María Magdalena. Origen e iconografía en las artes plásticas y en el cine

Mary Magdalene has always been a controversial issue related to the Passion of the Christ. At the very beginning she seems to be supporting the ministry of Jesus of Nazareth as his first disciple. In addition, she was involved in his crucifixion and burial and, what is more, she was the first witness of his resurrection. Due to this, Jesus entrusted her with the task of giving the good news to his disciples, but nobody trusted her, especially Simon Peter. From the 6th century onwards, her legacy changed and she became a repentant prostitute for the Christianity. This paper tries to analyze how those changes have been represented in the arts and specially in the cinema.

La crisis del comando en el cine norteamericano de guerra submarina en los períodos de posguerra: los casos de Run Silent Run Deep (Robert Wise, 1958) y Crimson Tide (Tony Scott, 1995)

The command crisis as a story line has been used in many references of the cinema war genre throughout years, but it is in the stories framed under the surface of the sea where it can reach its greatest destabilization capacity. The films of the subgenre suggested to exemplify this study are the North American Run Silent Run Deep (Robert Wise, 1958) and Crimson Tide (Tony Scott, 1995). Both films were produced during a post-war era and narrate the rivalry of a commander and his executive officer in wartime submarines of the United States Navy. Commanding problems severely affect the ecosystem of the ships, creating a struggle for control during patrol. By means of observation, the relationship between History and these films will be analysed, as much as the strategy and narrative process with the objective of verifying keys in the use of the plot.

La representación de la inmigración latina en el musical estadounidense: West Side Story e In The Heights

In a country founded by European emigrants, where the migratory flux has never stopped since the first settlers arrived in the 17th Century, the immigration coming from far beyond Río Grande has always been considered as invading. Through musicals like West Side Story (1957) and In the Heights (2007), we will analyze the change of paradigm of the Latino immigration as portrait in the American musical.

El espejo deformante. Heracles en el cine del siglo XXI

This article examines how 21st-century cinema has embraced one of the most important figures in classical mythology, the Greek hero Herakles. How cinematic art has captured and adapted the events that classical sources tell of the myth of the son of Zeus. And beyond his story, how it has assumed, varied or decontextualized the personality, values and attitude of a being that was undeniably of his time. In this way, by comparing the written story with the filmed story, we examine which episodes of the hero’s life have been brought to the big screen and which of them have not, and try to explain why. This comparison will also help us to determine the interrelations between the production of the films and the literary work on which they are based.

Lazzaro Felice, el héroe santo de Alice Rohrwacher

Starting from the premise that Lazzaro Felice (2018) by the Italian filmmaker Alice Rohrwacher is born from a vision of the world that has its roots in the Christian tradition and, therefore, is better understood from a religious perspective, we will study the different narrative and aesthetic aspects of the film, focusing on the creation of the central character, Lazarus, who, with a powerful spiritual charge of Christological resonances, is the essential key to the interpretation of the film. However, the religious approach is not limited to his figure, so we will also identify the numerous Christian references (iconographic, sound and narrative) recognizable in the staging and finally, we will discover some fragments of the film which reveals how, the director’s formal choices seek to translate into visual and sound language the presence of the sacred in everyday life.

Canarias en las primeras películas en color. Las islas en el catálogo de la compañía Kinemacolor

The British Kinemacolor was the first direct color capture filming system to achieve commercial success. Through this mechanical-photographic process, successive black and white frames were impressed through two color filters (red and green), and later, projected through the same coloured lights to produce color images taking advantage of the additive nature of light colours. The first Kinemacolor catalogue, published in 1913, included fiction and documentary films. Among this pictures we find several travel films shot around the world. Spain was one of the countries visited by the Kinemacolor camera operators who, among other destinations, traveled to the islands of Tenerife and Gran Canaria, where they filmed which are possibly the first pictures shot in color in the Islands.