La ciudad de México que el cine nos dejó (Artes Visuales) (Spanish Edition)

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The establishment of a discursive scene to Espacio, memoria y archivo en el arte relacional. Gernika, ISBN: English Title: Alternative Communities in Art. Space, Memory and Archive in Relational Art. The paradox of emotional response to fiction. PhD Dissertation , , Online. ISBN: Poetry and imagined worlds: Creativity and everyday experience, Palgrave Publishers, forthcoming.

Herder, forthcoming. Archiving and Questioning Immateriality. English Title: The paradox of anomalous suspense. In: Celia Riboulet Coord. English Title: Co-creativity: collaborative web-based artistic practices. Reconsideraciones alrededor del problema de los indiscernibles en Danto. Voces amplificadas en el espacio.

Gernika, pp. English Title: Imaginary Geographies. Amplified Voices in the Space. Cine y fin del mundo, Vol. English Title: Pity and Hope. Cinematographic fictions about the end of the world.

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Art and Pornography: Philosophical Essays. English Title: Christoph Menke, Facts about tragedy. Essay on judgment and representation. Conference: American Philosophical Association, Civil disobedience. Art, science and technology. Under representation and misrepresentation of women in the arts. The role of art historical knowledge in aesthetics.

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Interactivity and Computer-Based Tactical Media. Art, Violence and Mexico. Tactical Media: New approaches to hybrid creativity. Exemplification in Computer-based Art. Commentary on the paper Sympathy and Fascination. Reconsideraciones alrededor del problema de los indiscernibles de Danto. Moreno Ivanova wanted the rights to the films to remain his, and more generally Mexico's, as a national treasure.

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On 2 June the eight-year battle was resolved with Columbia retaining ownership over the 34 disputed films. As a young man, Cantinflas performed a variety of acts in travelling tents, and it was here that he acquired the nickname "Cantinflas". According to one obituary, "Cantinflas" is a meaningless name invented to prevent his parents from knowing he was in the entertainment business, which they considered a shameful occupation.

Cantinflas confirmed it in , in his last television interview.

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Before starting his professional life in entertainment, he explored a number of possible careers, such as medicine and professional boxing , before joining the entertainment world as a dancer. By he was involved in Mexico City's carpa travelling tent circuit, performing in succession with the Ofelia, Sotelo of Azcapotzalco , and finally the Valentina carpa , where he met his future wife. At first he tried to imitate Al Jolson by smearing his face with black paint , but later separated himself to form his own identity as an impoverished slum dweller with baggy pants, a rope for a belt, and a distinctive mustache.

In the mids, Cantinflas met publicist and producer Santiago Reachi and subsequently partnered with him to form their own film production venture. Reachi produced, directed, and distributed, while Cantinflas acted. Reachi established Posa Films in with two partners: Cantinflas and Fernandez.

The phrase that gave that movie its name became a "Cantinflas" or catchphrase for the remainder of his career. The film was a breakthrough in Latin America and was later recognized by Somos magazine as the 10th greatest film produced largely in Mexico. By this time, he had sufficiently distinguished the peladito character from the s-era pelado , and his character flowed comfortably from the disenfranchised, marginalized, underclassman to the empowered public servant. The rhetoric of cantinflismo facilitated this fluidity.

In , Moreno teamed up with Reachi, Miguel M. Delgado , and Jaime Salvador to produce a series of low-quality parodies, including an interpretation of Chaplin's The Circus. The s and s were Cantinflas' heyday. The talks did not go well, however, and, in the resulting scandal, Moreno took his act back to the theatre.

For the first few months, he persuaded the King and Queen of Spain to fund his voyage so that he could let his wife "drive" so she could make a wrong turn and discover Mexico instead, allowing him to also discover Jorge Negrete so that the Queen — an ardent fan — could meet him. When Negrete died just before Christmas of , he changed it first to Pedro Infante until his death four years later, and then finally to Javier Solis until his death in While David Niven was billed as the lead in English-speaking nations, Cantinflas was billed as the lead elsewhere.

As a result of the film, Cantinflas became the world's highest-paid actor. Moreno's second Hollywood feature, Pepe , attempted to replicate the success of his first. The film had cameo appearances by Frank Sinatra , Judy Garland and other stars. His humor, deeply rooted in the Spanish language, did not translate well for the American audience and the movie was a notorious box office disappointment.

He still earned a Golden Globe nomination for his part. Later in a American interview, Moreno cited the language barrier as the biggest impediment to his making it big in the United States. After returning to Mexico, Cantinflas starred in the comic drama El bolero de Raquel , the first Cantinflas film to be distributed to the United States by Columbia Pictures. The film was followed by more Cantinflas-Reachi-Columbia productions: El analfabeto , El padrecito , and Su excelencia After Su excelencia , Cantinflas began to appear in a series of very low-budget comedies directed by Miguel M.

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  8. Delgado , which were produced by his own company "Cantinflas Films". These films lasted until El Barrendero , in Like Charlie Chaplin , Cantinflas was a social satirist. He played el pelado , an impoverished Everyman, with hopes to succeed. With mutual admiration, Cantinflas was influenced by Chaplin's earlier films and ideology. Cantinflas' films, to this day, still generate revenue for Columbia Pictures.

    Among the things that endeared him to his public was his comic use of language in his films; his characters all of which were really variations of the main "Cantinflas" persona but cast in different social roles and circumstances would strike up a normal conversation and then complicate it to the point where no one understood what they were talking about.

    The Cantinflas character was particularly adept at obfuscating the conversation when he owed somebody money, was courting an attractive young woman, or was trying to talk his way out of trouble with authorities, whom he managed to humiliate without their even being able to tell. Cantinflas' style and the content of his films have led scholars to conclude that he influenced the many teatros that spread the message of the Chicano Movement during the ss in the United States, the most important of which was El Teatro Campesino.

    The teatro movement was an important part of the cultural renaissance that was the social counterpart of the political movement for the civil rights of Mexican Americans. Cantinflas' use of social themes and style is seen as a precursor to Chicano theater. A cartoon series, the Cantinflas Show , was made in starring an animated Cantinflas. The show was targeted for children and was intended to be educational. Although Cantinflas never achieved the same success in the United States as in Mexico, he was honored with a motion pictures star on the Hollywood Walk of Fame at Hollywood Boulevard.

    The Mario Moreno "Cantinflas" Award is handed out annually for entertainers who "represent the Latino community with the same humor and distinction as the legendary Mario Moreno "Cantinflas" and who, like Cantinflas, utilizes his power to help those most in need".


    On August 12, , the Google Doodle paid homage to Cantinflas on his th birth anniversary. Moreno's life is the subject of the biographical film Cantinflas , directed by Sebastian del Amo. Cantinflas is sometimes seen as a Mexican Groucho Marx character, one who uses his skill with words to puncture the pretensions of the wealthy and powerful, the police and the government, with the difference that he strongly supported democracy.

    Historian and author of Cantinflas and the Chaos of Mexican Modernity , writes, "Cantinflas symbolized the underdog who triumphed through trickery over more powerful opponents" and presents Cantinflas as a self-image of a transitional Mexico. Gregorio Luke , executive director of the Museum of Latin American Art said, "To understand Cantinflas is to understand what happened in Mexico during the last century".

    Particularly in the film El analfabeto , The Illiterate , "Cantinflas is the illiterate who takes control of the language by whatever means he can". In his biography of the comic, scholar of Mexican culture Jeffrey M. Pilcher views Cantinflas as a metaphor for "the chaos of Mexican modernity", a modernity that was just out of reach for the majority of Mexicans: "His nonsense language eloquently expressed the contradictions of modernity as 'the palpitating moment of everything that wants to be that which it cannot be'.

    From Wikipedia, the free encyclopedia. Mexican comic film actor, producer, and screenwriter. For other people named Mario Moreno, see Mario Moreno disambiguation. This article is about the actor. For the film, see Cantinflas film. This article uses Spanish naming customs : the first or paternal family name is Moreno and the second or maternal family name is Reyes. Mexico City , Mexico. Valentina Ivanova m. Aldama; Peter J. Garcia Retrieved 18 October Retrieved 9 February The riddle of Cantinflas: Essays on Hispanic popular culture , 1st ed.

    Retrieved 17 August Archived from the original on 17 January Retrieved 11 December La Jornada in Spanish. Archived from the original on 12 March