4 Festival de Granada Cine del Sur del 12 al 18 de Junio de 2010

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• 2010 Edition: Publications

Publications

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  PHILIPPINES CINEMA. History, Theory and Film Criticism (1899-2009) Juan Guardiola (ed.) 2010

  During the second half of the 20th century, the Filipino film industry was the third largest in terms of production, after the United States and India. But its history began back in 1897, with the presentation of the cinematograph projector in Manila, one year before the Spanish-American war that would bring the end of Spanish domination. The new colonial power, the influence of the incipient Hollywood industry and the arrival of sound were some of the main reasons that the initial Spanish mark in Filipino film became diffuse. While the relationship between Spain and the cinemas of Latin America has remained active, fluid and persistent, this has not been the case in the Philippines. The result is considerable ignorance regarding Filipino cinema, so close in its beginnings and yet so distant today. This book brings together a series of essays about film in the Philippines that address questions such as history, theory and film criticism. Comprised of both new texts and reedited texts, this compilation makes reference not only to the canonical narrative of film as industry and entertainment culture, but also to other, more alternative audiovisual practices, such as independent film, auteur documentaries, experimental film and video creation. This publication is intended not just to fill the empty space in the Spanish-language bibliography on the subject, but also to serve as a cognitive instrument for students and researchers, as well as for all Spanish and English speakers (it is a bilingual edition) who are interested in the cinema of the Philippines. Autores / Contributors: Juan Guardiola (ed.), Agustín L. Sotto, Joel David, Nick Deocampo, Patrick D. Flores, Gloria Fernández, Rolando B. Tolentino, Joselina Cruz, J.H. Estrada.
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  Souleymane Cissé: With the Eyes of Eternity. María Coletti y Leonardo de Franceschi. 2009

  This book represents the first monographic study dedicated to the work of one of the most important auteurs in African cinema. In addition to being the first filmmaker to win first prize at the two main festivals on the African continent, the Carthage Film Festival (in 1982 for The Wind) and FESPACO (in 1979 for The Porter and again in 1983 for The Wind), Cissé was also the first director to bring a film from Sub-Saharan Africa to the Cannes Film Festival, in 1987 with Brightness (winner of the Jury Prize), which then became the first African film to be distributed commercially in numerous international markets. Souleymane Cissé: With the Eyes of Eternity reconstructs the Malian director’s personal and professional trajectory, from his years spent studying, to the different stages that have marked his international recognition, to his most recent initiatives in the politics of culture, putting Cissé’s poetics in the context of other auteurs and trends in world cinema as well as inserting it into the international critical debate.
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  Outsiders in Paradise. Foreign Filmmakers in Cuban Cinema of the 1960s. J. A. García Borrero.

  This book addresses in depth a subject that is usually dealt with in two or three pages by the canonical history of Cuban film. It discusses the presence of foreign filmmakers and intellectuals during the first decade of the Revolution led by Fidel Castro in 1959, a period that coincides with the first ten years of the ICAIC (Cuban Film Institute), the first cultural institution to be created by the Revolutionary Government. This study serves as a kind of map upon which we can follow the trail of filmmakers such as Cesare Zavattini, Joris Ivens, Néstor Almendros, Gérard Philipe, Margarita Alexandre, Juan Mariné, Jomi García Ascot, Mikhail Kalatozov, Manuel Barbachano Ponce, among others, through their trips to the revolutionary Cuba of the 1960s, fascinated by the possibility of building a new world. It also represents an opportunity to examine the relationship between their film activity and the revolutionary ideas that circulated in the West during the 1959-1969 period.
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  Mohsen Makhmalbaf: From Discourse to Dialogue. Fernando González García (ed.) 2008

  Mohsen Makhmalbaf’s work is the ever-fluctuating outflow of the filmmaker’s passion, curiosity and effort. Its various facets and phases present myriad possibilities for interpretation, depending on the viewer’s frame of reference. Considered as a unified body of work, it challenges us to discern the reasons behind its many permutations; or else we can limit ourselves to examining the possibilities of each of its concrete manifestations at a given moment, which might then lead us to raise questions about the context and culture from which it arises, as well as its possible impact on various audiences: national or international, religious or secular, individualist or communitarian. Each of the articles in this book adopts a different approach, linked, however, in their exploration of either the whole of, or specific moments in this process of constant change and renewed propositions, which were initially dogmatic but are currently relativist.
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  Dreams of Europe. Cinema and Migrations from the South. José Enrique Monterde. 2008

  Among the different options for approaching the cinematic act, one of the possibilities is to consider the theme: ‘the subject or topic of discourse or of artistic representation.’ What is the something that is of interest in this case? Migrations from countries in the South to financially solid Europe. What countries are included here? An inexact answer would point to countries from Africa, Asia and Central and South America. However, the distinction is not only geographical, but also conceptual, meaning that it might be more precise to say, the countries that until recently were termed Third World. Unfortunately, over time this designation has lost a good part of its meaning insofar as the Second World has practically disappeared and the progressive effects of globalisation have created. Actually, the matter is simpler if the subject is described as the cinematographic representation of migration flows coming to Europe from different points since the middle of the 20th century.
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  China: 21st Century. Luis Miranda (ed.) 2007

  This book is a collective approximation to the phenomena of the so-called sixth generation of Chinese cinema that during the last decade has reflected the profound changes of the Asian country since a new urban vision. This publication is has been coordinated by Luis Miranda, critic and historian of cinema, as well as programmer of the cinema festival of Las Palmas. Participants: Jinhua Dai, Roberto Cueto, Alberto Elena, Ying Zhu, Yingjin Zhang y Cui Zi’En.
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  Youssef Chahine: Fire and Word

  The book is formed by a collection of unedited studies about the works of the Egyptian filmmaker who since decades ago has been the great figure of reference for cinema of the Arab countries. It will be coordinated by Alberto Elena, specialist in non-Western cinematography, professor of the Universidad Carlos III and director of programming of the Cines del Sur festival. Participants: Samir Farid, Fernando González, Viola Shafik, Àngel Quintana and Ferid Boughedir.