé Gil ( Miss Ledyia , 1916) or José Signo (La tragedia de Xirobio, 1930). In those years also Spanish films set in the Galicia as La Casa de la Troya are filmed and also works of foreign directors as Carmiña, flower of Galicia carried out by the Italian Rino Lupo although the interiors were carried out in Porto, appear.
There are documentaries of the emigration and of the exile (rescued some of them at the end of the 20th century). The more distinguished figure is Carlos Velo (1909–1988). Before being exiled during the Spanish Civil War, he made documentary shorts for afterwards pass to Mexico where they consider him a director of Mexican cinema. In the eighties it was a center of mass of tributes and considered a pioneer. Some of his titles are Torero, 1956 and Pedro Páramo, 1967.
The importance of the fiction in television can be noticed by the economic development that some of the companies of production acquire through series. Unfortunately the economic strength does not mean that the production reflects a line of creation towards a cinema (or in this audio-visual case) characteristic of Galicia, stereotyped products, which they escape of any type of incorrect aspect, take place frequently -as it happens in most of the commercial televisions of the world-, and they follow an interchangeable model to any place of the world.
Among the films done in Galicia it is remarkable for the quantity of people that it saw O bosque animado of 2001 (Dygra Films), according to data of the ICAA it was seen by 509.132 spectators (05/10/2004). Several other animated films have been produced in the region.
The Blind Sunflowers was filmed in Ourense. Lost in Galicia also features the region.
Dubbing is a post-production process used in filmmaking and video production, often in concert with sound design, in which additional or supplementary recordings (doubles) are lip-synced and "mixed" with original production sound to create the finished soundtrack.
Luis Buñuel Portolés was a Spanish filmmaker who worked in France, Mexico, and Spain. He has been widely considered by many film critics, historians, and directors to be one of the greatest and most influential filmmakers of all time. Buñuel’s works were known for their avant-garde surrealism which were also infused with political commentary.
Mexican cinema dates to the late nineteenth century during the rule of President Porfirio Díaz. Seeing a demonstration of short films in 1896, Díaz immediately saw the importance of documenting his presidency in order to present an ideal image of it. With the outbreak of the Mexican Revolution in 1910, Mexican and foreign makers of silent films seized the opportunity to document its leaders and events. From 1915 onward, Mexican cinema focused on narrative film.
The history of cinema in Quebec started on June 27, 1896 when the Frenchman Louis Minier inaugurated the first movie projection in North America in a Montreal theatre room. However, it would have to wait until the 1960s before a genuine Quebec cinema industry would emerge. Approximately 620 feature-length films have been produced, or partially produced by the Quebec film industry since 1943.
Cinema arrived in Cuba at the beginning of the 20th century. Before the Cuban Revolution of 1959, about 80 full-length films were produced in Cuba. Most of these films were melodramas. Following the revolution, Cuba entered what is considered the "Golden age" of Cuban cinema.
Cinema of Colombia refers to film productions made in Colombia, or considered Colombian for other reasons. Colombian cinema, like any national cinema, is a historical process with industrial and artistic aspects.
Third Cinema is a Latin American film movement that started in the 1960s–70s which decries neocolonialism, the capitalist system, and the Hollywood model of cinema as mere entertainment to make money. The term was coined in the manifesto Hacia un tercer cine, written in the late 1960s by Argentine filmmakers Fernando Solanas and Octavio Getino, members of the Grupo Cine Liberación and published in 1969 in the journal Tricontinental by the OSPAAAL.
The art of motion-picture making within Spain or by Spanish filmmakers abroad is collectively known as Spanish Cinema.
Women's cinema primarily describes cinematic works directed by women filmmakers. The works themselves do not have to be stories specifically about women, and the target audience can be varied.
The Golden Age of Mexican Cinema is a boom period in the history of Mexican cinema, which began in 1936 with the premiere of the film Allá en el Rancho Grande, and culminated in 1956.
Cinema of Argentina refers to the film industry based in Argentina. The Argentine cinema comprises the art of film and creative movies made within the nation of Argentina or by Argentine filmmakers abroad.
While the Peruvian film industry has not been nearly as prolific as that of some other Latin American countries, such as Mexico or Argentina, some Peruvian movies produced enjoyed regional success. Historically, the cinema of Peru began in Iquitos in 1932 by Antonio Wong Rengifo because of the rubber boom and the intense arrival of foreigners with technology to the city, and thus continued an extensive, unique filmography, with a different style than the films made in the capital, Lima.
A co-production is a joint venture between two or more different production companies for the purpose of film production, television production, video game development, and so on. In the case of an international co-production, production companies from different countries are working together.
Nuevo Cine Mexicano, also referred to as New Mexican Cinema is a Mexican film movement started in the early 1990s. Filmmakers, critics, and scholars consider Nuevo Cine Mexicano a "rebirth" of Mexican cinema because of the production of higher-quality films. This rebirth led to high international praise as well as box-office success, unseen since the golden age of Mexican cinema of the 1930s to 1960s. The quality of Mexican films suffered in the decades following the golden age due in part to Mexican audiences watching more overseas films, especially Hollywood productions. This resulted in the rise of infamous Mexican genres such as Luchador films, sexicomedias and ultimately the low-budget direct-to-video Mexploitation film.
The Grupo Cine Liberación was an Argentine film movement that took place during the end of the 1960s. It was founded by Fernando Solanas, Octavio Getino and Gerardo Vallejo. The idea of the group was to give rise to historical, testimonial and film-act cinema, to contribute to the debate and offer an open space for dialogue and freedom of expression that was illegal at that time. With strong anti-imperialist ideas, he harshly criticized Peronism and neocolonialism. In the subsequent years other films directors revolved around the active core of the Cine Liberación group.
Chilean cinema refers to all films produced in Chile or made by Chileans. It had its origins at the start of the 20th century with the first Chilean film screening in 1902 and the first Chilean feature film appearing in 1910. The oldest surviving feature is El Húsar de la Muerte (1925), and the last silent film was Patrullas de Avanzada (1931). The Chilean film industry struggled in the late 1940s and in the 1950s, despite some box-office successes such as El Diamante de Maharajá. The 1960s saw the development of the "New Chilean Cinema", with films like Three Sad Tigers (1968), Jackal of Nahueltoro (1969) and Valparaíso mi amor (1969). After the 1973 military coup, film production was low, with many filmmakers working in exile. It increased after the end of the Pinochet regime in 1989, with occasional critical and/or popular successes such as Johnny cien pesos (1993), Historias de Fútbol (1997) and Gringuito (1998).
Haitian cinema includes the films and filmmakers of Haiti. The Haitian diaspora is active in the industry. Oppressive dictators and economic struggles have limited production.
The cinema of Venezuela is the production and industry of filmmaking in Venezuela. Venezuelan cinema has been characterised from its outset as propaganda, partially state-controlled and state-funded, commercial cinema. The nation has seen a variety of successful films, which have reaped several international awards. Still, in terms of quality, it is said that though "we can point to specific people who have made great films in Venezuela [and] a couple of great moments in the history of Venezuelan cinema, [...] those have been exceptions". In the 21st century, Venezuelan cinema has seen more independence from the government, but has still been described as recently as 2017 to be at least "influenced" by the state.
Juan Emilio Viguié Cajas, was a movie and documentary producer. A pioneer in the film industry of Puerto Rico, he was the first Puerto Rican to produce commercially successful films in the island. In 1934, he produced and directed Romance Tropical, the first Puerto Rican film with sound.
Sylvia Morales is an American film director, writer, producer, and editor. Morales is recognized as one of the first female Mexican-American filmmakers to have established a Latino cinema. In her filmmaking career, Morales has been nationally recognized winning awards for film and video documentary on topics ranging from the farm workers struggle to the music of Los Lobos.
