Rielle Navitski
Biographic Data
| ID | 215552 |
|---|---|
| NAME | Rielle Navitski |
| GIVEN NAMES | Rielle |
| FAMILY NAME | Navitski |
| SIGNATURE | NAVITSKI R |
| AFFILIATIONS | Russian State Agrarian Correspondence University |
| ORCID | 0000-0002-0904-6377 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 1 |
The Cine Club de Colombia and Postwar Cinephilia in Latin America
Founded in Bogotá in 1949, the Cine Club de Colombia exemplifies the transatlantic character of Latin American cinephilia after WWII, when film societies, archives, festivals, and film schools flourished in close contact with European cultural institutions with global aspirations, including FIAF and UNESCO. Dedicated to ‘improving the taste of the movie-going public’ in a rapidly growing metropolis, the Cine Club de Colombia (CCC) served as a sou…
Public Spectacles of Violence
Ese pequeño arte que tanto amamos”
The Mexico City magazine El Universal Ilustrado (1917-34) is best known today for its promotion of the avant-garde estridentista movement and the rival Contemporáneos group; however, the publication’s engagement with cinema, unparalleled in the Mexican press, has gone largely unexamined. This essay contends that El Universal Ilustrado’s remediation of cinema through literary, journalistic, and visual discourses negotiated between postrevolutionar…
Spectacles of Violence and Politics
One of the first box-office successes of Mexican cinema, the 1919 'El automóvil gris' (dir. Enrique Rosas) fictionalized a case that exemplified a national crisis of political legitimacy – a series of robberies committed by the 'Grey Automobile Gang' with the complicity of military officials – using the narrative and visual conventions of French and North American crime film. Evoking cosmopolitan iconographies of crime cultivated in the police bl…
The last heist revisited
In the past decade, the ‘New Argentine Cinema’ has garnered international acclaim for its oblique, minimal narratives and unconventional cinematography. Yet this independent movement has been commercially overshadowed by recent Argentine films that stylishly rework the Hollywood genres of the heist picture and the whodunnit, including 2010 Oscar winner El secreto de sus ojos / The Secret in their Eyes (Juan José Campanella). The national and inte…
Ese pequeño arte que tanto amamos”
The Mexico City magazine El Universal Ilustrado (1917-34) is best known today for its promotion of the avant-garde estridentista movement and the rival Contemporáneos group; however, the publication’s engagement with cinema, unparalleled in the Mexican press, has gone largely unexamined. This essay contends that El Universal Ilustrado’s remediation of cinema through literary, journalistic, and visual discourses negotiated between postrevolutionar…
The last heist revisited
In the past decade, the ‘New Argentine Cinema’ has garnered international acclaim for its oblique, minimal narratives and unconventional cinematography. Yet this independent movement has been commercially overshadowed by recent Argentine films that stylishly rework the Hollywood genres of the heist picture and the whodunnit, including 2010 Oscar winner El secreto de sus ojos / The Secret in their Eyes (Juan José Campanella). The national and inte…
Spectacles of Violence and Politics
One of the first box-office successes of Mexican cinema, the 1919 'El automóvil gris' (dir. Enrique Rosas) fictionalized a case that exemplified a national crisis of political legitimacy – a series of robberies committed by the 'Grey Automobile Gang' with the complicity of military officials – using the narrative and visual conventions of French and North American crime film. Evoking cosmopolitan iconographies of crime cultivated in the police bl…
Ese pequeño arte que tanto amamos”
The Mexico City magazine El Universal Ilustrado (1917-34) is best known today for its promotion of the avant-garde estridentista movement and the rival Contemporáneos group; however, the publication’s engagement with cinema, unparalleled in the Mexican press, has gone largely unexamined. This essay contends that El Universal Ilustrado’s remediation of cinema through literary, journalistic, and visual discourses negotiated between postrevolutionar…
Public Spectacles of Violence
The Cine Club de Colombia and Postwar Cinephilia in Latin America
Founded in Bogotá in 1949, the Cine Club de Colombia exemplifies the transatlantic character of Latin American cinephilia after WWII, when film societies, archives, festivals, and film schools flourished in close contact with European cultural institutions with global aspirations, including FIAF and UNESCO. Dedicated to ‘improving the taste of the movie-going public’ in a rapidly growing metropolis, the Cine Club de Colombia (CCC) served as a sou…
Art (4 works) · Movie theater (4 works) · Political science (4 works) · Visual arts (4 works) · Art history (3 works) · Law (3 works) · Media studies (3 works) · Politics (3 works) · Sociology (3 works) · Aesthetics (2 works)