<?xml version='1.0' encoding='UTF-8'?><?xml-stylesheet href="http://www.blogger.com/styles/atom.css" type="text/css"?><feed xmlns='http://www.w3.org/2005/Atom' xmlns:openSearch='http://a9.com/-/spec/opensearchrss/1.0/' xmlns:georss='http://www.georss.org/georss' xmlns:gd='http://schemas.google.com/g/2005' xmlns:thr='http://purl.org/syndication/thread/1.0'><id>tag:blogger.com,1999:blog-6420103586833517650</id><updated>2011-04-21T19:30:28.245-07:00</updated><title type='text'>Ciclo Detrás de la Cámara</title><subtitle type='html'></subtitle><link rel='http://schemas.google.com/g/2005#feed' type='application/atom+xml' href='http://cinesuddetrasdelacamara.blogspot.com/feeds/posts/default'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/6420103586833517650/posts/default?max-results=100'/><link rel='alternate' type='text/html' href='http://cinesuddetrasdelacamara.blogspot.com/'/><link rel='hub' href='http://pubsubhubbub.appspot.com/'/><author><name>Quienes somos?</name><uri>http://www.blogger.com/profile/15686180419668414574</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='32' height='18' src='http://bp2.blogger.com/_61UuIjWUsJU/R19GbeqEmCI/AAAAAAAAACM/Gu-LMrl7aD8/S220/cinesud_logojpg.jpg'/></author><generator version='7.00' uri='http://www.blogger.com'>Blogger</generator><openSearch:totalResults>1</openSearch:totalResults><openSearch:startIndex>1</openSearch:startIndex><openSearch:itemsPerPage>100</openSearch:itemsPerPage><entry><id>tag:blogger.com,1999:blog-6420103586833517650.post-1704279137950955027</id><published>2007-12-20T03:10:00.000-08:00</published><updated>2007-12-20T03:19:00.200-08:00</updated><title type='text'></title><content type='html'>&lt;h2 style="font-weight: bold; color: rgb(51, 102, 255);"&gt;&lt;span style="font-size:180%;"&gt;&lt;span lang="CA"&gt;DETRÁS DE LA CÁMARA&lt;/span&gt;&lt;/span&gt;&lt;/h2&gt;  &lt;p&gt;&lt;span style="font-weight: bold;" lang="CA"&gt;CINE DENTRO DEL CINE. PELÍCULAS QUE NOS HABLAN DE LOS PROCESOS DE CREACIÓN DE LAS PELÍCULAS&lt;/span&gt;&lt;b&gt;&lt;u&gt;&lt;span lang="CA"  style="font-size:16;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/u&gt;&lt;/b&gt;&lt;/p&gt;  &lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;b&gt;&lt;span style=";font-family:Arial;font-size:14;color:black;"   &gt;&lt;span style="font-size:130%;"&gt;Dirigido por.../Directed by...&lt;/span&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/b&gt;&lt;/p&gt;  &lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;Rodolfo Duran, Arg, 2004, 98 min&lt;/span&gt;&lt;span style=";font-family:Arial;color:black;"  &gt; Docu. &lt;/span&gt;&lt;span style=";font-family:Arial;color:black;"   lang="EN-GB"&gt;Lang Esp / Subt. Eng&lt;/span&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;&lt;!--[if !supportEmptyParas]--&gt; &lt;!--[endif]--&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;Un mosaico sobre un fenómeno actual: filmar en Argentina. Una conversación entre 28 directores que nunca estuvieron reunidos y que discuten, dialogan, disienten y acuerdan sobre el modo de hacer cine allá y entre los temas tocan el guión, la producción, la puesta en escena, los actores, el estreno, la crítica, la generación del ´60, la censura y el llamado nuevo cine argentino.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;&lt;!--[if !supportEmptyParas]--&gt; &lt;!--[endif]--&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"   lang="EN-US"&gt;A 'mosaic' from a present phenomenon: make a film in Argentina. A conversation among 28 directors that were never together in a meeting and they discuss, dialog, dissent and agree upon the way movies are made there and among different topics they talk about; script, production, screenplay, actors, premieres, criticism, the generation of the 60's, censorship and the new so called Argentinian Cinema.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style="margin: 0cm 0cm 0.0001pt;"&gt;&lt;b&gt;&lt;span style=";font-family:&amp;quot;;font-size:10;"  lang="CA" &gt;&lt;!--[if !supportEmptyParas]--&gt; &lt;!--[endif]--&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/b&gt;&lt;/p&gt;  &lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;b&gt;&lt;span style=";font-family:Arial;font-size:14;color:black;"   &gt;&lt;span style="font-size:130%;"&gt;Dr. Empíria&lt;/span&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/b&gt;&lt;/p&gt;  &lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"   lang="CA"&gt;Carolina Navas, Col, 2001, 12 min. Docu. Lang Esp&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;&lt;a href="http://www.flickr.com/photos/mundokino/293607857/" title="dr empiria por mundokino, en Flickr"&gt;&lt;img src="http://farm1.static.flickr.com/99/293607857_81cefccc00_m.jpg" alt="dr empiria" height="160" width="240" /&gt;&lt;/a&gt;&lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;Documental sobre el director de cine colombiano Jairo Pinilla, pionero en el género de terror y en el uso de los efectos especiales en la cinematografía colombiana.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;&lt;!--[if !supportEmptyParas]--&gt; &lt;!--[endif]--&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"   lang="EN-US"&gt;Documentary about the Colombian film director Jairo Pinilla, a pioneer in the genre of terror and the use of special effects in Colombian cinema.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style="margin: 0cm 0cm 0.0001pt;"&gt;&lt;b&gt;&lt;span style=";font-family:&amp;quot;;font-size:10;"  lang="CA" &gt;&lt;!--[if !supportEmptyParas]--&gt; &lt;!--[endif]--&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/b&gt;&lt;/p&gt;  &lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;b&gt;&lt;span style=";font-family:Arial;font-size:14;color:black;"   &gt;&lt;span style="font-size:130%;"&gt;Hablemos del documental&lt;/span&gt;&lt;/span&gt;&lt;/b&gt;&lt;/p&gt;&lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;b&gt;&lt;span style=";font-family:Arial;font-size:14;color:black;"   &gt;&lt;/span&gt;&lt;/b&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;Bonaventura Durall, E&lt;/span&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;sp, 2003, 50 min. Docu. Lang Esp&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoBodyText" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;&lt;a href="http://www.flickr.com/photos/mundokino/293603987/" title="hablemos de documental por mundokino, en Flickr"&gt;&lt;img src="http://farm1.static.flickr.com/114/293603987_b025c8d4a4_m.jpg" alt="hablemos de documental" height="160" width="240" /&gt;&lt;/a&gt;&lt;/span&gt;&lt;/p&gt;&lt;p class="MsoBodyText" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;&lt;/span&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;&lt;/span&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoBodyText" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;Algunos de los más destacados representantes el panorama documental iberoamericano diseccionan los elementos que configuran la realización de un documental, su pasado, su presente y su futuro. José Luis Guerín, Patricio Guzmán, Joaquim Jordá, Fernando León de Aranoa y Elías Querejeta.&lt;/span&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoBodyText" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;&lt;!--[if !supportEmptyParas]--&gt; &lt;!--[endif]--&gt;&lt;/span&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoBodyText" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"   lang="EN-US"&gt;Some of the most distinguished representatives of documentary making in Iberian Peninsula and Latin America disect the elements that compound the making of a documentary; its past, its present and the future times. &lt;/span&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;José Luis Guerín, Patricio Guzmán, Joaquim Jordá, Fernando León de Aranoa and Elías Querejeta.&lt;/span&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p&gt;&lt;b&gt;&lt;span style=";font-family:&amp;quot;;font-size:10;"  &gt;&lt;!--[if !supportEmptyParas]--&gt; &lt;!--[endif]--&gt;&lt;/span&gt;&lt;/b&gt;&lt;b&gt;&lt;span style=";font-family:&amp;quot;;font-size:10;"  &gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/b&gt;&lt;/p&gt;  &lt;p&gt;&lt;b&gt;&lt;span style=";font-family:&amp;quot;;font-size:10;"  &gt;&lt;!--[if !supportEmptyParas]--&gt; &lt;!--[endif]--&gt;&lt;/span&gt;&lt;/b&gt;&lt;b&gt;&lt;span style=";font-family:&amp;quot;;font-size:10;"  &gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/b&gt;&lt;/p&gt;  &lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;b&gt;&lt;span style=";font-family:Arial;font-size:14;color:black;"   &gt;&lt;span style="font-size:130%;"&gt;Una mirada sobre el prado que llora&lt;/span&gt; &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/b&gt;&lt;/p&gt;  &lt;p class="MsoBodyText" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;Pere Alberó, Esp, 2005, 60 min. &lt;/span&gt;&lt;span style=";font-family:Arial;color:black;"   lang="EN-US"&gt;Docu. Lang Fr – Gr / Subt. &lt;/span&gt;&lt;span style=";font-family:Arial;color:black;"  &gt;Eng&lt;/span&gt;&lt;/p&gt;&lt;a href="http://www.flickr.com/photos/mundokino/293594434/" title="una mirada sobre el prado que llora por mundokino, en Flickr"&gt;&lt;img src="http://farm1.static.flickr.com/99/293594434_bddd209482_m.jpg" alt="una mirada sobre el prado que llora" height="160" width="240" /&gt;&lt;/a&gt;&lt;p class="MsoBodyText" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"   lang="CA"&gt;Mientras en Grecia se difuminan las huellas de su pasado, Angelopoulos reconstruye en el norte de las fronteras, dos poblados que serán testimonio del paso de la historia del siglo XX. La historia y sus gentes, llegados desde más allá de alguna frontera, provocan curiosas sobreposiciones entre realidad y ficción.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoBodyText" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"  &gt; &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoBodyText" style="text-align: justify;"&gt;&lt;span style=";font-family:Arial;color:black;"   lang="EN-US"&gt;While the imprints of past start fading in Greece; Angeloupoulos reconstructs in the north of the boundaries, two towns will be testimony of the pass of the 20th century history. The history and its people who arrive beyond the any border provoke curious superpositions between reality and fiction.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span lang="CA"&gt;&lt;!--[if !supportEmptyParas]--&gt; &lt;!--[endif]--&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/6420103586833517650-1704279137950955027?l=cinesuddetrasdelacamara.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://cinesuddetrasdelacamara.blogspot.com/feeds/1704279137950955027/comments/default' title='Enviar comentarios'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=6420103586833517650&amp;postID=1704279137950955027' title='0 comentarios'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/6420103586833517650/posts/default/1704279137950955027'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/6420103586833517650/posts/default/1704279137950955027'/><link rel='alternate' type='text/html' href='http://cinesuddetrasdelacamara.blogspot.com/2007/12/detrs-de-la-cmara-cine-dentro-del-cine.html' title=''/><author><name>Quienes somos?</name><uri>http://www.blogger.com/profile/15686180419668414574</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='32' height='18' src='http://bp2.blogger.com/_61UuIjWUsJU/R19GbeqEmCI/AAAAAAAAACM/Gu-LMrl7aD8/S220/cinesud_logojpg.jpg'/></author><media:thumbnail xmlns:media='http://search.yahoo.com/mrss/' url='http://farm1.static.flickr.com/99/293607857_81cefccc00_t.jpg' height='72' width='72'/><thr:total>0</thr:total></entry></feed>
