Imperfect cinema in Nicaragua
Autor(a) principal: | |
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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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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|| |
_version_ |
1797069141941682176 |