{"id":1491,"date":"2015-02-04T10:49:16","date_gmt":"2015-02-04T10:49:16","guid":{"rendered":"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/?page_id=1491"},"modified":"2018-02-25T12:11:58","modified_gmt":"2018-02-25T12:11:58","slug":"alo-alo-mundo-cinemas-de-invencao-na-geracao-68","status":"publish","type":"page","link":"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/alo-alo-mundo-cinemas-de-invencao-na-geracao-68\/","title":{"rendered":"al\u00f4 al\u00f4 mundo! cinemas de inven\u00e7\u00e3o na gera\u00e7\u00e3o 68"},"content":{"rendered":"<style type=\"text\/css\"><!--\nP { margin-bottom: 0.21cm; }\n--><\/style>\n<p align=\"CENTER\"><a href=\"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-content\/uploads\/2015\/02\/al\u00f4-frames-72pix.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-1499\" alt=\"al\u00f4 frames (72pix)\" src=\"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-content\/uploads\/2015\/02\/al\u00f4-frames-72pix.jpg\" width=\"1000\" height=\"200\" srcset=\"https:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-content\/uploads\/2015\/02\/al\u00f4-frames-72pix.jpg 1000w, https:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-content\/uploads\/2015\/02\/al\u00f4-frames-72pix-300x60.jpg 300w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"color: #010100;\">\u00bfCu\u00e1ntas revoluciones son necesarias para cambiar este mundo? Despu\u00e9s de las rebeliones <\/span><span style=\"color: #010100;\">sociales que comenzaron en 2009, capitalistas financieros, coachers, monote\u00edstas radicales, managers, gur\u00fas neoliberales y todo tipo de yonqui del capital, han reforzado las diferencias entre centro\/ periferia, hombre\/mujer, blanco\/negro, humano\/animal, homosexual\/heterosexual, naturaleza\/ cultura. Y ya hemos gritado: basta! En nombre del Che Guevara, los Black Panthers, La Internacional Situacionista, Glauber Rocha, John Cage, Pierre Boulez, Pagu, Martin Luther King, Harvey Milk, Tucum\u00e1n Arde, Rosa Parks, Judy Chicago y las damas de la WomanHouse, el comandante Marcos, la Revoluci\u00f3n Sandinista y tantas otras que quebraron los aparatos de verificaci\u00f3n de verdad para construir un mundo m\u00e1s habitable.<\/span><\/span><\/span><\/p>\n<p style=\"text-align: justify;\" align=\"JUSTIFY\"><span style=\"color: #010100;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Alrededor del m\u00edtico a\u00f1o 1968 se van a dar cita una serie de rupturas en el cine y en el arte contempor\u00e1neo angloeuropeo, que van a desarticular las viejas formas establecidas de pensar los lenguajes art\u00edsticos, en una confluencia entre vanguardia art\u00edstica y militancia pol\u00edtica. En el contexto espa\u00f1ol, la pr\u00e1ctica f\u00edlmica sufre un cambio radical, debido al surgimiento de una industria cinematogr\u00e1fica, promovida por la administraci\u00f3n de Garc\u00eda Escudero, que tiene como resultado un cine idealista y est\u00e9ticamente limitado. Sin embargo, ser\u00e1 en 1969 cuando se produce una ruptura radical con lo que ha venido a llamarse el posibilismo cinematogr\u00e1fico, representado por el Nuevo Cine Espa\u00f1ol. Un momento de inflexi\u00f3n en el que estallan una serie de pr\u00e1cticas f\u00edlmicas que operan en el marco de la ilegalidad, que suponen una ruptura est\u00e9tica con el cine anterior, y que surgen de un interesante mestizaje entre diversas manifestaciones art\u00edsticas.<\/span><\/span><\/span><\/p>\n<p style=\"text-align: justify;\" align=\"JUSTIFY\"><span style=\"color: #010100;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">En Am\u00e9rica Latina, los reg\u00edmenes totalitarios impiden la libre expresi\u00f3n y la divulgaci\u00f3n de las obras de arte. Sin embargo, no cesan los flujos de interconexiones planetarias entre artistas, cineastas, poetas, performers, dise\u00f1adores y so\u00f1adores, a trav\u00e9s de redes como el Arte Postal, cuyo hervidero principal era el continente americano. En Brasil, el Golpe militar de 1964 sepulta el sue\u00f1o de la ciudad de Bras\u00edlia como s\u00edmbolo de la modernidad. A partir de entonces, el cine brasile\u00f1o expresa de forma aleg\u00f3rica la conciencia de un r\u00e9gimen antidemocr\u00e1tico. Glauber Rocha define las formas de expresi\u00f3n del Cinema Novo en el manifiesto Est\u00e9tica da fome. Una est\u00e9tica en sinton\u00eda con la condici\u00f3n de periferia econ\u00f3mica y geogr\u00e1fica, cuya potencialidad se manifiesta en la propia forma de crear. En diciembre de 1968 se publica el Acto Institucional n\u00famero 5, a partir del cual se disuelve el congreso, suspendiendo gran parte de los derechos constitucionales. Este decreto marca el fin del Cinema Novo. No obstante, un movimiento de vanguardia f\u00edlmica va a surgir de la insatisfacci\u00f3n por las formas est\u00e9ticas del aparato cinematogr\u00e1fico industrial. Ese movimiento propone la radicalizaci\u00f3n de una propuesta est\u00e9tica en la creaci\u00f3n de un lenguaje cinematogr\u00e1fico propiamente tropicalista.<\/span><\/span><\/span><\/p>\n<p style=\"text-align: justify;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"color: #010100;\"><span style=\"font-size: small;\"><i><b>al\u00f4 al\u00f4 mundo! cinemas de inven\u00e7\u00e3o na gera\u00e7\u00e3o 68<\/b><\/i><\/span><\/span><span style=\"color: #010100;\"><span style=\"font-size: small;\"> coloca en un mismo escenario esas \u00e9ticas y est\u00e9ticas de dos movimientos de vanguardia f\u00edlmica, para trazar una serie de conexiones transatl\u00e1nticas, transcinematogr\u00e1ficas, transamaz\u00f3nicas, transfeministas y transrevolucionarias entre Espa\u00f1a y Brasil. Una traves\u00eda que nos permita comprender de qu\u00e9 manera estos filmes exponen sus propias condiciones hist\u00f3ricas y a su vez, aporte nuevas lecturas a nuestro presente.<\/span><\/span><\/span><\/span><\/p>\n<p align=\"RIGHT\"><span style=\"color: #010100;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Marc Mart\u00ednez &amp; Paola Marug\u00e1n<\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"color: #010100;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b>PROGRAMA BRASILE\u00d1O<\/b><\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><span style=\"color: #010100;\"><i>Hitler Terceiro Mundo<\/i><\/span><span style=\"color: #010100;\">. Jos\u00e9 Agrippino de Paula. 1968. 71&#8242;<\/span><\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Paranoia, culpa, deseo frustrado, miseria y tecnolog\u00eda en un <\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">pa\u00eds subdesarrollado. Narrativa fragment\u00e1ria, encuadres<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">distorsionados, gritos y ruidos.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\"><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><span style=\"color: #111111;\"><i>Viagem ao fim do mundo.<\/i><\/span><span style=\"color: #111111;\"> Fernando Cony Campos. 1968. 96&#8242;<\/span><\/b><\/span><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"color: #111111;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Mientras espera la llamada para el embarque de su avi\u00f3n, un<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"color: #111111;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">chico busca en el quiosco de prensa una lectura para el viaje,<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"color: #111111;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">&#8220;Mem\u00f3rias P\u00f3stumas de Br\u00e1s Cubas&#8221;, de Machado de Assis.<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><span style=\"color: #111111;\"><i>Copacabana, Mon Amour<\/i><\/span><span style=\"color: #111111;\">. Rog\u00e9rio Sganzerla. 1970. 71&#8242;<\/span><\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Un largometraje experimental basado en largos planos<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">secuencia e improvisaciones ante la c\u00e1mara. Filmada en color<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">y producida por Belair.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<h4 style=\"text-align: center;\"><strong><em>Sem Essa Aranha<\/em><\/strong>. <strong>Rog\u00e9rio Sganzerla. 1970. 92&#8242;<\/strong><\/h4>\n<address style=\"text-align: center;\">Una pel\u00edcula de la productora Belair, en la que la marginalidad<\/address>\n<address style=\"text-align: center;\">es una necesidad y no una opci\u00f3n. Un filme genuinamente<\/address>\n<address style=\"text-align: center;\">experimental y brasile\u00f1o, clandestino, un filme-grito,<\/address>\n<address style=\"text-align: center;\">visceral y con amplias conexiones con el<\/address>\n<address style=\"text-align: center;\">contexto actual<\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><span style=\"color: #111111;\"><i>Mangue-Bangue<\/i><\/span><span style=\"color: #111111;\">. Neville D\u2019Almeida. 1971. 62\u2019<\/span><\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Este trabajo es una defensa del car\u00e1cter experimental del<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">cineasta. \u00c9l defiende que \u201cCine es Verdad\u201d (contra la idea de<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">representaci\u00f3n de la verdad). La pel\u00edcula se inscrive tambi\u00e9n<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">en el concepto de no-narraci\u00f3n, seg\u00fan el artista H\u00e9lio Oiticia.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><span style=\"color: #111111;\"><i>A conex\u00e3o Brasileira, a luta pela democracia<\/i><\/span><span style=\"color: #111111;\">. Helena<\/span><\/b><\/span><\/span><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b>Solberg. 1982 \/ 83. 58\u2019<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">El a\u00f1o 1982 marc\u00f3 las primeras las primeras elecciones en<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Brasil despu\u00e9s del golpe militar de 1964. El documental presenta<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">los problemas econ\u00f3micos, pol\u00edticos y sociales a trav\u00e9s<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">de varias declaraciones, insertando im\u00e1genes panor\u00e1micas de<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">la diversidad geogr\u00e1fica y cultural brasile\u00f1a.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>Meteorango Kid &#8211; O Her\u00f3i Intergal\u00e1tico<\/i>. Andr\u00e9 Luiz Oliveira. 1970. 84&#8242;<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Film trash tupiniqu\u00edn de h\u00e9roes. En el centro de todo, <\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">un joven crucificado entre el deber de la inconformidad polit\u00edca<br \/>\n<\/span><\/span><\/address>\n<address style=\"text-align: center;\">y la moral de la familia burguesa.<\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><i><b>A idade da Terra<\/b><\/i><b>. Glauber Rocha. 1975. 160&#8242;<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">En su \u00faltimo film, el director propone una sinton\u00eda o anti-sinton\u00eda<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">de sonidos e im\u00e1genes que construyen un retrato de<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Brasil y un autoretrato de \u00e9l mismo. El gui\u00f3n est\u00e1 basado em<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">un poema de Ant\u00f4nio Castro Alves, poeta bahiano rom\u00e1ntico y<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">republicano.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>S\u00f3 no Carnaval<\/i>. Eunice Gutman. 1982. 12\u2019<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Documental que aborda el ritual de travestirse, estrictamente<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">limitado al periodo del carnaval al que se refiere el t\u00edtulo. La<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">pel\u00edcula fue realizada con un equipo basicamente femenino.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>Zona Zul<\/i>. Henrique Faulhaber. 1972. 21&#8242;<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Diario cinematogr\u00e1fico de la vida de un grupo de j\u00f3venes en el<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">barrio de Copacabana, en R\u00edo de Janeiro. Como hilo conductor,<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">una historia de ficci\u00f3n creada a partir de un matrimonio, un<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">asesinato y un ni\u00f1o de la calle.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><span style=\"color: #141414;\"><i>H.O.<\/i><\/span><span style=\"color: #141414;\"> Iv\u00e1n Cardoso. 1979. 13&#8242;<\/span><\/b><\/span><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"color: #141414;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Cortometraje que recoge la esencia del trabajo del artista brasile\u00f1o<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"color: #141414;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">H\u00e9lio Oiticica. El director presenta un retrato del artista a<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"color: #141414;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">trav\u00e9s del cual se muestran algunos de sus parangol\u00e9s P4 mientras<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"color: #141414;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">habla de su obra.<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><span style=\"color: #111111;\"><i>Agripina \u00e9 Roma-Manhattan<\/i><\/span><span style=\"color: #111111;\">. H\u00e9lio Oiticica. 1972. 16\u2019<\/span><\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">En Manhattan, una muchacha crea una postura entre un monumento<br \/>\n<\/span><\/span><\/address>\n<address style=\"text-align: center;\">y una prostituta. El escenario se transforma en una Roma<\/address>\n<address style=\"text-align: center;\">cl\u00e1sica, donde aquello m\u00e1s mundano se aproxima a<\/address>\n<address style=\"text-align: center;\">alguna transcendencia.<\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"color: #000000;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><span style=\"color: #060404;\"><i>Manh\u00e3 Cinzenta<\/i><\/span><span style=\"color: #060404;\">. Olney S\u00e3o Paulo. 1969. 21&#8242;<\/span><\/b><\/span><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"color: #060404;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Ungolpe de estado en un pa\u00eds imaginario de Am\u00e9rica Latina. El<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"color: #060404;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">poder. La represi\u00f3n. La pel\u00edcula que llev\u00f3 a su director a los s\u00f3tanos<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"color: #060404;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">de la dictadura. Montaje caleidosc\u00f3pico, desintegra signos<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"color: #060404;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">de la lucha contra el Sistema.<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"CENTER\"><span style=\"color: #010100;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b>PROGRAMA ESPA\u00d1OL<\/b><\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><span style=\"color: #010100;\"><i>Nocturno 29<\/i><\/span><span style=\"color: #010100;\">. Pere Portabella. 1968. 83&#8242;<\/span><\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Suite de situaciones aparentemente inconexas giran siempre<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">alrededor de un desarrollo tem\u00e1tico que acaba unificando<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">el film. Es la obra m\u00e1s anti-burguesa del director catal\u00e1n.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>Manderley<\/i>. Jes\u00fas Garay. 1980. 105&#8242;<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">La pel\u00edcula es una reflexion sobre la frustraci\u00f3n, el deseo, el<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">masoquismo, la locura, el del\u00edrio, de la ausencia de sexualidad<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">como medio de acceso a la felicidad y al paso del<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">tiempo.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>Informe General<\/i>. Pere Portabella. 1976. 173\u2019<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Pel\u00edcula grabada durante los meses posteriores a la muerte<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">del General Franco. Es una pel\u00edcula de tipo \u201cdocumental\u201d<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">realizada con las t\u00e9cnicas de una pel\u00edcula de ficci\u00f3n. Las<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">intervenciones de personajes, sacan a la luz la cuesti\u00f3n del<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">cambio de una dictadura a un estado de derecho.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>Orfeo filmado en el campo de batalla<\/i>. Jos\u00e9 Antonio\u00a0<\/b><\/span><\/span><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b>Maenza. 1969. 37&#8242;<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Tristes im\u00e1genes de un barrio de operarios de una ciudad<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">inauguran este film. El director presenta un proletariado<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">pasivo, resignado y conformista, mientras los j\u00f3venes intentan<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">la revoluci\u00f3n.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>El lobby contra el cordero<\/i>. Jos\u00e9 Antonio Maenza. 1968.\u00a0<\/b><\/span><\/span><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b>100&#8242;<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">El primer trabajo de Maenza rodado en Zaragoza. &#8220;Esta<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">pel\u00edcula se llev\u00f3 a cabo con un foco 500W, un tomavistas<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Paillard antiqu\u00edsimo y 21.157 pesetas&#8221;.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>Hortensia\/Beanc\u00e9<\/i>. Jos\u00e9 Antonio Maenza. 1969. 90&#8242;<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">\u00daltimo trabajo inacabado del artista aragon\u00e9s. Un experimento<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">audiovisual realizado en una casa burguesa de Barcelona,<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">donde resid\u00edan los miembros del equipo art\u00edstico y<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">t\u00e9cnico. Una vez m\u00e1s, las fronteras entre el arte y la vida<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">abiertas a un tr\u00e1nsito continuo.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>Funci\u00f3n de noche<\/i>. Josefina Molina. 1981. 90&#8242;<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">La actriz Lola Herrera representa Cinco horas con Mario, una<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">pieza teatral de Miguel Delibes que retrata el papel de la<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">mujer en la sociedad espa\u00f1ola. En el film, Lola Herrera y su<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">ex-marido, el actor Daniel Dicenta, conversan sobre su<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">pasado. La directora establece un paralelismo entre realidad<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">y ficci\u00f3n.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<address style=\"text-align: center;\"><em><strong>Las intrigas de Sylvia Couski.<\/strong><\/em> <strong>Adolfo Arrieta. 1974<\/strong><\/address>\n<address style=\"text-align: center;\">Esta pel\u00edcula es una comedia musical, o tal vez un cuento de hadas.<\/address>\n<address style=\"text-align: center;\">La historia es un pretexto para realizar una serie de retratos, y esto<\/address>\n<address style=\"text-align: center;\">a su vez es un pretexto para inventar una historia en una ciudad inventada,<\/address>\n<address style=\"text-align: center;\">una ciudad de travestis que tratan de revivir la Belle \u00c9poque de las<\/address>\n<address style=\"text-align: center;\">celebraciones de arte.<\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>Travelling<\/i>. Lluis Rivera. 1972. 10&#8242;<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Presentaci\u00f3n del proceso t\u00e9cnico de un film. La obra se filma<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">a s\u00ed misma a trav\u00e9s de un proceso de degradaci\u00f3n de la<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">imagen.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>A-MAL-GAM-A<\/i>. Iv\u00e1n Zulueta. 1976. 33&#8242;<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Un trabajo realizado en super 8 que se caracteriza por<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">la experimentaci\u00f3n en el lenguaje cinematogr\u00e1fico, la<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">utilizaci\u00f3n de los nuevos recursos t\u00e9cnicos de la<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">\u00e9poca y una influencia clara de las artes visuales, con<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">un discurso cr\u00edtico y provocador.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>La edad del silencio<\/i>. Gabriel Blanco. 1978. 9&#8242;<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Extremecedora radiograf\u00eda de la represi\u00f3n cultural franquista,<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">la tortura y el ansia por alcanzar la libertad. Cortometraje de<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">animaci\u00f3n con una gran capacidad expresiva y dram\u00e1tica.<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Realizado en colaboraci\u00f3n con el dibujante OPS.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><i>Mir\u00f3 l&#8217;altre<\/i>. Pere Portabella. 1969. 15&#8242;<\/b><\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Este film fue realizado para documentar la visita del pintor a la<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">exposici\u00f3n Mir\u00f3 l&#8217;altre, que tuvo lugar en el Colegio de Arquitectos<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">de Barcelona. El director no quer\u00eda hacer un documental<\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">tradicional y propuso una acci\u00f3n m\u00e1s arriesgada.<\/span><\/span><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<address style=\"text-align: center;\"><strong><i>Actuaci\u00f3 d\u2019Oca\u00f1a i Camilo<\/i><\/strong>. <strong>Video-Nou<\/strong>. 1977<\/p>\n<address>\n<address>Cinta grabada el d\u00eda que la FGAC convoca la Manifestaci\u00f3n de gays y lesbianas<\/address>\n<p>d\u00f3nde se exige la derogaci\u00f3n de la ley de Peligrosidad Social en Barcelona.<\/p>\n<\/address>\n<\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<p style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b>Colectivos y Cine militante<\/b><\/span><\/span><\/p>\n<p style=\"text-align: justify;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Esta sesi\u00f3n ha sido concebida como un encuentro de di\u00e1logo abierto entre el p\u00fablico y miembros de diferentes colectivos de cine. Durante sus exposiciones y reflexiones, los invitados aportar\u00e1n extractos de material realizado por Colectivo Cine de Clase, Colectivo de Cine de Madrid y Central del Curt, entre otros, que servir\u00e1n de ejemplo y referencia para identificar las disonancias y conexiones con la producci\u00f3n actual. Entre otros trabajos rescatados &#8211; y en algunos casos, material in\u00e9dito, destacamos:<\/span><\/span><\/p>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><strong><em><span style=\"font-size: small; color: #333333;\">El cuarto poder<\/span><\/em><\/strong><span style=\"font-size: small;\">. Colectivo de Cine de Clase. (1970)<\/span><\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><strong><i>El campo para el hombre<\/i><\/strong><span>. Colectivo de Cine de Clase. (1973)<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"color: #000000;\"><strong><span style=\"font-size: small;\">La ciudad es nuestra<\/span><\/strong><\/span><span style=\"font-size: small;\">. Tino Clabuig. <em>(1975)<\/em><\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><strong><span style=\"font-size: small;\"><i>Vitoria<\/i><\/span><\/strong><span style=\"font-size: small;\">. Colectivo de Cine de Madrid. (1976)<\/span><\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><strong><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">Un libro es un arma. <\/span><\/span><\/span><\/span><\/strong><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">Cooperativa Cinema Alternatiu.\u00a0<\/span><\/span><\/span><\/span><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">(1975)\u00a0<\/span><\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><strong><em><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span>Can Serra, la objeci\u00f3n de conciencia en Espa\u00f1a. <\/span><\/span><\/span><\/span><\/em><\/strong><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span>Cooperativa Cinema Alternatiu.<\/span><\/span><\/span><\/span><strong><em><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span>\u00a0\u00a0<\/span><\/span><\/span><\/span><\/em><\/strong><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span>(1976)<\/span><\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><strong><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\">La dona.\u00a0<\/span><\/span><\/span><\/strong><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\">Cooperativa Cinema Alternatiu. (1977)<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\"><strong><i>A cidade que se nos vai<\/i><\/strong>. Equipe Imaxe. (1979) <\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\"><strong><em>Asamblea 15M Bcn<\/em><\/strong>. <em>Comisi\u00f3n audiovisual. (2011)<\/em><\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><strong><em><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">No res. <\/span><\/span><\/span><\/em><\/strong><em><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">Metromuster. (2013)<\/span><\/span><\/span><\/em><\/address>\n<address style=\"text-align: center;\"><strong><em><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">Ciutat morta.\u00a0<\/span><\/span><\/span><\/em><\/strong><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">Metromuster, (2013)<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><strong><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">Idrissa.\u00a0<\/span><\/span><\/span><\/strong><span style=\"font-family: Verdana, sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">Metromuster. En proceso, (estreno previsto 2015)<\/span><\/span><\/span><\/address>\n<address style=\"text-align: center;\"><i>\u00a0<\/i><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<address style=\"text-align: center;\"><i>\u00a0<\/i><\/address>\n<address style=\"text-align: center;\">\u00a0<\/address>\n<address style=\"text-align: center;\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\"><i>\u00a0<\/i><\/span><\/span><\/span><\/address>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\"><b>FECHAS<\/b><\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">MARZO- JUNIO 2015<\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b><span style=\"font-size: small;\">ESPACIOS<\/span><\/b><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\"><strong>Madrid<\/strong> <\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\"><a href=\"http:\/\/www.ca2m.org\/es\/cine-y-video\/alo-alo-mundo-cines-de-invencion-en-la-generacion-del-68\">Centro de Arte Dos de Mayo (CA2M)<\/a><\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><a href=\"http:\/\/www.mecd.gob.es\/cultura-mecd\/dms\/mecd\/cultura-mecd\/areas-cultura\/cine\/mc\/fe\/cine-dore\/programacion\/2015\/0615Programa.pdf\">Filmoteca Espa\u00f1ola<\/a><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\"><strong>Valencia<\/strong> <\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><a href=\"http:\/\/ivac.gva.es\/la-filmoteca\/programacion\/ciclos\/ciclo_1178\/alo-alo-mundo-cines-de-invencion-en-la-generacion-68\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">Filmoteca IVAC- CulturArts<\/span><\/span><\/span><\/a><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <a href=\"http:\/\/www.upv.es\/entidades\/BBAA\/infoweb\/fba\/info\/910849normalc.html\">Facultad de Bellas Artes de San Carlos. Universidad Polit\u00e9cnica de Valencia<\/a><br \/>\n<\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><a href=\"http:\/\/www.pluton.cc\/actividades\/especial-jose-antonio-maenza\/\">Plut\u00f3n<\/a><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\"><strong>Barcelona<\/strong> <\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">Filmoteca de Catalunya<\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <a href=\"http:\/\/www.cccb.org\/xcentric\/ca\/sessio-jose_antonio_maenza-212921\">Festival Xc\u00e8ntric CCCB<\/a><\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">\u00a0 <a href=\"https:\/\/www.facebook.com\/events\/758898804224735\/\">El Palomar<\/a><\/span><\/span><\/span><\/p>\n<p style=\"text-align: center;\" align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><span style=\"font-size: small;\">\u00a0<a href=\"https:\/\/www.facebook.com\/events\/931705710214884\/\">Halfhouse<\/a><\/span><\/span><\/span><\/p>\n<style type=\"text\/css\"><!--\nP { margin-bottom: 0.21cm; }\n--><\/style>\n<p align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\"><b>AGRADECIMIENTOS<\/b><\/span><\/span><\/p>\n<style type=\"text\/css\"><!--\nP { margin-bottom: 0.21cm; }\n--><\/style>\n<p align=\"JUSTIFY\"><span style=\"font-family: Verdana,sans-serif;\"><span style=\"font-size: small;\">Equipo de la Cinemateca del Museo de Arte Moderno de R\u00edo de Janeiro (MAM\/RJ), Juliana Jambo, Cyntia Nogueira, Pere Portabella y el equipo de la productora Films 59, Vicente Ponce, Alejo Loren, equipo de Teatron, a los programadores de las filmotecas y de los diferentes espacios y un especial agradecimiento a los espacios independientes por su lucha cotidiana. <\/span><\/span><\/p>\n<p style=\"text-align: left;\" align=\"JUSTIFY\">Medios colaboradores:<\/p>\n<p style=\"text-align: left;\" align=\"JUSTIFY\"><a href=\"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-content\/uploads\/2015\/02\/TeatronLogo\u00a9\u00a9.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-1507\" alt=\"TeatronLogo\u00a9\u00a9\" src=\"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-content\/uploads\/2015\/02\/TeatronLogo\u00a9\u00a9-300x106.jpg\" width=\"193\" height=\"68\" srcset=\"https:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-content\/uploads\/2015\/02\/TeatronLogo\u00a9\u00a9-300x106.jpg 300w, https:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-content\/uploads\/2015\/02\/TeatronLogo\u00a9\u00a9-1024x363.jpg 1024w, https:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-content\/uploads\/2015\/02\/TeatronLogo\u00a9\u00a9.jpg 1417w\" sizes=\"auto, (max-width: 193px) 100vw, 193px\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00bfCu\u00e1ntas revoluciones son necesarias para cambiar este mundo? Despu\u00e9s de las rebeliones sociales que comenzaron en 2009, capitalistas financieros, coachers, monote\u00edstas radicales, managers, gur\u00fas neoliberales y todo tipo de yonqui del capital, han reforzado las diferencias entre centro\/ periferia, hombre\/mujer, &hellip; <a href=\"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/alo-alo-mundo-cinemas-de-invencao-na-geracao-68\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-1491","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-json\/wp\/v2\/pages\/1491","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-json\/wp\/v2\/comments?post=1491"}],"version-history":[{"count":27,"href":"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-json\/wp\/v2\/pages\/1491\/revisions"}],"predecessor-version":[{"id":1603,"href":"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-json\/wp\/v2\/pages\/1491\/revisions\/1603"}],"wp:attachment":[{"href":"http:\/\/www.tea-tron.com\/paolamarugan\/blog\/wp-json\/wp\/v2\/media?parent=1491"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}