Imperfect cinema in Nicaragua

Detalhes bibliográficos
Autor(a) principal: Romero, Tania
Data de Publicação: 2016
Tipo de documento: Artigo
Idioma: por
Título da fonte: ArtCultura (Online)
Texto Completo: https://seer.ufu.br/index.php/artcultura/article/view/34810
Resumo: Cinema in contemporary Nicaragua continues to be produced despite an established industrial model in the country. This paper examines the “imperfect” filmmaking conditions that have shaped contemporary national cinema, and the mobilizing effects of video production led by women calling the shots. Examples of these filmmakers include Maria Jose Alvarez, Martha Clarissa Hernandez, Florence Jaugey, and Rossana Lacayo. This paper examines how women filmmakers, since the end of Incine, have adapted to these less-than-ideal working conditions in order to generate a visualization of socio-cultural differences and to preserve the country’s recent history. Keywords: Incine; difference; imperfect cinema.
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spelling Imperfect cinema in NicaraguaCine "a lo zurdo" en NicaraguaCinema in contemporary Nicaragua continues to be produced despite an established industrial model in the country. This paper examines the “imperfect” filmmaking conditions that have shaped contemporary national cinema, and the mobilizing effects of video production led by women calling the shots. Examples of these filmmakers include Maria Jose Alvarez, Martha Clarissa Hernandez, Florence Jaugey, and Rossana Lacayo. This paper examines how women filmmakers, since the end of Incine, have adapted to these less-than-ideal working conditions in order to generate a visualization of socio-cultural differences and to preserve the country’s recent history. Keywords: Incine; difference; imperfect cinema.El cine nicaragüense ha persistido a pesar de no haber un modelo industrial establecido en el país. Este artículo examina las prácticas cinematográficas “imperfectas” del cine contemporaneo que han transformado el cine nacional, y los efectos de la producción de video realizado por mujeres como Maria Jose Alvarez, Martha Clarissa Hernandez, Florence Jaugey, y Rossana Lacayo. Este ensayo examina también como mujeres cineastas, después del fin de Incine, se han adaptado a estas condiciones con el propósito de producer una visualización de las diferencias socio-culturales y preservación de la historia reciente del país. Palabras clave: Incine; diferencia; cine imperfecto.Universidade Federal de Uberlândia2016-06-17info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://seer.ufu.br/index.php/artcultura/article/view/34810ArtCultura; Vol. 17 No. 30 (2015): ArtCulturaArtCultura; Vol. 17 Núm. 30 (2015): ArtCulturaArtCultura; v. 17 n. 30 (2015): ArtCultura2178-3845reponame:ArtCultura (Online)instname:Universidade Federal de Uberlândia (UFU)instacron:UFUporhttps://seer.ufu.br/index.php/artcultura/article/view/34810/18419Copyright (c) 2016 Artculturainfo:eu-repo/semantics/openAccessRomero, Tania2022-03-29T16:42:28Zoai:ojs.www.seer.ufu.br:article/34810Revistahttp://www.seer.ufu.br/index.php/artcultura/indexPUBhttps://seer.ufu.br/index.php/artcultura/oaiakparanhos@uol.com.br||2178-38452178-3845opendoar:2022-03-29T16:42:28ArtCultura (Online) - Universidade Federal de Uberlândia (UFU)false
dc.title.none.fl_str_mv Imperfect cinema in Nicaragua
Cine "a lo zurdo" en Nicaragua
title Imperfect cinema in Nicaragua
spellingShingle Imperfect cinema in Nicaragua
Romero, Tania
title_short Imperfect cinema in Nicaragua
title_full Imperfect cinema in Nicaragua
title_fullStr Imperfect cinema in Nicaragua
title_full_unstemmed Imperfect cinema in Nicaragua
title_sort Imperfect cinema in Nicaragua
author Romero, Tania
author_facet Romero, Tania
author_role author
dc.contributor.author.fl_str_mv Romero, Tania
description Cinema in contemporary Nicaragua continues to be produced despite an established industrial model in the country. This paper examines the “imperfect” filmmaking conditions that have shaped contemporary national cinema, and the mobilizing effects of video production led by women calling the shots. Examples of these filmmakers include Maria Jose Alvarez, Martha Clarissa Hernandez, Florence Jaugey, and Rossana Lacayo. This paper examines how women filmmakers, since the end of Incine, have adapted to these less-than-ideal working conditions in order to generate a visualization of socio-cultural differences and to preserve the country’s recent history. Keywords: Incine; difference; imperfect cinema.
publishDate 2016
dc.date.none.fl_str_mv 2016-06-17
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://seer.ufu.br/index.php/artcultura/article/view/34810
url https://seer.ufu.br/index.php/artcultura/article/view/34810
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://seer.ufu.br/index.php/artcultura/article/view/34810/18419
dc.rights.driver.fl_str_mv Copyright (c) 2016 Artcultura
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2016 Artcultura
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal de Uberlândia
publisher.none.fl_str_mv Universidade Federal de Uberlândia
dc.source.none.fl_str_mv ArtCultura; Vol. 17 No. 30 (2015): ArtCultura
ArtCultura; Vol. 17 Núm. 30 (2015): ArtCultura
ArtCultura; v. 17 n. 30 (2015): ArtCultura
2178-3845
reponame:ArtCultura (Online)
instname:Universidade Federal de Uberlândia (UFU)
instacron:UFU
instname_str Universidade Federal de Uberlândia (UFU)
instacron_str UFU
institution UFU
reponame_str ArtCultura (Online)
collection ArtCultura (Online)
repository.name.fl_str_mv ArtCultura (Online) - Universidade Federal de Uberlândia (UFU)
repository.mail.fl_str_mv akparanhos@uol.com.br||
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