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31 oct. 2011

RECENSIÓN.LE BONIMENTEUR DE VUES ANIMÉES. Le cinéma “muet” entre tradition et modernité Germain LACASSE. Texto completo. "The cineclub's review" number 1


LE BONIMENTEUR DE VUES ANIMÉES. Le cinéma “muet” entre tradition et modernité
Germain LACASSE
Editions Nota Bene (Québec). Méridiens Klincksieck (Paris) 2000

Por Julio Lamaña

Consensus et différends. Así titula Lacasse su introducción a un libro que insiste por activa y por pasiva que el cine “mudo” nunca fue mudo y que la oralidad estuvo siempre presente. Esa voz, que no está en el soporte fílmico, ha quedado también fuera del alcance de los historiadores, que han estado más concentrados en el texto fílmico que en las voces del metatexto cinematográfico1. Y consecuentemente esa es la voz que el autor analiza a fondo con extensos y variados ejemplos y que tiene la denominación de bonimenteur francés, benshi japonés, lecturer inglés, kinoerzähler aleman, filmuitlegger holandés, prelegent polonés, explicador español, lecturer norteamericano, turjumán iraní, pyongsa coreano, cartouche del Zaire o agitateur ruso. Todos unos nombres para definir la figura de la oralidad en el cine “mudo” como objetivo del estudio de este libro. Explicador, comentarista, conferenciante, narrador, figuras orales que como demuestra el autor, provienen de mucho más atrás en el arte de la representación con imágenes, poniendo como ejemplo la presencia de la oralidad en los espectáculos de linterna mágica.

AUTHORS IN THE NUMBER 1. CINECLUBS' REVIEW


INDEX THE CINECLUBS REVIEW NUMBER 1

Number 1- December 2010
  • Presentation/ Felipe Macedo (Brasil-Canadá)
  • Editorial
  • In favour of new words/ A favor de nuevas palabras/ Gabriel Rodríguez (México)
  • Dossier FICC Tabor 1987 (Filmoteca UNAM-México)
  • The birth of the FICC-IFFS/ Julio Lamaña (Catalunya-España)
  • Las reuniones de cineclubes en América Latina en los años 80/ Mario Piedra (Cuba)
  • Kelab Seni Filem Malaysia/ Wong Tuck Cheong (Malaysia)
  • Ciné-clubs au Mozambique/ Guido Convents (Bélgica)
  • La Fédération Tunisienne des Ciné-Clubs/ Mounira Yaacoub (Túnez)
  • Cinéma du Peuple, le premier ciné-club/ Felipe Macedo (Brasil-Canadá)
  • La parole comme arme du public/Germain Lacasse (Canadá)
  • La sala vacía/ Nicolás Román Borré (Colombia)
  • Books reviews:
  • Le Bonimenteur des vues animées- Germain Lacasse (Canadá)
  • Quando il cinema era un circolo- Virgilio Tosi (Italia)
  • La Cinéphilie- Antoine de Baecque (Francia)
  • Lo que Fabio Fasala nos ha dejado/ Paolo Minuto (Italia)
  • Fabio y el mundo, el trabajo por el asociacionismo internacional/ Valeria Patanè (Italia)
  • Una carta internacional para los derechos del público/ Fabio Masala (Italia)
  • The audience rights: the present effectivness of the Charte of Tabor/Marco Asunis (Italia)
  • Cineclubes, articuladores de culturas, derechos y públicos/ Yenny Chaverra (Colombia)
  • Sobre los Derechos del Público/ Gabriel Rodríguez (México)

30 oct. 2011

THE BIRTH OF THE INTERNATIONAL FEDERATION OF FILM SOCIETIES. Abstract. Complete text in "The cineclub's review" number 1


by Julio Lamaña
63 years after the birth of the FICC (Fédération Internationale des Ciné-Clubs), it seems opportune to pause in order to reflect on a key moment in the international film club movement. The political and social context of the recovery of freedom after a period of war instigated the resurgence of film societies all over the world. In this exceptional historic period, and with the need to not repeat anew another military conflict, sparked a cry from different spheres for the creation of international super-entities that would allow a progressive future and wellbeing for all the inhabitants of the planet. In 1945, the Charter of the United Nations was signed by 50 countries in San Francisco. In November of 1946, the First UNESCO World Conference was held in Paris to “establish intellectual and moral solidarity of mankind, and in doing so, prevent the outbreak of another world war”. Winston Churchill gave a speech in 1946 in Zurich proclaiming the need to unite the states of Europe so as to prevent new military conflicts. We must understand the origins of the FICC as being part of this historic process of creating international institutions. Cinema and the form in which it was approached by an organized public was also a way to avoid wars1.

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Dear friends,
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LA CINÉPHILIE-INVENTION D'UN REGARD, HISTOIRE D'UNE CULTURE (1944-1968). Abstract. Article complet. "The cineclub's review" number 1



Compte rendu
La cinéphilie – Invention d’un regard, histoire d’une culture – 1944 – 1968
Antoine de Baecque
Paris : Fayard, 2003, 405 pages.

Par Felipe Macedo
La cinéphilie est à la mode. Au moins dans certains milieux académiques, surtout états-uniens. Et c’est beaucoup la faute de Antoine de Baecque, prolifique éditeur, journaliste, historien, professeur et critique de cinéma et cinéphile tardif, d’après lui-même. De Baecque produisit une trentaine de livres, en partant de ses études universitaires sur la Révolution Française et puis se spécialisant dans le thèmes du cinéma, des cinéastes et de la cinéphilie. Il fut éditeur des Cahiers du Cinéma (1996/98) et éditeur de culture du Libération (2001/06), parmi d’autres publications. Il organisa une anthologie, en neuf volumes, des Cahiers et publia des études importants sur François Truffaut, Manoel de Oliveira, Tim Burton, pour ne mentionner que ceux-là.