Thursday, December 30, 2010
Monday, December 13, 2010
Firepreventionposters
ASEC CALLING THE FILM AWARDS ANDALUZ
ASEC announces the awards that bear his name and that has grown throughout its history since they were created in 1983 to become a must that brings together most of the film society.
AWARDS are announced ASEC, 2011 edition, which will honor the work of professional filmmakers and Andalusia in 2010.
now called The prizes will be awarded in the month of February. Be awarded the following prizes:
- Director / a Andaluz / a
- Actor Andaluz. Colome Antoñita
Award - Actress Andalusia. Colome Antoñita
Award - Script Author
Andaluz - Technical-Artistic Contribution Award, "Teo Escamilla"
- Labor Broadcast Film in Andalucia
- Andalusian Television Production
- Short
Andaluz - Andaluz
Documentary - Labor Information about Movies (Radio, TV, Press and / or Internet)
- Book about Film, Author Andaluz
- English Film
- Foreign Film
For this ASEC Awards will take into account proposals that may make the Andalusian producers and associations of actors and actresses are headquartered in our region. Also be assessed for the award for Best Work of Film in Andalucia Dissemination activities of both public and private institutions have carried out this year.
This opens a selection period next to the proposed ASEC members will be voted in two rounds, the first one will be elected a slate of finalists for each category.
In the second round, the partners will decide the winners ASEC. The winners will be announced on January 31, 2011.
To contact ASEC can do so through his Facebook page (ASEC Andalucía) and e: asecan.andalucia @ gmail.com
How To Measure For A Halti Collar
GENERAL RULES PRIZES ASEC 2011
Award
The Film Writers Association of Andalusia (ASEC) calls AWARDS ASEC 2011 establishing the following categories:
ASEC Award Director / a
Screenplay Award ASEC
ASEC Award 'Antoñita Colome' Actor
ASEC Award 'Antoñita Colome' Actress
Documentary Award ASEC
ASEC Award 'Teo Escamilla' technical and artistic contribution
ASEC Award film Diffusion in Andalusia
ASEC Award Television Program
Award ASEC information about Movies Labor
Short ASEC (chosen by jury)
ASEC Book Film Award (chosen by jury)
ASEC Award English film
Award ASEC Foreign Film
TRIBUTE Award ASEC
ASEC Prize consists of a plate.
The ASEC Award Principal be granted to directors and residents in Andalusia Andalusia. In this category are taken into account marked movies Andalusian production. Thereby, they may take into account the work of directors Andalusian English and foreign productions.
The Script ASEC Award will be given to writers resident in Andalusia or Andalucía. In this category are taken into account marked movies production Andalusia. Thereby, they may take into account the work of writers Andalusian English and foreign productions.
The ASEC Awards the Actress and Actor are named 'Antoñita Colome' . ASEC Awards will attend ANTONITO COLOMÉ in the categories of actor and actress those performers born or residing in Andalusia who have participated in one or more films released in the autonomous community of Andalusia in 2010 to 30 November.
concur to ASEC Documentary Award those documentary films production mainly in Andalusia Andalusian released between December 1, 2009 and November 30, 2010. In the documentary category is considered release publicly any pass in Andalusia production either in cinemas, film clubs, film or special rooms, including screenings at festivals, exhibitions, contests or Film Weeks.
The Documentary Award shall be the directors.
The Prize ASEC to the artistic Technical Contribution of Andalusian named after ESCAMILLA TEO. The Board may decide, once chosen the winner, to name this award, in addition to the general heading, 'Teo Escamilla', the profession of the person honored. (Eg: If the person receiving the award is a musician, the prize is named: TEO ASEC ESCAMILLA Award for music ....).
concur AWARD TO ASEC 'TEO ESCAMILLA' those born or resident professionals in Andalusia who have participated in one or more films released in the autonomous community of Andalusia in 2010 to 30 November in either technical or artistic aspects of production of a film, except the implementation and interpretation.
be attended to Award ASEC film Diffusion in Andalusia All individuals, organizations, institutions or corporations, public and private, that have outstanding work of cinema showing the autonomous community of Andalusia, alone during the current year or over a wider path.
Al Award ASEC Television Program may attend all productions are made and issued during the year 2010 until November 30 by television regional or local, whether or not related to cinema.
The Prize ASEC information about Movies Labor be granted among those professionals who with their work, articles, reviews, programs TV, radio or Internet have been highlighted in the work of film information for the year 2010.
The selection process ASEC Award Short and Film Book Award began last September 14 when both are elected by separate juries. (Bases published on the website of ASEC: http://asecan-cine.blogspot.com/2010/09/asecan-abre-el-plazo-de-presentacion-de.html )
have attended the ASEC Award Short Shorts all released from the December 1, 2009 until November 30, 2010.
Short films should have been produced by Andalusian producers as a whole or level of production with other companies outside of Andalusia. Have also come into this category short films directed by Andalusian Andalusian or directors do not perform their work in Spain.
As for the film Paper Award ASEC, have been submitted to this category all books published since December 1, 2009 until November 30, 2010.
The theme of the volume should be film or audio in any areas. The author should be Andalusian or Andalusian writer does not develop its work in Spain.
Concurrrirán the English Film Award ASEC those production features mainly English in Andalusia released between December 1, 2010 and November 30, 2011. Andalusia is considered any pass premiere audience of a film either in theaters, film clubs, film or special rooms, excluding projections Festivals, Exhibitions, Contests and Film Weeks.
concur to Foreign Film Award ASEC production those films released mostly non-English in Andalusia between December 1, 2010 and November 30, 2011. Andalusia is considered any pass premiere audience of a film either in theaters, film clubs, film or special rooms, excluding projections Festivals, Exhibitions, Contests and Film Weeks.
The Award for English and foreign films rests with its directors.
Monday, November 22, 2010
Victoria's Secret Cup Size Comparison
'Luis Garcia Berlanga IN THE SCHOOL OF COMMUNICATION', Cuadernos EIHCEROA, No. 6
Courtesy of Rafael Utrera Macías, professor at the University of Seville and one of the founding members of ASEC, we incorporated into this collective tribute we are paying him to master Luis García Berlanga our Blog link to Issue 6 of EIHCEROA Notebooks (Research Team History of English Cinema and its Relationship with Other Arts).
Called "Luis Garcia Berlanga in the Faculty of Communication this Notebooks number of EIHCEROA , published in 2005, includes a comprehensive report on Berlanga, with an interview about his film study and analysis of Welcome Mr. Marshall (1953), authored by the said Rafael Utrera, Luis Navarrete and Francisco Perales, ASEC partners.
Friday, November 19, 2010
Chest Infection Should I Go Work?
BERLANGA
The latest revision of the Dictionary of the English Language Royal Academy included the voices as Cultureta (supposedly educated person, "say), pinko (instead of left-wing political tendencies) or muslamen (" legs of a person especially those of women ") but kept his back to the adjective 'berlanguiano'.
As a concession to the movies included Buñuel, yeah ("Of or pertaining to Luis Buñuel or his work" and "What is characteristics of the work of this English film," reads the website of the institution), but not 'berlanguiano'. And that José Luis Borau, in his brilliant speech input in the SAR, made a strong defense of an adjective that lasts still mourning. "Well might incorporate this term to the dictionary of the English, like a tribute because he has given us a bittersweet and poignant vision of ourselves, in addition to being indoors, our first filmmaker" justified then, with more than enough arguments Poachers director .
the end, the teacher Luis García Berlanga has made this film without the official recognition of academic language that has been his great legacy, with permission, of course, a filmography that leaves a handful of masterpieces: the coinage, surely unintentionally, a concept that is as English as universal, which draws twelve letters in an image to the left over a thousand words.
Lo 'berlanguiano' is, as advocated by his son Jorge Berlanga, synonymous with "the absurdity, cruelty, and laughter, but also the most disarming tenderness, courage more suicidal, more caustic the subtlety . In the 'berlanguiano' resonates as a huge mascletá, playful nature and Levantine director, his seductive intelligence, that lucid look left naked to the English society of the past fifty years in a radiograph priceless what we were and what we are, and why we are.
may never get to live a Bunuel situation but we can all recognize ourselves in the 'berlanguiano': at the frustrated dream of welcoming Americans to cry Welcome, Mister Marshall!, In the peace walk across the sands of Calabuch in the letters that stifle the good pleasure, in the rugged road of no return The executioner, in reconciling the two Spains irreconcilable toreaban The heifer.
two years ago, the Instituto Cervantes Berlanga invited to participate in the Fund for the Arts, a project that seeks to perpetuate in time a piece of our culture. The director accepted the offer to represent your guild but kept a funny joker up his sleeve. In the box number 1034 introduced an envelope asked to leave closed until 2021, when the centenary of his birth. Nobody knows what lurks: an unpublished script can one frame lost, a declaration of love, or humor, or the very map of Austria-Hungary.
missing eleven years to get up that secret summary: more than a decade to defend the 'berlanguiano' not only to the SAR but to the very Unesco, yet Villar del Río asking in unison that the word, and his films, is a world heritage site. That would be pure Berlanga.
Evaristo Martinez,
ASEC partner and Head of Culture ' La Voz de Almería '
ASEC partner and Head of Culture ' La Voz de Almería '
Published in 'La Voz de Almería ", the 19-XI-2010
Thursday, November 18, 2010
Carcinoma Of Endometrium Pathophysiology Diagram
THE SMILE OF DON LUIS
Javier Martin-Dominguez 
"Luis has never failed us." He says in his memoirs film, Nieves Arrazola, widow of the great producer-including Viridiana-Ricardo Muñoz Suay. "It came to house and ask, What are you doing here?. Come by if something happens .... ". Now that he showered praise on film, it is worth remembering the personality of the gentleman Luis Garcia Berlanga, neither in difficult times forget the needs of friends or lost his smile. No soul froze when he came to Russia as a member of the Blue Division to redeem his family in the war. Do not even cleared the humor in the Franco regime, separating with hyphens master to censorship. Berta Muñoz Suay her goddaughter took the stage with her sister Anne at the close of European Cinema Festival of Seville to say he had taught to overcome the problems of life using humor. It was a gift for her and all the English that Mr. Marshall first and the Marquis de Leguineche then let us look at the most depths of our national abyss without losing hope thanks to smile. It is, as its title, the National Heritage , because neither the English cinema and the history of Spain (and, in capital letters) would be equally interesting if his shrewdness and delicacy had not been at your service. When his movies are again sporadically in television episodes look as true nationals. The smell of mothballs has not taken possession of them, perhaps because all remains the same. Recent political love for Bush or Obama take us back to "Americans, I welcome you with joy" and his junior title, with a jail All seemed an improvement over the corrupt love of money that poisons our politics. We need a revival of his complete works on the nights of our television, which has lost its way, and Don Luis may help to resume its journey without getting lost in Timbuktu.
Director of the European Film Festival Sevilla ( SEFF )
Energy Consumption Of Reptiles Vs Mammals
DISENCHANTMENT CRITICAL BERLANGA
evolution given followed by English cinema, from the point of departure for the 'Conversations of Salamanca' (1955), was in critical focus Berlanga (Valencia 1921, Madrid 2010) in his last years. To the extent that the filmmaker, who we remember and honor them after their death, was deeply critical of the English film set for not having known structures of their industry. His critical view, even against their own past, surprised many people in Almeria, this March 2, 2000, in 'Encounters with Film Directors' with his film 'Paris-Timbuktu' "Is my best film." Berlanga considered the American cinema as an example to follow and called terrible mistake that English cinema is linking to neorealism. No comments were missing then explained these views critical of the filmmaker was a man tired. Their disillusionment could be understood well. But it was surprising that Berlanga said, for example: "The 'Conversations Salamanca' was a historical mistake. Until then, Spain had a stable industry, we had the best scenery, good actors and scenarios. It is true that we could not say what they wanted by the dictatorship, but we did what we said as God. " Berlanga
All critic feel Berlanga, disappointment, something that was tried in the press conference. Among personal statements, questions and answers, in an atmosphere of awe in the presence of historical filmmaker, was the feeling that Berlanga would not go unnoticed and that their ideas were playing bewilderment at the present time. If you deny the 'Conversations of Salamanca,' in which he participated with Basilio Martín Patino, Ricardo Muñoz Suay, Bardem, among others, and was kind of unorthodox, more surprising was when he said that "neo-realism was a self-trapped and Spain were the most asshole when copying to neorealism. So many years I attempting the regeneration of the English industry and hopefully it will not be getting late. " With these words Berlanga put into question his best film, 'Welcome Mr. Marshall,' Place 'and' The Executioner '. Yes, the director acknowledged that these films are linked to neo-realism. As it happened to her partner travel the first film, Bardem ("Death of a Cyclist ',' Main Street ',' Comic '), who wheel" That happy couple' ("there was no money and about were to leave "), these films made with ingenuity to save censorship made during the dictatorship. The cultural question, which remains in the air, is that with the advent of democracy in his creative imagination was in decline overall, but moments of exception, benefiting from the juncture of the transition. Actually 'Paris-Timbuktu' is not his best film. But the filmmaker said in Almería: "I have come cojonuda", which he never said of his earlier films.
Berlanga revealed some anecdotes of his career. For example, the attempted mutiny of the actors, with Pepe Isbert to head in the filming of 'Welcome Mr. Marshall "," the actors were right ", or also in the filming of' The heifer ', to reach concluded that " actors are as creators of the film as the director. "
evolution given followed by English cinema, from the point of departure for the 'Conversations of Salamanca' (1955), was in critical focus Berlanga (Valencia 1921, Madrid 2010) in his last years. To the extent that the filmmaker, who we remember and honor them after their death, was deeply critical of the English film set for not having known structures of their industry. His critical view, even against their own past, surprised many people in Almeria, this March 2, 2000, in 'Encounters with Film Directors' with his film 'Paris-Timbuktu' "Is my best film." Berlanga considered the American cinema as an example to follow and called terrible mistake that English cinema is linking to neorealism. No comments were missing then explained these views critical of the filmmaker was a man tired. Their disillusionment could be understood well. But it was surprising that Berlanga said, for example: "The 'Conversations Salamanca' was a historical mistake. Until then, Spain had a stable industry, we had the best scenery, good actors and scenarios. It is true that we could not say what they wanted by the dictatorship, but we did what we said as God. " Berlanga Almeria came accompanied by the writer Antonio Gómez Rufo, screenwriter of 'Paris-Timbuktu. " Attended a seminar at the University, to meet with high school students, held a press conference and starred in the screening of 'Paris-Timbuktu' at the Teatro Cervantes, which ended in a dialogue with the public.
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| Frame The executioner Luis G. Berlanga (1963) |
His critical attitude also noted against the Film School, from which it came. In his view, the film is learned rolling. Berlanga believed that the best film school is going to 'deserving' from the elementary occupations up to the highest standards. Was blunt when he said: "The English film is a catastrophe."
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| Paris-Timbuktu Luis G. Berlanga (1999) |
Berlanga had praise for Antonio Segura and Pedro Almodovar, who advised in its infancy. And a special mention for Concha Velasco (in 'Paris-Timbuktu'), "is a miracle."
In those years when a major industrial project promotes film in Valencia, Berlanga is an ardent follower of American cinema , "is a fallacy to say that European cinema is more cultural." The Valencia project looks at Hollywood. In fact the project is designed in Los Angeles (United States). One idea that could have been before in Almería, as revealed Berlanga, "in Almeria has been twenty years saying that they will do and have done nothing final." Berlanga was a son who told him about a film project of industrial facilities in Almeria, "there was some business dealings with Mexicans, but that did not work." Berlanga
discussed the future of English cinema, of what was coming, major risks of free trade, "if we do not react to disappear."
Anyway, fortunately, there's always the possibility of returning to neorealism.
Miguel Angel Blanco
Martin ASEC partner
Text originally published in the newspaper Ideal (Almería), Thursday, November 18, 2010, pag. 23
Saturday, February 6, 2010
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