These Burgers Are Crazy
Hace 14 años
domingo, 27 de junio de 2010
Presente pasado y futuro del cine Ecuatoriano (en ingles) parte 2
On with the 90s
In 1991 Viviana and Juan Esteban Cordero write and direct the film "Sensaciones", which wins best sound at the "Festival de Cine de Bogotá" (Bogotá film festival). That same year the national secretary of communication along with ASOCINE organize the First contest of national fiction video ( Primer Concurso Nacional de Video Ficción). 19 works participate in this contest.
In 1992, Tania Hermida premiers her short "El puente roto" (the broken bridge), produced by the Escuela Internacional de Cine San Antonio de los Baños in Cuba.
The indigenas through the "CONAIE" (short for Confederación de Nacionalidades indígenas del Ecuador) organize the "Primer Festival de Cine y Video de las Naciones de Abya Yala"(first film and video festival of the Abya Yala nations). 130 works took part in this festival, coming from Alaska to Chile. Amarun, a work of Oswaldo Guayasamín was awarded as the best of show.
In 94, the President of Ecuador Sixto Durán Ballén, in an evil gesture Vetoes the Law of Cinema. That same year, the film "Entre Marx y una mujer desnuda" by Camilo Luzuriaga is filmed and then released in 1996. Also in 96, the film by Camilo Luzuriaga "Entre Marx y una mujer desnuda" wins best artistic direction in "La Habana" along with best script and best sound track in Trieste, Italia. In 96, the city hall approves the film showing regulation which frees of taxes on movie theater tickets and leads to the renovation, modernization and creation of movie theaters, like Multicines with 8 screens and Cinemark with 7. Multicines that first year claims 800,000 spectators.
In 2000 Víctor Arregui shows his first short "El tropezón". In the Venician festival Sebastian Cordero dose the world premiere of "Ratas, ratones y rateros" which receives the award of best film and (mejor opera prima) in the Latin American film festival in Trieste, Italy. The film also wins best actor for Carlos Valencia and (mejor opera prima) in the Iberoamercan festival of film in Huelva Spain. In the XXI festival in La Habana, Sebastián Cordero and Mateo Herrera win best editing. The film also breaks the Ecuadorian record for most watched in its time with 10,000 people in the first few weeks.
In 2001, an important happening for independent film happens in Quito, the Ocho y Medio film screens open as an alternative to commercial screens. .
In 2002, Mateo Herrera premiers his first full length feature "Alegría de una vez" which wins best film and best script at the "Festival Internacional de Cine Atlanta Dohlonega". Víctor Arregui also premiers his film “Fuera de juego”, which wins the odd prime film in construction at the 50th film international film festival in Donostia Spain. Also in 2001, John Malkovich films in Ecuador his film "Pasos de baile". Pablo Mogrovejo films the documentary "Ecuador versus el resto del mundo".
In 2003 Juan Martín Cueva and Víctor Arregui create "Cero Latitud", a organization which looks to produce cultural events and audiovisual events. "Cero Latitud" as its first act organizes "Festival Iberoamericano de Cine Cero Latitud", which become an annual event. Also that year Camilo Luzuriaga from that year forward the 7th of august will be known as the day of Ecuadorian cinema in homage to Augusto San Miguel for the premier of the first Ecuadorian feature film in the 7th of august in 1924. An IMAX screen opens in Guayaquil. In Cuenca, Patricio Montaleza organizes the first International film festival in Cuenca, more than 70 films from around the world are shown.
In 2004,Camilo Luzuriaga premiers his film "1809-1810 mientras llega el día" about the first try on Ecuadorian independence. Sebastián Cordero with the help from Ecuador, Mexico and Spain produces and releases his feature film "Crónicas", which participates in 50 festivals and wins 12 international awards.
In Guayaquil, a group of 100 kids gets to make video shorts of their everyday life , helped by the CEFOCINE they produce: “La banda del Capiruca”, “Res, el perro policía”, “La navidad y la familia Mosquera”, “Un viaje hacia el pasado”.
In 2005, the film "Qué tan lejos", was made with direction and script from Tania Hermida. Also Sebastián Cordero won with his film “Crónicas” best picture, best script, and best actor at the "Festival Internacional de Cine de Guadalajara". CEFOCINE and ASOCINE show a few shorts a piece, from varying themes such as the first female voter, indigenes in Bolivia and defenders of the rainforest. Also, the film “Esas no son penas” by Anahi Hoeneisen, is realized.
In 2006, on the 24th of January, congress approves the creation of ways to obtain credit to create the "Fondo de Cine" or the state film budget, along with the "film law" and the law to "Promote film in Ecuador law". ASOCINE calls to the election of the national council of cinematography, which will be held responsible to manage all the money around the film grant giving.
In Guayaquil, the First International Guayaquil Film Festival takes place (Primer Festival Internacional de Cine Guayaquil Film Fest). Víctor Arregui wins the Augusto San Miguel prize which is given to works in process of creation. “Qué tan lejos” becomes one of the few films that regain its investment in the national circuits.
In 2007, the films:”Se que vienen a matarme” (Luis Campos Yánez), “Al filo del amor” (Luis Zambrano), “Mete gol gana” (documentary by Felipe Terán), “Cuando me toque a mí” (Víctor Arregui).
(From this point onward the information on Ecuadorian film becomes unreliable, based largely on opinions and little facts.)
CONCLUSIONS
When did film change, when did it become art as a part of our culture from being a road side attraction? Because it wasn’t that way in the start and it didn´t change all at once, it needed a landing, sort of like a hive mind planning. It needed rots it needed branches and it needed a background to grow fruits.
Who was the landing? It was a mix actually something in between TV or the creation of national free TV and the two movies that were right for its time in the 80s; “La Tigra” and “Los hieleros del Chimborazo”.
The creation of TV brought the image to the people, to see something that moved something that happened and was you didn´t need to go the theater you could be at home you could watch at home. So, the idea of image made for the people was taken into account and rationalized as a part of everyday culture. TV was there and it stayed in people´s heart.
But, what about “La Tigra” and “Los hieleros del Chimborazo”? They represent the two sides of film in a modern way, the documentary in its Andean mountain ice cold form and a fiction in its Manabitan form in “La Tigra”.
These elements helped form a "landing” so to speak for the mind of a movie that changed everything in Ecuadorian cinema. It changed the ways the film in Ecuador was looked upon from within the country and from without. It changed the conception of the economic principles of film in the country. It tipped the scales I´m talking about “Ratas Ratones y Rateros”.
The film that united the coast and the mountain land, the middle high and low class in one film it was the first purely Ecuadorian movie. It had everything from every range of the country, every part, every type of person, the good the bad the father and the mother. It was all there, if you were en Ecuadorian, you had a character that was on your side politically economically and geographically.
The film was the first of its kind to have financial success in Ecuador alone and international success in the film festival circuits. In Ecuador, it had 10,000 spectators in its first weeks.
The film paved the way for the next Ecuadorian films. It made people conceive of the existence of film in the country. Movies like “Cuando me toque a mi”, “Qué tan lejos” or “Los Canallas”, have fallowed the way that “Ratas…” paved for them, imitating the neorealist Italian approach, by trying to touch effectively every segment of society to have the same effect as “Ratas…” of everyone having someone to root for.
But we are just at the tipping point, a great tipping point, the generation that will work in the 10’s will be great, they have no fear of failure , always they have had an existent Ecuadorian film industry, they lived and were young when “Ratas…” was premiered and they have know and probably seen the current mini hits like “black mama” or “Cuando me toque a mi”, so they know it is possible.
Pulse in 2005, the INCINE opened under the head Camilo Luzuriaga and has been teaching people the art of filmmaking, teaching that new fearless generation, the new generation of middle class hippies who use apple computers wear designer jeans and talk politics as if it is a soup opera, they are the future like it or not. Film in Ecuador changed in 1999 and will never be the same.
Works Cited:
http://elimperdible.ec/web/cine/una-olvidada-epoca-de-oro-del-cine-ecuatoriano.html- By paulinagr86 Published: 2010/04/17 http://www.edufuturo.com/educacion.php?c=1900- by Wilma Granda may 30th "El nacimiento de una noción " by Jorge Luis Serrano , Editorial Acuario, Quito 2001.
In 1991 Viviana and Juan Esteban Cordero write and direct the film "Sensaciones", which wins best sound at the "Festival de Cine de Bogotá" (Bogotá film festival). That same year the national secretary of communication along with ASOCINE organize the First contest of national fiction video ( Primer Concurso Nacional de Video Ficción). 19 works participate in this contest.
In 1992, Tania Hermida premiers her short "El puente roto" (the broken bridge), produced by the Escuela Internacional de Cine San Antonio de los Baños in Cuba.
The indigenas through the "CONAIE" (short for Confederación de Nacionalidades indígenas del Ecuador) organize the "Primer Festival de Cine y Video de las Naciones de Abya Yala"(first film and video festival of the Abya Yala nations). 130 works took part in this festival, coming from Alaska to Chile. Amarun, a work of Oswaldo Guayasamín was awarded as the best of show.
In 94, the President of Ecuador Sixto Durán Ballén, in an evil gesture Vetoes the Law of Cinema. That same year, the film "Entre Marx y una mujer desnuda" by Camilo Luzuriaga is filmed and then released in 1996. Also in 96, the film by Camilo Luzuriaga "Entre Marx y una mujer desnuda" wins best artistic direction in "La Habana" along with best script and best sound track in Trieste, Italia. In 96, the city hall approves the film showing regulation which frees of taxes on movie theater tickets and leads to the renovation, modernization and creation of movie theaters, like Multicines with 8 screens and Cinemark with 7. Multicines that first year claims 800,000 spectators.
In 2000 Víctor Arregui shows his first short "El tropezón". In the Venician festival Sebastian Cordero dose the world premiere of "Ratas, ratones y rateros" which receives the award of best film and (mejor opera prima) in the Latin American film festival in Trieste, Italy. The film also wins best actor for Carlos Valencia and (mejor opera prima) in the Iberoamercan festival of film in Huelva Spain. In the XXI festival in La Habana, Sebastián Cordero and Mateo Herrera win best editing. The film also breaks the Ecuadorian record for most watched in its time with 10,000 people in the first few weeks.
In 2001, an important happening for independent film happens in Quito, the Ocho y Medio film screens open as an alternative to commercial screens. .
In 2002, Mateo Herrera premiers his first full length feature "Alegría de una vez" which wins best film and best script at the "Festival Internacional de Cine Atlanta Dohlonega". Víctor Arregui also premiers his film “Fuera de juego”, which wins the odd prime film in construction at the 50th film international film festival in Donostia Spain. Also in 2001, John Malkovich films in Ecuador his film "Pasos de baile". Pablo Mogrovejo films the documentary "Ecuador versus el resto del mundo".
In 2003 Juan Martín Cueva and Víctor Arregui create "Cero Latitud", a organization which looks to produce cultural events and audiovisual events. "Cero Latitud" as its first act organizes "Festival Iberoamericano de Cine Cero Latitud", which become an annual event. Also that year Camilo Luzuriaga from that year forward the 7th of august will be known as the day of Ecuadorian cinema in homage to Augusto San Miguel for the premier of the first Ecuadorian feature film in the 7th of august in 1924. An IMAX screen opens in Guayaquil. In Cuenca, Patricio Montaleza organizes the first International film festival in Cuenca, more than 70 films from around the world are shown.
In 2004,Camilo Luzuriaga premiers his film "1809-1810 mientras llega el día" about the first try on Ecuadorian independence. Sebastián Cordero with the help from Ecuador, Mexico and Spain produces and releases his feature film "Crónicas", which participates in 50 festivals and wins 12 international awards.
In Guayaquil, a group of 100 kids gets to make video shorts of their everyday life , helped by the CEFOCINE they produce: “La banda del Capiruca”, “Res, el perro policía”, “La navidad y la familia Mosquera”, “Un viaje hacia el pasado”.
In 2005, the film "Qué tan lejos", was made with direction and script from Tania Hermida. Also Sebastián Cordero won with his film “Crónicas” best picture, best script, and best actor at the "Festival Internacional de Cine de Guadalajara". CEFOCINE and ASOCINE show a few shorts a piece, from varying themes such as the first female voter, indigenes in Bolivia and defenders of the rainforest. Also, the film “Esas no son penas” by Anahi Hoeneisen, is realized.
In 2006, on the 24th of January, congress approves the creation of ways to obtain credit to create the "Fondo de Cine" or the state film budget, along with the "film law" and the law to "Promote film in Ecuador law". ASOCINE calls to the election of the national council of cinematography, which will be held responsible to manage all the money around the film grant giving.
In Guayaquil, the First International Guayaquil Film Festival takes place (Primer Festival Internacional de Cine Guayaquil Film Fest). Víctor Arregui wins the Augusto San Miguel prize which is given to works in process of creation. “Qué tan lejos” becomes one of the few films that regain its investment in the national circuits.
In 2007, the films:”Se que vienen a matarme” (Luis Campos Yánez), “Al filo del amor” (Luis Zambrano), “Mete gol gana” (documentary by Felipe Terán), “Cuando me toque a mí” (Víctor Arregui).
(From this point onward the information on Ecuadorian film becomes unreliable, based largely on opinions and little facts.)
CONCLUSIONS
When did film change, when did it become art as a part of our culture from being a road side attraction? Because it wasn’t that way in the start and it didn´t change all at once, it needed a landing, sort of like a hive mind planning. It needed rots it needed branches and it needed a background to grow fruits.
Who was the landing? It was a mix actually something in between TV or the creation of national free TV and the two movies that were right for its time in the 80s; “La Tigra” and “Los hieleros del Chimborazo”.
The creation of TV brought the image to the people, to see something that moved something that happened and was you didn´t need to go the theater you could be at home you could watch at home. So, the idea of image made for the people was taken into account and rationalized as a part of everyday culture. TV was there and it stayed in people´s heart.
But, what about “La Tigra” and “Los hieleros del Chimborazo”? They represent the two sides of film in a modern way, the documentary in its Andean mountain ice cold form and a fiction in its Manabitan form in “La Tigra”.
These elements helped form a "landing” so to speak for the mind of a movie that changed everything in Ecuadorian cinema. It changed the ways the film in Ecuador was looked upon from within the country and from without. It changed the conception of the economic principles of film in the country. It tipped the scales I´m talking about “Ratas Ratones y Rateros”.
The film that united the coast and the mountain land, the middle high and low class in one film it was the first purely Ecuadorian movie. It had everything from every range of the country, every part, every type of person, the good the bad the father and the mother. It was all there, if you were en Ecuadorian, you had a character that was on your side politically economically and geographically.
The film was the first of its kind to have financial success in Ecuador alone and international success in the film festival circuits. In Ecuador, it had 10,000 spectators in its first weeks.
The film paved the way for the next Ecuadorian films. It made people conceive of the existence of film in the country. Movies like “Cuando me toque a mi”, “Qué tan lejos” or “Los Canallas”, have fallowed the way that “Ratas…” paved for them, imitating the neorealist Italian approach, by trying to touch effectively every segment of society to have the same effect as “Ratas…” of everyone having someone to root for.
But we are just at the tipping point, a great tipping point, the generation that will work in the 10’s will be great, they have no fear of failure , always they have had an existent Ecuadorian film industry, they lived and were young when “Ratas…” was premiered and they have know and probably seen the current mini hits like “black mama” or “Cuando me toque a mi”, so they know it is possible.
Pulse in 2005, the INCINE opened under the head Camilo Luzuriaga and has been teaching people the art of filmmaking, teaching that new fearless generation, the new generation of middle class hippies who use apple computers wear designer jeans and talk politics as if it is a soup opera, they are the future like it or not. Film in Ecuador changed in 1999 and will never be the same.
Works Cited:
http://elimperdible.ec/web/cine/una-olvidada-epoca-de-oro-del-cine-ecuatoriano.html- By paulinagr86 Published: 2010/04/17 http://www.edufuturo.com/educacion.php?c=1900- by Wilma Granda may 30th "El nacimiento de una noción " by Jorge Luis Serrano , Editorial Acuario, Quito 2001.
Presente pasado y futuro del cine Ecuatoriano (en ingles) parte 1
Hice esta monografia en el colegio como trabajo final de 5to curso en ingles espero que les guste( creative comons for the win!)
Introduction
Film making in Ecuador is a thing. It starts in 1901 in Guayaquil when using Edison´s "vitascope" that projected images of (in a very god fearing way) "Reproducción de las escenas de la Pasión y Muerte de Nuestro Señor Jesucristo" and also "Los Funerales de la Reina Victoria" along with takes of the Paris exposition of 1900. Film making back then was very much like a freak show.It was a thing of marvel and magic, a thing that competed next to dancing apes, midgets and beard women… nothing but a circus attraction. Not art. But, film in Ecuador wouldn´t take its title as art until the late 70’s and early 80’s. Only then will Ecuador start to shed roots to grow a bit because true art film is not produced in Ecuador until 90’s with "Ratas, Ratones y Rateros" witch are the first successful attempt at art, film art.
So what happened along the way?
CHAPTER 1
1900-1950
In 1910 in Guayaquil the first Ecuadorian film society is born It was called "Ambos mundos”. They distributed and produced, with funding from Francisco Parra y Eduardo Rivas Orz, which I can only assume as there is no info on them that they were rich "guayaquileños" who loved film. They show film in Guayaquil at a place called "Edén" and in Quito in the theatre owned by "Instituto Mejía". In these rudimentary stages of film creation that it´s time allowed "ambos mundos” they had a project to create the Ecuadorian film industry and promote film creation. This project was a failure due to the murder of Eloy Alfaro.
In 1922 José Ignacio Bucheli films in Quito "Las festividades del Centenario de la Indepenencia". But in august 7th of 1924, the first argumentative full length feature film "El Tesoro de Atahualpa", was produced. This film, produced by the Ecuador Film Co., was directed and financed by Agusto San Miguel, a young Guayaquileño. Augusto San Miguel is the sole filmmaker that created the mini golden age of Ecuadorian cinema at a time in Guayaquil Ecuador when 6 films were made in a span of one year and 4 months by Augusto San Miguel.
Then from 1924 to the ending 80’s nothing really important happened, just small events that had little weight to an overall picture.
In 1929, a western is filmed in the city of Ambato in a very crude and rudimentary way. In September of the year 1931 the film " Guayaquil de mis amores" produced by Ecuador Sono Films is produced.
In the next years in film, the films become more elaborate and have a better technical side, mostly thanks that films are vastly made to co-productions with other countries, mainly Mexico and Colombia.
In 1934 is the grand opening of Quito´s "Teatro Bolívar" and in 1936 is finalized the construction of the theater/cinema "Capitol". In 1937, the swish Rolf Blomberg films his first film in Ecuador "Vikingos en las islas de las tortugas Galápagos".
Dramatic pause for lack or relevant content apart from a few unimportant cinemas opening and closing, no important films were made, and then we go onto the 50s...
CAPTER 2
1950- 2007s
The "guayaquileño" Gabriel Tramontana opens in 1953 film progress labs that help a great deal to develop and push film forward for the next 40 years. In 1954, the "cuencano" Agustín Cueva, a reporter, dose a series of documentaries about various cities of Ecuador. He films "Cuenca en colores"," Ambato en colores", "Quito en colores", "Riobamba en colores", etc.
In 1956 in Quito the "Cine Club Quito" is born, a son’s project of the "Casa de la Cultura Ecuatoriana" and it starts its first activities directed by the writer " Jorge Enrique Adoum".
In Costa Rica, the Ecuadorian touristic film “Un viaje a Galápagos” made by Gabriel Tramontana wins an award. From 1958 the first soviet film festival is held in the "Teatro Universitario de Quito".
In the 60’s starts off with the premiere of the film "Los guambras" (1961), a coproduction between the "Industria Fílmica Ecuatoriana" and the Ecuadorian ministry of education. In 1966, "Universidad Central del Ecuador" founds the Cine Club Universitario under the wing of Ulises Estrella. The group states that it tries to create a specialized group for cinema debate. In 1967, the "Municipio de Guayaquil" awards a short made by Alberto Borges called "Pasos y a Elio Armas por el corto Carbón". The following year (1968) the same guy Alberto Borges wins with the film "El Cristo de Nuestras Angustias".
In the 70s, thanks to the petroleum ¡boom!, the production of various shorts will be possible, also in 1975 the "Encuentro de Realizadores Cinematográficos Ecuatorianos" takes place in Guayaquil. In 1977, the "Primer Concurso Nacional de Cortometrajes de Cine y Televisión" takes place, no record of who won is kept. In 1977 the "II Encuentro Iberoamericano de Realizadores Cinematográficos" takes place, the contest organized by the "Centro Municipal de Cultura de la Municipalidad de Guayaquil". At this gathering, the organization ASOCINE loosely translated to the Ecuadorian association of film makers, is created.
In 1978, The department of culture of the city of Quito with the help from 8 embassies, organizes the first international film festival in Quito called "Primer Festival Internacional de Cine Ciudad De Quito".
In 1979 the "Unión Nacional de Periodistas" or the national union of journalists produces the short "Hasta cuándo Padre Almeida", based on the local legend of the outgoing priest. Also in 1979, the documentary "Chimborazo" is filmed along with "Testimonio Campesino de los Andes Ecuatorianos", codirected by Fredy Elhers, Rodrigo Robalino and Tom Alandt. That year also, the "Primer Encuentro Nacional de Cineastas" (the first national congress of film makers) takes place to try to help the first "film law" pass that was proposed by ASOCINE.
The 80s start off nicely thank to the passing of the first Ecuadorian film law which states that all public spectacles will be exonerated by 100% of their taxes(Registro Oficial Nº 104) . That helped to kick start the production of 20 feature films and documentaries.
In 1981, Camilo Luzuriaga premiers the short film "Don Eloy", which gets second place at the First Ecuadorian film Festival, organized in Quito. The same year the "Casa de la Cultura Ecuatoriana" (Ecuadorian house of culture) and the Cine Club Ciudad de Quito(film club city of Quito) organize the "Primer Encuentro Andino de Cineastas", the first summit of Andes film makers, the event ends in the creation of the National Cinematec, as a son project of the Ecuadorian house of culture.
Many films get produced in the year 1983 through 1984 like :"Tiag" (Igor & Gustavo Guayasamín),"Tequiman" (Jorge Vivanco & Cristóbal Corral) "Tiempo de mujeres" (Mónica Vásquez), "Luar Trocas y Un lagarto verde" (Fundación Guayasamín), "La casa de Bernarda Alba" (Santiago Carcelén).
In 1986 again a summit named "The first summit of Ecuadorian film makers" takes place in Azuay which, according to record, is actually quite productive compared to other summits having made accounted for the production and diffusion of film and film making in Ecuador. Also in 1986, the Cinematec gave a workshop on Art film for children. The workshop produces the short animations "La niña de los patios" and "Cochasquí", made by children who attended the workshop.
Also in 1986, the " Cinemateca Nacional del Ecuador " with funding from the UNESCO starts a project to save ecuadorian films. About 2 hundred items from video to film, ranging from 3 films from the 1920, are transferred to a secure format at the Cinematec of Sao Paulo, Brasil.
In 1987 the first generation of Ecuadorian film makers travels to Cuba to study film at the "Escuela Internacional San Antonio de los Baños" in Cuba. Among them is Tania Hermida.
Introduction
Film making in Ecuador is a thing. It starts in 1901 in Guayaquil when using Edison´s "vitascope" that projected images of (in a very god fearing way) "Reproducción de las escenas de la Pasión y Muerte de Nuestro Señor Jesucristo" and also "Los Funerales de la Reina Victoria" along with takes of the Paris exposition of 1900. Film making back then was very much like a freak show.It was a thing of marvel and magic, a thing that competed next to dancing apes, midgets and beard women… nothing but a circus attraction. Not art. But, film in Ecuador wouldn´t take its title as art until the late 70’s and early 80’s. Only then will Ecuador start to shed roots to grow a bit because true art film is not produced in Ecuador until 90’s with "Ratas, Ratones y Rateros" witch are the first successful attempt at art, film art.
So what happened along the way?
CHAPTER 1
1900-1950
In 1910 in Guayaquil the first Ecuadorian film society is born It was called "Ambos mundos”. They distributed and produced, with funding from Francisco Parra y Eduardo Rivas Orz, which I can only assume as there is no info on them that they were rich "guayaquileños" who loved film. They show film in Guayaquil at a place called "Edén" and in Quito in the theatre owned by "Instituto Mejía". In these rudimentary stages of film creation that it´s time allowed "ambos mundos” they had a project to create the Ecuadorian film industry and promote film creation. This project was a failure due to the murder of Eloy Alfaro.
In 1922 José Ignacio Bucheli films in Quito "Las festividades del Centenario de la Indepenencia". But in august 7th of 1924, the first argumentative full length feature film "El Tesoro de Atahualpa", was produced. This film, produced by the Ecuador Film Co., was directed and financed by Agusto San Miguel, a young Guayaquileño. Augusto San Miguel is the sole filmmaker that created the mini golden age of Ecuadorian cinema at a time in Guayaquil Ecuador when 6 films were made in a span of one year and 4 months by Augusto San Miguel.
Then from 1924 to the ending 80’s nothing really important happened, just small events that had little weight to an overall picture.
In 1929, a western is filmed in the city of Ambato in a very crude and rudimentary way. In September of the year 1931 the film " Guayaquil de mis amores" produced by Ecuador Sono Films is produced.
In the next years in film, the films become more elaborate and have a better technical side, mostly thanks that films are vastly made to co-productions with other countries, mainly Mexico and Colombia.
In 1934 is the grand opening of Quito´s "Teatro Bolívar" and in 1936 is finalized the construction of the theater/cinema "Capitol". In 1937, the swish Rolf Blomberg films his first film in Ecuador "Vikingos en las islas de las tortugas Galápagos".
Dramatic pause for lack or relevant content apart from a few unimportant cinemas opening and closing, no important films were made, and then we go onto the 50s...
CAPTER 2
1950- 2007s
The "guayaquileño" Gabriel Tramontana opens in 1953 film progress labs that help a great deal to develop and push film forward for the next 40 years. In 1954, the "cuencano" Agustín Cueva, a reporter, dose a series of documentaries about various cities of Ecuador. He films "Cuenca en colores"," Ambato en colores", "Quito en colores", "Riobamba en colores", etc.
In 1956 in Quito the "Cine Club Quito" is born, a son’s project of the "Casa de la Cultura Ecuatoriana" and it starts its first activities directed by the writer " Jorge Enrique Adoum".
In Costa Rica, the Ecuadorian touristic film “Un viaje a Galápagos” made by Gabriel Tramontana wins an award. From 1958 the first soviet film festival is held in the "Teatro Universitario de Quito".
In the 60’s starts off with the premiere of the film "Los guambras" (1961), a coproduction between the "Industria Fílmica Ecuatoriana" and the Ecuadorian ministry of education. In 1966, "Universidad Central del Ecuador" founds the Cine Club Universitario under the wing of Ulises Estrella. The group states that it tries to create a specialized group for cinema debate. In 1967, the "Municipio de Guayaquil" awards a short made by Alberto Borges called "Pasos y a Elio Armas por el corto Carbón". The following year (1968) the same guy Alberto Borges wins with the film "El Cristo de Nuestras Angustias".
In the 70s, thanks to the petroleum ¡boom!, the production of various shorts will be possible, also in 1975 the "Encuentro de Realizadores Cinematográficos Ecuatorianos" takes place in Guayaquil. In 1977, the "Primer Concurso Nacional de Cortometrajes de Cine y Televisión" takes place, no record of who won is kept. In 1977 the "II Encuentro Iberoamericano de Realizadores Cinematográficos" takes place, the contest organized by the "Centro Municipal de Cultura de la Municipalidad de Guayaquil". At this gathering, the organization ASOCINE loosely translated to the Ecuadorian association of film makers, is created.
In 1978, The department of culture of the city of Quito with the help from 8 embassies, organizes the first international film festival in Quito called "Primer Festival Internacional de Cine Ciudad De Quito".
In 1979 the "Unión Nacional de Periodistas" or the national union of journalists produces the short "Hasta cuándo Padre Almeida", based on the local legend of the outgoing priest. Also in 1979, the documentary "Chimborazo" is filmed along with "Testimonio Campesino de los Andes Ecuatorianos", codirected by Fredy Elhers, Rodrigo Robalino and Tom Alandt. That year also, the "Primer Encuentro Nacional de Cineastas" (the first national congress of film makers) takes place to try to help the first "film law" pass that was proposed by ASOCINE.
The 80s start off nicely thank to the passing of the first Ecuadorian film law which states that all public spectacles will be exonerated by 100% of their taxes(Registro Oficial Nº 104) . That helped to kick start the production of 20 feature films and documentaries.
In 1981, Camilo Luzuriaga premiers the short film "Don Eloy", which gets second place at the First Ecuadorian film Festival, organized in Quito. The same year the "Casa de la Cultura Ecuatoriana" (Ecuadorian house of culture) and the Cine Club Ciudad de Quito(film club city of Quito) organize the "Primer Encuentro Andino de Cineastas", the first summit of Andes film makers, the event ends in the creation of the National Cinematec, as a son project of the Ecuadorian house of culture.
Many films get produced in the year 1983 through 1984 like :"Tiag" (Igor & Gustavo Guayasamín),"Tequiman" (Jorge Vivanco & Cristóbal Corral) "Tiempo de mujeres" (Mónica Vásquez), "Luar Trocas y Un lagarto verde" (Fundación Guayasamín), "La casa de Bernarda Alba" (Santiago Carcelén).
In 1986 again a summit named "The first summit of Ecuadorian film makers" takes place in Azuay which, according to record, is actually quite productive compared to other summits having made accounted for the production and diffusion of film and film making in Ecuador. Also in 1986, the Cinematec gave a workshop on Art film for children. The workshop produces the short animations "La niña de los patios" and "Cochasquí", made by children who attended the workshop.
Also in 1986, the " Cinemateca Nacional del Ecuador " with funding from the UNESCO starts a project to save ecuadorian films. About 2 hundred items from video to film, ranging from 3 films from the 1920, are transferred to a secure format at the Cinematec of Sao Paulo, Brasil.
In 1987 the first generation of Ecuadorian film makers travels to Cuba to study film at the "Escuela Internacional San Antonio de los Baños" in Cuba. Among them is Tania Hermida.
miércoles, 23 de junio de 2010
Toy Story 3, boys don´t cry , boys don´t cry.... snif snif
estuvo bacan, muy muy vacan, la película lo tuvo todo y fue una excelente forma de acabar una saga, personajes perfectos, trama perfecta, historia , humor, todo de la cantidad perfecta. Pixar hizo un excelente trabajo y no hay como dudarlo, si no te gusta no tienes corazón. La película sigue la trama justo antes de que andy se vaya a la universidad y los juguetes sean olvidados y ya nunca jugados con en el baul de los juguetes. Que después por accidente son donados a una guardería. Si digo mas se caga todo pero solo dejame decirte que la película es excelente para padres e hijos o cualquier pela gato que alguna vez en su vida haya jugado con un juegete(algo tan universal). Les va a gustar sea quien seas, vayas con quien vayas. solo va a estar bien todo. Una gran forma de cerrar la epica "historia de jugetes" (insertar acento español cargado aqui) y los 15 años 3 peliculas que hiso.
domingo, 6 de junio de 2010
Survival of the Dead, nada nuevo , un poco suave hasta
Nada nuevo puro repetido, personajes poco muy muy poco elaborados. Que paso mister romero antes si hacías cosas mejores la anterior que hiciste estuvo mejor siquiera las anteriores tuvieron un wide reales pero esta que diablos es esto, zombies que piensan un poco, no original, gente que no quiere matar a zombies, sabes creo que te robaste esa idea de un comic de zombies (The Walking Dead) sabes por que de alli no tienes nada de originalidad ni de personajes ni de creatividad, osea todo bien matar rednecks pero, baaa chimbaso decepcionaste. Dairy of the dead (la anterior en la night of the living dead series) tenia mucha mas originalidad en la forma en la que fue filmada y los personajes un poco mas alternativos y la trama mucho mas experimental y "movida" pero no Survival of the Dead estivo terrible.
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