Josetxo Cerdán
Datos Biográficos
| ID | 76518 |
|---|---|
| NOMBRE | Josetxo Cerdán |
| NOMBRES | Josetxo |
| APELLIDO | Cerdán |
| FIRMA | CERDÁN J |
| AFILIACIONES | Universidad Carlos III de Madrid |
| ORCID | 0000-0001-6028-4189 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 7 |
| TOTAL DE CITAS | 1 |
| TOTAL COMO AUTOR | 7 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2009 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2024 |
| ÍNDICE H | 1 |
“El futuro es de la mujer porque el pasado es del hombre”. La recuperación del cine de Nadia Werba en España (1965-1967)
La pintora y cineasta Nadia Werba, afincada hace tiempo en Italia pero residente en Madrid durante unos diez años a partir de 1956, realizó en los años 60 cuatro cortometrajes documentales con un estilo observacional muy particular: San Juan del Toro (1965), Maestros del duende (1966), Unos chicos, unas chicas (1966) y Catch (1967). Además de su valor cinematográfico, estos trabajos tienen interés como retrato sociológico, puesto que muestran dif…
Introduction
This article introduces the dossier of the Journal of Latin American Cultural Studies devoted to the study of digital cinema in Latin America. First, the text addresses the lack of research on the history of digital cinema in Latin America. Then, it proposes a comprehensive analysis of the digital, in terms of film aesthetics, production, distribution, exhibition, and consumption. At the same time, it establishes a dual axis to account for the ch…
The Institutionalisation of Ibero-American Cinema in the Twenty-First Century
In 2014, the Fénix Ibero-American Awards for Cinema and the PLATINO Awards for Ibero-American Cinema were launched. Created by Mexican and Spanish organizations respectively, both platforms aimed at promoting and disseminating contemporary Ibero-American cinema. This article analyses the strategies developed by these awards to conceptualize, market, and circulate Latin American, Portuguese, and Spanish cinemas in a global scenario. As such, the e…
The cartographic imagination in Spanish and Latin American documentaries
‘When we were invited to the University of Cali, we tracked down Colombia with Google Earth in order to plan the journey. But almost the whole country is blurry: it is covered by strange clouds or low resolution images of the jungle. Nothing of what was going on in Colombia could be tracked down over a satellite, so we asked the students to put together a collective film, shooting what each one of them considered it was essential to rescue from i…
In and out
Twenty years ago, Jo Labanyi pointed out that “‘Spanishness’ is a shifting concept, encompassing plurality and contradiction” (“Postmodernism” 397). Labanyi was writing at a critical juncture for S
A journal at the right time
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TVE Catalunya. Fifty years of light and shade
Preview this article: TVE Catalunya. Fifty years of light and shade, Page 1 of 1 /docserver/preview/fulltext/cjcs/1/1/s8-1.gif
In and out
Twenty years ago, Jo Labanyi pointed out that “‘Spanishness’ is a shifting concept, encompassing plurality and contradiction” (“Postmodernism” 397). Labanyi was writing at a critical juncture for S
A journal at the right time
Preview this article: A journal at the right time, Page 1 of 1 /docserver/preview/fulltext/cjcs/1/1/s1-1.gif
TVE Catalunya. Fifty years of light and shade
Preview this article: TVE Catalunya. Fifty years of light and shade, Page 1 of 1 /docserver/preview/fulltext/cjcs/1/1/s8-1.gif
In and out
Twenty years ago, Jo Labanyi pointed out that “‘Spanishness’ is a shifting concept, encompassing plurality and contradiction” (“Postmodernism” 397). Labanyi was writing at a critical juncture for S
The cartographic imagination in Spanish and Latin American documentaries
‘When we were invited to the University of Cali, we tracked down Colombia with Google Earth in order to plan the journey. But almost the whole country is blurry: it is covered by strange clouds or low resolution images of the jungle. Nothing of what was going on in Colombia could be tracked down over a satellite, so we asked the students to put together a collective film, shooting what each one of them considered it was essential to rescue from i…
Introduction
This article introduces the dossier of the Journal of Latin American Cultural Studies devoted to the study of digital cinema in Latin America. First, the text addresses the lack of research on the history of digital cinema in Latin America. Then, it proposes a comprehensive analysis of the digital, in terms of film aesthetics, production, distribution, exhibition, and consumption. At the same time, it establishes a dual axis to account for the ch…
The Institutionalisation of Ibero-American Cinema in the Twenty-First Century
In 2014, the Fénix Ibero-American Awards for Cinema and the PLATINO Awards for Ibero-American Cinema were launched. Created by Mexican and Spanish organizations respectively, both platforms aimed at promoting and disseminating contemporary Ibero-American cinema. This article analyses the strategies developed by these awards to conceptualize, market, and circulate Latin American, Portuguese, and Spanish cinemas in a global scenario. As such, the e…
“El futuro es de la mujer porque el pasado es del hombre”. La recuperación del cine de Nadia Werba en España (1965-1967)
La pintora y cineasta Nadia Werba, afincada hace tiempo en Italia pero residente en Madrid durante unos diez años a partir de 1956, realizó en los años 60 cuatro cortometrajes documentales con un estilo observacional muy particular: San Juan del Toro (1965), Maestros del duende (1966), Unos chicos, unas chicas (1966) y Catch (1967). Además de su valor cinematográfico, estos trabajos tienen interés como retrato sociológico, puesto que muestran dif…
Art (6 obras) · Movie theater (4 obras) · Computer Science (3 obras) · History (3 obras) · History (3 obras) · Media studies (3 obras) · Media, Journalism, and Communication History (3 obras) · Sociology (3 obras) · Spanish Culture and Identity (3 obras) · Art history (2 obras)