El impacto intermedial y transcultural de los géneros cinematográficos

Authors

  • Pablo Lanza
  • Alejandro Kelly Hopfenblatt

DOI:

https://doi.org/10.7203/eutopias.20.19404

Abstract

Introducción del dossier.

Downloads

Download data is not yet available.

Author Biographies

Pablo Lanza

Pablo Lanza teaches History of World Cinema at the Faculty of Humanities, Universidad de Buenos Aires. He holds a PhD in History and Theory of the Arts (UBA), is a member of the Center for Research and New Studies on Cinema (CIYNE) and of the editorial committee of the digital magazine Cine Documental . His current research focuses on the intersections between documentary film, the detective genre, and investigative journalism. He has published articles in national and international magazines on the history of cinema and is co-author of the books Cine y Revolución en América Latina (2014), Una historia del cine político y social en Argentina Vol. II (2010) and Reflexiones teóricas sobre cine contemporáneo (2010).

Alejandro Kelly Hopfenblatt

Alejandro Kelly Hopfenblatt holds a PhD in Art History and Theory from the Universidad de Buenos Aires. He is an assistant professor of Arts   (UBA) and a researcher at the Instituto de Artes del Espectáculo (FFyL, UBA). Member of the Reasearch Group on History of moviegoing in Buenos Aires (1933-1955), he has received doctoral and postdoctoral scholarships from the Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET) and has been a visiting scholar at the Instituto de Investigaciones Históricas of the Universidad Nacional Autónoma de México, the Facultad de Comunicación of the Universidad de Sevilla, and the School of Cinematic Arts of the University of Southern California. He is the author of the book Modernidad y teléfonos blancos. La comedia burguesa en el cine argentino de los años ’40 (Ciccus, 2019).

References

Altman, Rick. Los géneros cinematográficos. Barcelona: Paidós, 2000.

Barthes, Roland. Mitologías. México: Siglo XXI, 2002.

Broe, Dennis. Class, Crime and International Film Noir. Globalizing America’s Dark Art. New York: Palgrave Macmillan, 2014.

Colmenares, Maria Gabriela, «Industria e imitación: los géneros cinematográficos en los largometrajes de ficción de Bolívar Films». Archivos de la Filmoteca, 31, febrero de 1999, pp. 122-135.

Duarte, José & Timothy Corrigan, eds. The Global Road Movie. Alternative Journey’s around the World. Bristol and Chicago: Intellect, 2018.

Ďurovičová, Natasa & Kathleen Newman eds. World Cinemas, Transnational Perspectives. New York: Routledge, 2010.

Fay, Jennifer & Justus Nieland. Film Noir: Hard-boiled Modernity and the Cultures of Globalization. London and New York: Routledge, 2010.

Hansen, Miriam. «The Mass Production of the Senses: Classical Cinema as Vernacular Modernism». Modernism/modernity, 6(2), April 1999, pp. 59-77.

Lusnich, Ana Laura, Andrea Cuarterolo & Alicia Aisemberg, eds. Pantallas transnacionales: El cine argentino y mexicano del período clásico. Buenos Aires: Imago Mundi, 2017.

Masgrau-Juanola, Marina & Kunde, Karo. «La intermedialidad: un enfoque básico para abordar fenómenos comunicativos complejos en las aulas» Arte, Individuo y Sociedad, 30 (3), 2018, pp. 621-637, https://doi.org/10.5209/ARIS.59812 Recuperado el 10 de octubre de 2020.

Miller, Carolyn R. «Genre as social action» Quarterly Journal of Speech, 70, 1984, pp. 151-167. Recuperado el 10 de octubre de 2020.

Moine, Raphaëlle. Les genres du cinéma. Paris: Nathan, 2002.

Neale, Steve. «Questions of Genre». Film Genre Reader III. Ed. Barry Keith Grant. Austin: University of Texas Press, 1995, pp. 160-184

Oroz, Silvia. Melodrama: el cine de lágrimas de América Latina. México: UNAM, Dirección General de Actividades Cinematográficas, 1995.

Paranaguá, Paulo Antonio. Tradición y modernidad en el cine de América Latina. Madrid y México. Fondo de Cultura Económica, 2003.

Pettey, Homer B. & R. Barton Palmer. International Noir, Edinburgh: Edinburgh University Press, 2014

Rajewsky, Irina. «Intermediality, intertextuality and remediation: a literary perspective on intermediality» Intermédialités, 6, 2005, pp. 43-64.

Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking, and The Studio System. New York: Random House, 1981.

Triquell, Ximena- «Eje 3. Producciones cinematográficas contemporáneas: características y estrategias narrativas: Los géneros cinematográficos, entre la historia de la sociedad y la historia de un lenguaje» Culturas, 11, 2017, pp. 159-176, https://doi.org/10.14409/culturas.v0i11.7004 Recuperado el 10 de octubre de 2020.

Downloads

Published

2020-12-01

How to Cite

Lanza, P., & Kelly Hopfenblatt, A. (2020). El impacto intermedial y transcultural de los géneros cinematográficos. EU-topías. A Journal on Interculturality, Communication, and European Studies, 20, 67–70. https://doi.org/10.7203/eutopias.20.19404
Metrics
Views/Downloads
  • Abstract
    513
  • PDF (Español)
    304

Issue

Vol. 20 (2020)

Section

DOSSIER

License

The authors conserve the copyright. All content published in EU-topías. Journal of interculturality, Communication, and European Studies are subject to the license Creative Commons Attribution-NonCommercial-ShareAlike 4.0 license. The full text of the license can be found at <http://creativecommons.org/licenses/by-nc-sa/4.0>

They may be copied, used, disseminated, transmitted and publicly displayed, provided that:

  • The authorship and original source of the publication is cited (journal, publisher and URL of the work).
  • They are not used for commercial purposes.
  • The existence and specifications of this license of use are mentioned.

It is the responsibility of the authors to obtain the necessary permissions for images that are subject to copyright.

Metrics