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The International Symposium on Distributed Computing and Artificial Intelligence 2012 (DCAI 2012) is a stimulating and productive forum where the scientific community can work towards future cooperation in Distributed Computing and Artificial Intelligence areas. This conference is a forum in which applications of innovative techniques for solving complex problems will be presented. Artificial intelligence is changing our society. Its application in distributed environments, such as the internet, electronic commerce, environment monitoring, mobile communications, wireless devices, distributed computing, to mention only a few, is continuously increasing, becoming an element of high added value...
In Dark Laughter, Juan F. Egea provides a remarkable in-depth analysis of the dark comedy film genre in Spain, as well as a provocative critical engagement with the idea of national cinema, the visual dimension of cultural specificity, and the ethics of dark humor. Egea begins his analysis with General Franco's dictatorship in the 1960s—a regime that opened the country to new economic forces while maintaining its repressive nature—exploring key works by Luis García Berlanga, Marco Ferreri, Fernando Fernán-Gómez, and Luis Buñuel. Dark Laughter then moves to the first films of Pedro Almodóvar in the early 1980s during the Spanish political transition to democracy before examining Alex de la Iglesia and the new dark comedies of the 1990s. Analyzing this younger generation of filmmakers, Egea traces dark comedy to Spain's displays of ultramodernity such as the Universal Exposition in Seville and the Barcelona Olympic Games. At its core, Dark Laughter is a substantial inquiry into the epistemology of comedy, the intricacies of visual modernity, and the relationship between cinema and a wider framework of representational practices.
Emerging as one of the most exciting, fascinating, and special kinds of filmmaking in the world, Spanish cinema has been producing excellent directors, actors, and films for decades, including during the dark times of the Franco regime. With directors (Pedro Almodovar), actors and actresses (Javier Bardem and Penelope Cruz), and films (Abre los ojos and Alatriste) amassing popularity, the outlook for Spanish cinema appears brighter than ever, and it is deservedly winning numerous fans abroad. --
Spanish cinema is emerging as one of the most exciting, fascinating, and special cinemas in the world. Not only are others viewing Spanish films, but they are adopting Spanish producers and Spanish actors as their own. While Spanish cinema has been maturing for a long time and has been producing excellent directors, actors, and films for decades_including during the dark times of the Franco regime_only now is it winning numerous fans not only at home but also abroad. And with directors like Pedro Almod-var, actors and actresses like Javier Bardem and PenZlope Cruz, and films such as Abre los ojos and Alatriste to build upon, the outlook for Spanish Cinema appears brighter than ever. The Historical Dictionary of Spanish Cinema provides a better understanding of the role Spanish cinema has played in film history through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on producers, directors, film companies, actors, and films.
Does fiction do more than just represent space? Can our experiences with fictional storytelling be in themselves spatial? In Constructing Spain: The Re-imagination of Space and Place in Fiction and Film, Nathan Richardson explores relations between cultural representation and spatial transformation across fifty years of Spanish culture. Beginning in 1953, the year Spanish space was officially reopened to Western thought and capital, and culminating in 2003, the year of Aznar's unpopular involvement of his country in the second Iraq War, Richardson traces in popular and critically acclaimed fiction and film an evolution in Spanish storytelling that, while initially representative in nature, i...
This two-volume set LNCS 6691 and 6692 constitutes the refereed proceedings of the 11th International Work-Conference on Artificial Neural Networks, IWANN 2011, held in Torremolinos-Málaga, Spain, in June 2011. The 154 revised papers were carefully reviewed and selected from 202 submissions for presentation in two volumes. The second volume includes 76 papers organized in topical sections on video and image processing; hybrid artificial neural networks: models, algorithms and data; advances in machine learning for bioinformatics and computational biomedicine; biometric systems for human-machine interaction; data mining in biomedicine; bio-inspired combinatorial optimization; applying evolutionary computation and nature-inspired algorithms to formal methods; recent advances on fuzzy logic and soft computing applications; new advances in theory and applications of ICA-based algorithms; biological and bio-inspired dynamical systems; and interactive and cognitive environments. The last section contains 9 papers from the International Workshop on Intelligent Systems for Context-Based Information Fusion, ISCIF 2011, held at IWANN 2011.
Providing an overview of Spanish and Portuguese cinema, this title contains 24 essays, each on a separate seminal film from the region, profiling work from the likes of Pedro Almodıvar and João Cesar Monteiro.
Si a usted le apasiona todo lo relacionado con el misterio o enigmas que esconde la historia, y que a día de hoy no han sido resueltos del todo, acompañeme para intentar despejar algunos de éstos interrogantes.
This volume offers a detailed chronological account of the history of Spanish cinema.
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