{"id":1417,"date":"2023-12-19T09:53:29","date_gmt":"2023-12-19T09:53:29","guid":{"rendered":"http:\/\/meumon.synology.me\/wordpress\/?p=1417"},"modified":"2023-12-19T09:53:29","modified_gmt":"2023-12-19T09:53:29","slug":"cinema-i-teatre","status":"publish","type":"post","link":"http:\/\/meumon.synology.me\/wordpress\/cinema-i-teatre\/","title":{"rendered":"Cinema i teatre"},"content":{"rendered":"
https:\/\/www.newyorker.com\/magazine\/2018\/04\/23\/2001-a-space-odyssey-what-it-means-and-how-it-was-made<\/a>\u00a0Kubrick i CLarke a 2001, vaixella d’rno Jacobsen<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2018\/09\/24\/sam-mendes-directorial-discoveries<\/a>\u00a0Sam Mendes i les escenes de cinema que l’han impactat m\u00e9s<\/div>\n
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http:\/\/www.bbc.com\/culture\/story\/20181029-the-100-greatest-foreign-language-films<\/a>\u00a0100 pelis en llengua no anglesa<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2019\/05\/13\/rub-a-dub-theatre<\/a>\u00a0teatre a casa<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2020\/02\/03\/james-cordens-do-over<\/a>\u00a0Corden<\/div>\n
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https:\/\/globeplayer.tv\/<\/a>\u00a0teatre des del globe<\/div>\n
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https:\/\/www.vulture.com\/article\/most-influential-best-scenes-animation-history.html<\/a>\u00a0100 escenes clau de dibuixos animats<\/div>\n
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https:\/\/www.bbc.com\/culture\/article\/20211015-cinemas-most-misunderstood-filmmaker<\/a> Wes Anderson<\/div>\n
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https:\/\/thehustle.co\/the-economics-of-broadway-shows\/<\/a> els costos d’una producci\u00f3 de Broadway<\/div>\n
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https:\/\/www.newyorker.com\/culture\/culture-desk\/stephen-sondheim-taught-me-how-to-be-a-person<\/a> https:\/\/www.npr.org\/2021\/11\/26\/1059409700\/stephen-sondheim-10-favorite-songs<\/a><\/div>\n
Stephen Sondheim<\/div>\n
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https:\/\/www.vulture.com\/article\/best-nyc-movies.html<\/a> 101 pelis sobre NYC<\/div>\n
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https:\/\/www.newyorker.com\/culture\/the-front-row\/thirty-films-that-expand-the-art-of-the-movie-musical<\/div>\n
losing ground 1972<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/01\/03\/cradles-and-graves-in-pedro-almodovars-parallel-mothers<\/a> sobre Almod\u00f3var i el franquisme<\/div>\n
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That progression of personal feeling is, you might say, a mirror of a larger transformation in Spanish attitudes. In the wake of Franco\u2019s death, in 1975, came the pacto del olvido, or pact of oblivion\u2014a determination, enshrined in the Amnesty Law of 1977, to brush away the vestiges of former crimes and hence to move onward with a guiltless transition to democracy. As any shrink could tell you: Good luck with that. It\u2019s hard enough for a family to stash one skeleton in the cupboard, so what chance is there for an entire nation, with the cupboard bursting and the skeletons tens of thousands strong?<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/01\/31\/what-made-buster-keatons-comedy-so-modern-biography-james-curtis-dana-stevens<\/a><\/div>\n
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To the Keaton lovers, Chaplin was staginess, and therefore sentimentality, while Keaton was cinema\u2014he moved like the moving pictures. Chaplin\u2019s set pieces could easily fit onto a music-hall stage: the dance of the dinner rolls in \u201cThe Gold Rush\u201d and the boxing match in \u201cCity Lights\u201d were both born there imaginatively, and could have been transposed there. But Keaton\u2019s set pieces could be made only with a camera.<\/div>\n
Keaton\u2019s subject, in a larger sense, is the growth of technology and the American effort to tame it. There is scarcely a classic Keaton film of the twenties that doesn\u2019t involve his facing, with affection or respect more often than terror, one or another modern machine: the movie camera, the submarine, the open roadster.<\/div>\n
Two kinds of American comedy made themselves felt in the first half of the twentieth century: the comedy of invasion and the comedy of resistance. The first was the immigrant comedy of energy, enterprise, mischief, and mayhem. The Marx Brothers are supreme here, but Chaplin, who, although an immigrant of the Cockney rather than the Cossacks-fleeing variety, could play the Jewish arrival brilliantly, and the immigrant-comedy vein runs right up to Phil Silvers\u2019s Sergeant Bilko, swindling the simpleton officers at the Army base. In response comes the comedy of old-American resistance to all that explosive energy, struggling to hold on to order and decency and gallantry.<\/div>\n
Keaton is the stoical hero of the comedy of resistance, the uncomplaining man of character who sees the world of order dissolving around him and endures it as best he can. (In \u201cSteamboat Bill, Jr.,\u201d it\u2019s the nostalgic world of the river steamboat; in \u201cThe General,\u201d it is, for good or ill, the Old South.) Keaton\u2019s characters have character. They never do anything remotely conniving. And the one thing Keaton never does is mug. There are moments in all his best features, in fact, that anticipate the kind of Method acting that didn\u2019t come into fashion for another generation, as when he impassively slips to the ground beside the girl in the beginning of \u201cThe Cameraman,\u201d registering the act of falling in love by the tiniest of increments.<\/div>\n
Chaplin is a theatrical master and needs a theatre to make his mark. His movies play much, much better with an audience present. Keaton can be a solitary entertainment, seen with as much delight on a computer screen as in a movie palace\u2014rather as our taste for the great humanist sacrament of the symphony depends in some part on having open concert halls, while chamber music has whispered right throughout the pandemic. Keaton is the chamber-music master of comedy, with the counterpoint clear and unmuddied by extraneous emotion.<\/div>\n
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https:\/\/www.newyorker.com\/magazine\/2022\/08\/15\/ernst-lubitsch-made-the-hollywood-comedy-sublime<\/a> lubitsch<\/div>\n
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https:\/\/www.youtube.com\/watch?v=9B1a7-JR0BU arribada d’un tren a la ciutat lumiere https:\/\/youtu.be\/i8Yi4du489w reps beb\u00e9<\/div>\n
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https:\/\/www.inverse.com\/entertainment\/the-birds-hitchcock-music-in-movies<\/a><\/div>\n
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https:\/\/getpocket.com\/explore\/item\/the-12-greatest-strangest-most-transfixing-dance-scenes-in-the-history-of-crime-movies<\/a> escenes de ball en pelis de crims<\/div>\n","protected":false},"excerpt":{"rendered":"

https:\/\/www.newyorker.com\/magazine\/2018\/04\/23\/2001-a-space-odyssey-what-it-means-and-how-it-was-made\u00a0Kubrick i CLarke a 2001, vaixella d’rno Jacobsen https:\/\/www.newyorker.com\/magazine\/2018\/09\/24\/sam-mendes-directorial-discoveries\u00a0Sam Mendes i les escenes de cinema que l’han impactat m\u00e9s http:\/\/www.bbc.com\/culture\/story\/20181029-the-100-greatest-foreign-language-films\u00a0100 pelis en llengua no anglesa https:\/\/www.newyorker.com\/magazine\/2019\/05\/13\/rub-a-dub-theatre\u00a0teatre a casa https:\/\/www.newyorker.com\/magazine\/2020\/02\/03\/james-cordens-do-over\u00a0Corden https:\/\/globeplayer.tv\/\u00a0teatre des del globe https:\/\/www.vulture.com\/article\/most-influential-best-scenes-animation-history.html\u00a0100 escenes clau de dibuixos animats https:\/\/www.bbc.com\/culture\/article\/20211015-cinemas-most-misunderstood-filmmaker Wes Anderson https:\/\/thehustle.co\/the-economics-of-broadway-shows\/ els costos d’una producci\u00f3 de Broadway https:\/\/www.newyorker.com\/culture\/culture-desk\/stephen-sondheim-taught-me-how-to-be-a-person https:\/\/www.npr.org\/2021\/11\/26\/1059409700\/stephen-sondheim-10-favorite-songs Stephen Sondheim https:\/\/www.vulture.com\/article\/best-nyc-movies.html 101 … <\/p>\n

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