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Un análisis profundo que nos permitirá comprender el poder económico de China y sus paradojas. En 20 años, China ha experimentado un crecimiento económico extraordinario y sin precedentes y se ha impuesto como el mayor agente económico del planeta. Entre las empresas chinas más prometedoras, TCL Corp. se ha convertido en el mayor fabricante de televisores del mundo, al comprar a precio de saldo marcas en quiebra de prestigiosas empresas occidentales. (FILMAFFINITY)
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Apuntes de una memoria herida"]]]],["element",{"elementId":"39"},["name","Creator"],["description","An entity primarily responsible for making the resource"],["elementTextContainer",["elementText",{"elementTextId":"27443"},["text","Cristián Alfonso Uribe Moreno"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"27445"},["text","Tesis para optar al grado de Magíster en Estudios Latinoamericanos --- Universidad de Chile"]],["elementText",{"elementTextId":"27447"},["text","El presente estudio nació de un vacío, una carencia, un olvido, al parecer inconsciente, en la produccióncinematográfica nacional, que me motivó a examinar más detenidamente las películas de ficción realizadas en los últimos años. Enuna primera mirada, las imágenes del cine nacional parecían distanciarse de los temas derivados de la Dictadura, ajenas a toda laproblemática generada durante diecisiete años. En un análisis más profundo, constaté la falta de representación en sus imágenesde nuestra historia más reciente, una omisión muy evidente. Durante los años de gobierno militar era comprensible que el temafuera soslayado y poco abordado por los realizadores. Pero con la llegada de la Democracia en los noventa, se podía esperar uncambio de mentalidad y libertad que los cineastas aprovecharían. 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For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"10577"},["text","La guerrilla de celuloide. Resistencia estética y militancia política en el cine español (1967-1981)\n"]]]],["element",{"elementId":"40"},["name","Date"],["description","A point or period of time associated with an event in the lifecycle of the resource"],["elementTextContainer",["elementText",{"elementTextId":"10578"},["text","2011"]]]],["element",{"elementId":"39"},["name","Creator"],["description","An entity primarily responsible for making the resource"],["elementTextContainer",["elementText",{"elementTextId":"10580"},["text","Roberto Arnau Roselló\n"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"10582"},["text","Análisis de algunas tendencias del cine español en la historia reciente que han puesto de manifiesto una actitud de\nbeligerancia política y estética, en concreto las desarrolladas al final de la dictadura franquista en la década de 1970\n"]],["elementText",{"elementTextId":"10583"},["text","Nuestro punto de vista de partida se basa en el análisis de algunas tendencias del cine español en la historia reciente\nque han puesto de manifiesto una actitud de beligerancia política y estética, en concreto las desarrolladas al final de la dictadura\nfranquista en la década de 1970. Nos interesa de estas estéticas el hecho de que no son homogéneas, ni estáticas, que están en\nconstante evolución y cambian según su procedencia. Sus autores son creadores cinematográficos que frecuentan e incluso\nparticipan de otras actividades artísticas y movimientos culturales o políticos, lo cual inserta su práctica en un contexto sociocultural\nmás amplio en el que interaccionan con otras prácticas artísticas. Implementan estrategias de representación diversas que\nse sitúan en planos discursivos muchas veces contrapuestos. Suponen, pues, una particular investigación de las potencialidades\nexpresivas, políticas, poéticas, sociales y psicológicas del dispositivo cinematográfico. El contexto de marginalidad en el que se\ngestan algunas de las prácticas que nos proponemos investigar supone un elemento de relevancia sustancial. La trasgresión formal\nde algunos autores que operan en el terreno de la industria nos impulsa a buscar a aquellos cineastas que han llevado su\nresistencia al límite de la institución cinematográfica hasta situarse voluntariamente fuera de ella para crear un espacio propio de\nreflexión y estímulo, tanto estético como político, tanto artístico como social.\n"]]]]]]],["tagContainer",["tag",{"tagId":"212"},["name","Arte"]],["tag",{"tagId":"36"},["name","Cine"]],["tag",{"tagId":"179"},["name","Documental"]]]],["item",{"itemId":"553","public":"1","featured":"0"},["collection",{"collectionId":"1"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"205"},["text","Artículos de prensa"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"228"},["text","Textos publicados en periódicos o revistas."]]]]]]]],["itemType",{"itemTypeId":"18"},["name","Artículo de prensa"],["description","Textos publicados en periódicos y revistas."],["elementContainer",["element",{"elementId":"53"},["name","Enlace"],["description"],["elementTextContainer",["elementText",{"elementTextId":"2506"},["text","http://dialnet.unirioja.es/servlet/articulo?codigo=3340898\n"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"2502"},["text","La entrevista en el cine documental de la Transición. Identidad y memoria en Dolores, de A. Linares y J.L. García Sánchez (1980)\n"]]]],["element",{"elementId":"40"},["name","Date"],["description","A point or period of time associated with an event in the lifecycle of the resource"],["elementTextContainer",["elementText",{"elementTextId":"2503"},["text","2005"]]]],["element",{"elementId":"39"},["name","Creator"],["description","An entity primarily responsible for making the resource"],["elementTextContainer",["elementText",{"elementTextId":"2504"},["text","Laura Gómez Vaquero\n"]]]],["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"2505"},["text","Cuadernos de la Academia, Nº. 13-14, 2005 (Ejemplar dedicado a: El cine español durante la\nTransición democrática (1974-1983) / coord. por Arturo Lozano Aguilar, Julio Pérez Perucha) , págs. 333-350\nRecoge los contenidos presentados a: Congreso de la Asociación Española de Historiadores del Cine (9. 2001. Valencia)\n"]]]]]]],["tagContainer",["tag",{"tagId":"36"},["name","Cine"]],["tag",{"tagId":"179"},["name","Documental"]],["tag",{"tagId":"74"},["name","PCE"]],["tag",{"tagId":"7"},["name","Transición"]]]]]