Spanish-Language Cinema in Los Angeles María Elena de las Carreras, Jan-
Christopher Horak ... Aires México City Lima Montevideo Carne de cabaret El
triunfo del amor * * El triunfo del amor Castillos en el aire - * Despertar de una
ilusión - La ciudad ... Paramount on Parade (1930) / Galas de la Paramount, 13
November 1930; Honey (1930) / ¡Sal de la cocina!, 25 July 1930; Mystery
Woman, 25 April ...
Author: María Elena de las Carreras
In the 1920s, Los Angeles enjoyed a buoyant homegrown Spanish-language culture comprised of local and itinerant stock companies that produced zarzuelas, stage plays, and variety acts. After the introduction of sound films, Spanish-language cinema thrived in the city’s downtown theatres, screening throughout the 1930s, 1940s, and 1950s in venues such as the Teatro Eléctrico, the California, the Roosevelt, the Mason, the Azteca, the Million Dollar, and the Mayan Theater, among others. With the emergence and growth of Mexican and Argentine sound cinema in the early to mid-1930s, downtown Los Angeles quickly became the undisputed capital of Latin American cinema culture in the United States. Meanwhile, the advent of talkies resulted in the Hollywood studios hiring local and international talent from Latin America and Spain for the production of films in Spanish. Parallel with these productions, a series of Spanish-language films were financed by independent producers. As a result, Los Angeles can be viewed as the most important hub in the United States for the production, distribution, and exhibition of films made in Spanish for Latin American audiences. In April 2017, the International Federation of Film Archives organized a symposium, "Hollywood Goes Latin: Spanish-Language Cinema in Los Angeles," which brought together scholars and film archivists from all of Latin America, Spain, and the United States to discuss the many issues surrounding the creation of Hollywood’s "Cine Hispano." The papers presented in this two-day symposium are collected and revised here. This is a joint publication of FIAF and UCLA Film & Television Archive.
... the future, then the questioning of bodily limits in La ley del amor, re-inscribed
as they are within the deterministic ley, ... by Laura Esquivel (México: Armonía,
1995); Patricia van Rhijn, La cocina del chile: recetas y presentación de platillos,
Author: Claire Taylor
Considers the novels of three Latin American writers, the Argentinian Griselda Gambaro, the Colombian Albalucia ngel, and the Mexican Laura Esquivel, and examines their work in relation to the formation of feminine identity.
Cuando vuelva, estate lista mi amor – le dijo Rodrigo al despedirse – muy pronto
abandonaremos este lugar. ... despacho de la abadesa para seguir trabajando
con los papeles, pero la hermana Inmaculada la mandó a ayudar en la cocina.
Author: Marina Armenteiro
Este libro es una historia de amor, que relata como dos corazones enamorados luchan por el derecho de estar juntos y por su felicidad, pasando por muchas pruebas y superando todas las dificultades que aparecen en su camino.Los eventos que cuenta este libro, se desarrollan en la España de los tiempos del Siglo de Oro y en América.En el libro han sido reflejados hechos históricos, la vida cotidiana de los españoles en la metrópolis y sus colonias, costumbres y tradiciones de los indios.
“Usted no habla acerca de su Madre, cuando ella es 105 soportes reparan aqul',”
she said firmly. “I'm Sorry Mother I know you're standing there.” “Pero, usted
corrige Derick, yo soy la cocina del amor,” she said sternly. “See I told you, you
Author: Ellen Mckinney
Liliana Jacobs the city's Assistant District Attorney walked out of the courtroom with confidence gaining reputation of wins more than losses. But confidence on a personal level proving a challenge all the men in her life seem to have something to prove. When paired with a newly made detective Aubrey Marcelus, she has to keep a civil tongue as they try and solve a murder with very few clues, the evidence nil as who committed such a heinous crime. Will time run out and a murder be unsolved? Watch as clues unfold and these two try and catch the murderer. When Liliana meets this obsequious detective sparks fly. Love slowly developing until she's matched wits with a fast talking, shrewd attorney, Marshall Agee. Who wants more from Liliana, than she is willing to give his persistence pays off when Liliana falls head over heals for him. But even his persuasive charm can't keep her in a commitment. Meanwhile Aubrey falls ill with appendicitis Maureen Bennett a Scottish nurse with a talented bedside manner tends to more than just his needs. Does his true love lie in this beautiful young nurse or will Liliana be his thorn.
( 1995 ) La ley del amor , Mexico : Grijalbo . ( 2007 ) Íntimas suculencias , tratado
filosófico de la cocina , Buenos Aires : Editorial Sudamericana . Gilbert , S. M.
and Gubar , S. ( 1984 ) The Madwoman in the Attic : The Woman Writer and the ...
Author: Nuala Finnegan
Publisher: Cambridge Scholars Pub
The Boom Femenino in Mexico: Reading Contemporary Women's Writing is a collection of essays that focuses on literary production by women in Mexico over the last three decades. In its exploration of the boom femenino phenomenon, the book traces the history of the earlier boom in Latin American culture and investigates the implications of the use of the same term in the context of contemporary women's writing from Mexico. In this way it engages critically with the cultural, historical and literary significance of the term illuminating the concept for a wide range of readers. It is clear that the entry of so many women writers into an arena traditionally reserved for men has prompted discussion around concepts such as 'women's writing' and the very definition of 'literature' itself. Many of the contributors grapple with the theoretical tensions that such debates provoke offering an important opportunity to think critically about the texts produced during this period and the ways in which they have impacted on the Mexican and international cultural spheres. The project is comprehensive in its scope and, for the first time, brings together scholars from Mexico, the U.S. and Europe in a transnational forum. The book posits that despite certain aesthetic and thematic commonalities, the increased output by women writers in Mexico cannot be appraised as a unified literary movement. Instead it embraces a wide range of different generic forms and the subjects under study in the essays in the book include the best-selling work of Angeles Mastretta, Elena Poniatowska and Laura Esquivel as well as the social and political preoccupations of journalists, Rosanna Reguillo and Cristina Pacheco. Contributors offer readings of the aesthetic visions of writers as diverse as Carmen Boullosa, Ana Garcia Bergua, and Eve Gil while other essays examine the nuances of contemporary gender identity in the work of Ana Clavel, Sabina Berman, Brianda Domecq and Maria Luisa Puga. There are essays devoted to poetry by indigenous Mayan women and an analysis of the complex place of poetry within the broader framework of literary production. The problems that emerge as a result of literary cataloguing based on gender politics are also considered at length in a number of essays that take a panoramic view of literary production over the period. Various critical approaches are employed throughout and the collection as a whole demonstrates that academic interest in Mexican women's writing of the boom femenio is thriving. Above all, the essays here provide a space in which the location of women within prevailing cultural paradigms in Mexico and their role in the mapping of power in evolving textual canons may be interrogated. It is clear from the collection that interest in such issues is still alive and that the debate is far from over.