Format:
309 Seiten
,
Illustrationen
,
26 cm
Edition:
Primera edición
ISBN:
9786077114192
Series Statement:
Anales del cine en México, 1895-1911 Vol. 12
Content:
"1906 was the year of high political significance in Mexico: the repression of the strike of Cananea miners; the celebration of the centenary of the birth of Benito Juárez, where young intellectuals took advantage of the event to make a defense at all costs of secularism; the publication of the magazine Savia Moderna directed by Alfonso Cravioto and Luis Castillo Ledón, that in the opinion of Alfonso Reyes gave voice to "new times" and made possible the first exhibition of art of Savia Moderna in which painters like Diego Rivera, Saturnino Herrán and Joaquín Clausell among others presented their works; and because this year an universal acceptance of cinema took place in the taste of the "Mr. Public" to such degree that one of the great writers of the time, Angel de Campo "Tick-Tack", said: "Tandas are dead. Long live cinema!.! An odyssey was to make of this new invention a spectacle, a fun and entertaining spectacle that, in addition, disseminated some governmental activities between the "humble bourgeoisie", "good families" and the "underworld" of the Mexican society. The cinematographer found its own course thanks to the tenacity of the first national filmmakers who were at the same time exhibitors, producers and owners or managers of movie theaters, especially in the city of Mexico. In the end, everything changed in 1906 when the cinematograph triumphed over theatre, in particular, over the Zarzuela, or the known "género chico" (ittle genre, a Spanish genre of short, light plays with music): it changed the language and transformed the public space, it moved entertainment schedules and lit up the canopies of the halls of entertainment. Employers in the industry were generous with the children and women presenting them with gifts and made special discounts, magnanimity that also reached the artisans and laborers who used to attend the cinema on Sunday, their only day off; but the premises also had their dark and dangerous side: they allowed the entrance of " prostitutes and homeless", on the one hand; and on the other, the deficiencies in their primitive electrical installation caused recurrent fires. Thanks to Juan Felipe Leal and his collaborator Eduardo Barraza we have a spectacular book, well written conveniently illustrated, abundantly in textboxes concentration data, with excellent bibliographic sources, periodicals and filmography; all of which allows us to understand and appreciate the year of 1906 in which cinemas multiplied and populated the ci ...
Content:
"1906 was the year of high political significance in Mexico: the repression of the strike of Cananea miners; the celebration of the centenary of the birth of Benito Juárez, where young intellectuals took advantage of the event to make a defense at all costs of secularism; the publication of the magazine Savia Moderna directed by Alfonso Cravioto and Luis Castillo Ledón, that in the opinion of Alfonso Reyes gave voice to "new times" and made possible the first exhibition of art of Savia Moderna in which painters like Diego Rivera, Saturnino Herrán and Joaquín Clausell among others presented their works; and because this year an universal acceptance of cinema took place in the taste of the "Mr. Public" to such degree that one of the great writers of the time, Angel de Campo "Tick-Tack", said: "Tandas are dead. Long live cinema!.! An odyssey was to make of this new invention a spectacle, a fun and entertaining spectacle that, in addition, disseminated some governmental activities between the "humble bourgeoisie", "good families" and the "underworld" of the Mexican society. The cinematographer found its own course thanks to the tenacity of the first national filmmakers who were at the same time exhibitors, producers and owners or managers of movie theaters, especially in the city of Mexico. In the end, everything changed in 1906 when the cinematograph triumphed over theatre, in particular, over the Zarzuela, or the known "género chico" (ittle genre, a Spanish genre of short, light plays with music): it changed the language and transformed the public space, it moved entertainment schedules and lit up the canopies of the halls of entertainment. Employers in the industry were generous with the children and women presenting them with gifts and made special discounts, magnanimity that also reached the artisans and laborers who used to attend the cinema on Sunday, their only day off; but the premises also had their dark and dangerous side: they allowed the entrance of " prostitutes and homeless", on the one hand; and on the other, the deficiencies in their primitive electrical installation caused recurrent fires. Thanks to Juan Felipe Leal and his collaborator Eduardo Barraza we have a spectacular book, well written conveniently illustrated, abundantly in textboxes concentration data, with excellent bibliographic sources, periodicals and filmography; all of which allows us to understand and appreciate the year of 1906 in which cinemas multiplied and populated the ci ...
Content:
Presentación -- 1906: Los cines pueblan la Ciudad de México -- La distribución de las películas -- Los cineastas -- Las salas de la capital de la república -- Las carteleras cinematográficas -- El cine triunfa sobre el teatro -- La producción de 1906 -- Apéndice 1. Exhibiciones gratuitas del "Buen Tono" y de la "Tabacalera Mexicana" en 1906 -- Apéndice 2. Programa del viaje del presidente Porfirio Díaz a la península de Yucatán según "El Popular
Content:
Presentación -- 1906: Los cines pueblan la Ciudad de México -- La distribución de las películas -- Los cineastas -- Las salas de la capital de la república -- Las carteleras cinematográficas -- El cine triunfa sobre el teatro -- La producción de 1906 -- Apéndice 1. Exhibiciones gratuitas del "Buen Tono" y de la "Tabacalera Mexicana" en 1906 -- Apéndice 2. Programa del viaje del presidente Porfirio Díaz a la península de Yucatán según "El Popular
Note:
In Spanish
,
In Spanish
Language:
English
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