Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This article analyzes North American landscape in Terrence Malick's Badlands (1973) film and Christian Patterson’s Redheaded Peckerwood (2011) photobook. These are two interpretations of a real case: the murders committed by Charles Starkweather and Caril Ann Fugate and their getaway through the American Midwest. A comparative dialogue between cinema, photography and the book reflecting the specificity of each medium is established.

Raymundo Gleyzer, an Argentine filmmaker who disappeared in May 1976, left a vast production that combines documentary with fiction. Crossed by the precepts of Cinema Novo, he proclaimed that "to make movies, you only need a camera in hand and an idea in the head". As alma mater of the Cine de la Base, he shared with his colleagues at Cine Liberación the idea of the cinema as a tool for counter-information. More pragmatic than intellectual, he left few writings on his reflections on the third cinema or the construction of a new language. However, on the occasion of the presentation of his film Los Traidores, during the IX Pesaro International Film Festival of New Cinema in 1973, he sets out his position on the effectiveness of Latin American revolutionary cinema. Not only did he highlight some common features preached by the militant cinema, but he also emphasized the importance of videotape as a tool for the diffusion of films in the Latin American context. Also, in defending his decision to appeal to classical fiction to tell his story, he put in the eye of the storm the debate on the cinematographic language within European political cinema.

David Lynch’s latest creation, released simultaneously Worldwide this year 2017 it’s been a surprising sequel of the TV Series he started in 1990, but with a brand new style and narrative that put it closer to videoart and which has references from the most important painting artists of the 20th Century. The transition from chemical cinema to digital cinema through short films made for his website changed the way David Lynch expresses himself and ended up with the construction of the long feature film Inland Empire in 2006. Since then, all his creative production has changed, setting him aside from big Hollywood industry, but three years ago he was asked to continue Twin Peaks, cancelled  in 1991. After analysing the content of Lynch’s artwork we’ll see that artits like Francis Bacon or Edward Hopper are a constant influence in Lynch filmography, but  to enumerate influences is just a small part of the purpose because it’s not a question of the content but of the creative process what makes the series a pioneer in a new narrative product for massive consumtion through televisión. The change of cinematographic techniques made this artwork something beyond television narrative.

The present study deals with the photographic images of "Tragic Week", as they were published in the illustrated press in the weeks following the insurrection. The first step is to propose a census of press photographs that reflect the popular revolt that shook Barcelona and its region between 26 of July and 2 of August 1909. The thematic and formal approach favoured in the rest of this paper makes it possible to identify the main lines of force which cross a corpus composed of nearly 250 photographs and shows how, from its birth, reportage photography participates in the making of an oriented narrative of events.

Revolutionary cinema hasn’t been new in the history of the 7th art, since its early years until today, it has been used as a fighting tool. Between many artists that had been adhered to revolutionary processes, there has been the concern about form and content relation in the revolutionary art, this discussion would be present in cinema too. The Bolivian filmmaker Jorge Sanginés, who developed an approach to the revolutionary cinema, said that the form can’t ideologically betray the content, this is why he made an important formal experimentation in the search to find that ideological-political reciprocation between the form of his movies and the content of them. In this article we will analyze some Sanjinés movies, dialogue with his theoretical approaches, in order to answer the question: which are the contributions and the relation between form and content that Jorge Sanjinés proposed to the construction of a revolutionary cinema?

The biased media coverage on 15-M in 2011 grants the documentaries produced on this topic the ability to intervene in the social imaginary; at the same time, it reveals the difficulty of representing this social movement. In this article I will study the documentaries #Indignados. Del 15M al 20N, 15M: “Excelente, Revulsivo, Importante”, #Acampadasol: historia de una ciudad, Falsos horizontes and Libre te quiero in order to show how the diversity of documentary modes —using Bill Nichol’s conceptual scheme— used by the authors reflects that 15-M cannot be easily confined within the conventions of a unique type of representation.

Reseña del libro de Barrientos-Bueno, Monica (2017). Dentro del cuadro. 50 presencias pictóricas en el cine. Barcelona: Editorial UOC. 196 pp. Reseña de Irene Raya Bravo

Reseña del libro Desde el polvo del Anáhuac a la tradición del páramo. Málaga: Universidad de Málaga. Puntos de Fuga, 192 pp. Reseña de Gabriela Sodi Miranda

Only in two historical moments, film and revolution have assumed a symbiosis that has made them go together in a joint evolution. The first of these moments is well known: the Russian Revolution and the Soviet cinematographic avant-garde. The other historical moment is undoubtedly influenced by the previous one, but it is almost unknown and responds to the independence of Mozambique, the birth of this nation, which meant also the birth of Mozambican film. This film emerged as an instrument of education and ideological propaganda, closely indeed to the evolution of the country. This article focuses in the analysis of the evolution of that cinematographic and historical revolution and in the filmographies of two filmmakers linked to the history of Mozambican cinema: Licinio Azevedo and Margarida Cardoso; Azevedo develops a first role, and Cardoso the part of a privileged witness of the evolution of Mozambique's cinema, and of his transition from documentary to fiction. Both filmmakers present exciting filmographies about a cinematographic and historical revolution that deserves to be considered. Both represent crossed roads that speak of revolution, memory, failure and absence, through the construction of personal universes intertwined with the social and political history of Mozambique.

Wes Anderson is a film director recognized worldwide for the particular style he gives to each of his films. In this study we will analyze the importance of the use of travellings in the construction of this director's personal style, taking as an object of study three films from his extensive filmography, Rushmore (1998), The Royal Tenenbaums (2001) and The Grand Budapest Hotel (2014). To achieve this goal, we will make an analysis of the use of the travellings and their contribution to the development of the films stories. The results suggest that this camera movement is used by this American director to highlight the encounter that the protagonists have themselves and to give continuity to the story through the maturation suffered by them throughout the film.