scholarly journals Barcelona postolímpica en el cine

2021 ◽  
pp. 53-84
Author(s):  
Sara Antoniazzi
Keyword(s):  
Pedro Almodovar ◽  
Woody Allen ◽  
Alejandro Gonzalez Inarritu

El artículo analiza a través de una selección de películas cómo el cine ha retratado la Barcelona postolímpica. Se distinguen a grandes rasgos dos maneras básicas de representar cinematográficamente la capital catalana: la primera muestra una Barcelona idealizada, análoga a la que se vende a los turistas, contribuyendo así, de forma más o menos voluntaria, a reforzar y promocionar tanto el modelo Barcelona de transformación urbana como la marca Barcelona; la segunda ofrece una mirada más crítica sobre la ciudad, centrándose en algunos de los problemas que la afectan (especulación, gentrificación, desigualdades sociales, exclusión y explotación de los inmigrantes) y retratando la existencia de los que viven en el margen de la Barcelona turística. Partiendo de esta distinción, se analizan Todo sobre mi madre (1999) de Pedro Almodóvar, L’auberge espagnole (2002) de Cédric Klapisch y Vicky Cristina Barcelona (2008) de Woody Allen para ilustrar la primera modalidad de representación, y En construcción (2001) de José Luis Guerín y Biutiful (2010) de Alejandro González Iñárritu para ejemplificar la segunda.

scholarly journals El Seminario de la Ética a través del cine

2017 ◽  
Vol 7 (2) ◽  
pp. 55
Author(s):  
María Paula Paragis ◽  
Florencia González Pla
Keyword(s):  
Pedro Almodovar ◽  
Woody Allen ◽  
Federico Fellini ◽  
Charles Chaplin ◽  
George Stevens ◽  
Krzysztof Kieslowski

Reseña de "El Seminario de la Ética a través del cine. Lecturas lacanianas de Charles Chaplin, Jules Dassin, Federico Fellini, Woody Allen, Alfred Hitchcock, Vince Gilligan, Krzysztof Kieslowski, George Stevens, Pedro Almodóvar y los hermanos Marx"

Woody Allen: The Unshrinkable Man

2012 ◽  
Vol 40 (11) ◽  
pp. 12
Author(s):  
HARVEY ROY GREENBERG
Keyword(s):  
Woody Allen

Im Aufzug mit Woody Allen

physiopraxis ◽  
2019 ◽  
Vol 17 (03) ◽  
pp. 1-1
Author(s):  
Martin Huber
Keyword(s):  
Woody Allen

REPRESENTAÇÃO DA CIDADE NOS FILMES DE WOODY ALLEN

2018 ◽  
Vol 3 (2) ◽  
pp. 116-133
Author(s):  
Roberta Do Carmo Ribeiro
Keyword(s):  
Woody Allen

O objetivo deste trabalho é analisar a perspectiva do cineasta norte-americano Woody Allen a respeito de sua leitura sobre a representação da cidade. Focaremos na cidade que mais apareceu em sua filmografia: Nova Iorque. Serão analisados dois momentos da história da cidade. O primeiro se refere a passagem da década de 1970 para 1980, em que temos a hipótese de que Woody Allen apresenta Nova Iorque como uma utopia urbana, contrastando com outras representações da cidade realizadas no mesmo período, nas quais ela surge como violenta e perigosa. Situação que, posteriormente, resultaria na criação do sistema da Tolerância Zero como forma de estabelecer uma higienização do ambiente urbano, expurgando os elementos indesejados. Num segundo momento tratamos da reação de Woody Allen aos atentados de 11 de setembro de 2001. Esperava-se que ele, na condição de símbolo cultural de Nova Iorque, de alguma forma incorporasse tal tema em sua visão sobre a cidade. Contudo, o cineasta praticamente ignorou a tragédia, de modo a defender que mais importante do que lamentar-se pela mesma seria o de superá-la.

: High Heels . Pedro Almodovar, Agustin Almodovar.

1992 ◽  
Vol 45 (3) ◽  
pp. 39-44 ◽  
Author(s):  
Marsha Kinder
Keyword(s):  
Pedro Almodovar ◽  
High Heels

POSITIVE POLITENESS STRATEGIES IN MIDNIGHT IN PARIS MOVIE BY WOODY ALLEN

2018 ◽  
Vol 6 (1) ◽  
pp. 38-52
Author(s):  
Wirdah Amaliyah Permadi
Keyword(s):  
Qualitative Method ◽  
Woody Allen ◽  
Politeness Strategies ◽  
Cooperation Strategy ◽  
Hollywood Movie

This study is an analysis of positive politeness strategies in Midnight in Paris movie by Woody Allen. The writer takes positive politeness strategies in a movie because the writer believes that people can learn pragmatics deeper through a movie and wants to see how the positive politeness strategies are employed in a movie through dialogues, since the writer also believes that understanding politeness is important. The aims of this study are to mention and describe the kinds of positive politeness strategies that are employed by the characters in Midnight in Paris movie and to explain the reasons that influence the characters to employ those strategies. This study uses qualitative method. The source of the data is taken from a Hollywood movie entitled Midnight in Paris by Woody Allen. The data is in the form of sentences which deal with utterances related to the positive politeness strategies. The data are utterances employed by the characters from the movie which indicate positive politeness strategies. The data are analyzed into kinds of positive politeness strategies. The writer finds that there are 13 positive politeness strategies in this movie from 50 data. Exaggerate (interest, approval, sympathy with H) strategy is the most dominant kind of positive politeness strategies employed by the characters in Midnight in Paris movie with 15 data, while both assert or presuppose knowledge of and concern for the hearer’s wants strategy and give gifts to H (goods, sympathy, understanding, cooperation) strategy are the lowest with only 1 datum of each strategy.

„Ich weiß viel zu wenig, um inkompetent zu sein. ” (Woody Allen)

2001 ◽  
Vol 36 (1) ◽  
pp. 50-54
Author(s):  
Gerhard Marcel Martin
Keyword(s):  
Woody Allen

Vision and Decision

Rhetorik ◽  
2021 ◽  
Vol 40 (1) ◽  
pp. 47-64
Author(s):  
Peter Goodrich
Keyword(s):  
Common Law ◽  
Law And Literature ◽  
Online Video ◽  
Woody Allen

Abstract The rhetorical formula ‘law and literature’ places law before literature while the usually conjunctive ‘and’ connotes hierarchy and disjunction rather than equality and encounter. The concept of jurisliterature provides a lexical and theoretical remedy for such alienation and non-recognition. In the era of imaginal law and the politicization of common law practices through viral relay and online video presence the spectacle of governance becomes the governance of spectacles. Vision increasingly determines decision. Using the example of a recent four-part documentary trial, Woody Allen v Mia Farrow, this article examines the stakes of imaginal law, and the consequences of a juridism set free from the archive.

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