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Val Del Omar
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Val Del Omar - Overflow
Jose Val del Omar (Granada 1904-Madrid 1982) cannot be described as having had a very specific activity, although his main support was film. He belonged to a generation that believed cinema was an art in its own right, rather than as the opium of the people. On the other hand, if he must be linked to film, it is as an outside creator, with few existing works, at least with respect to the amount that is currently preserved. He was an eccentric in the world of Spanish cinematography, which was little given to experimentalism. Over time he has become a cult figure whose veneration is renewed and is constantly growing. The beginning of his creative career is linked to the collective experience of the Pedagogical Missions, one of the paradigmatic projects of Spanish culture during the Second Republic and one to which he remained faithful throughout his life. The present volume includes essays by Francisco Baena, Thomas Beard, Eugeni Bonet, Nicole Brenez, Javier Codesal, Victor Erice, Horacio Fernandez, Pedro G. Romero, Pedro Jimenez, Carlos Muguiro, Javier Ortiz-Echague, Manuel Palacio, Carmen Pardo, Gonzalo Saenz de Buruaga and Manuel Villegas."
Documenting Spain: Artists, Exhibition Culture, and the Modern Nation, 1929Ð1939
The news media have given us potent demonstrations of the ambiguity of ostensibly truthful representations of public events. Jordana Mendelson uses this ambiguity as a framework for the study of Spanish visual culture from 1929 to 1939--a decade marked, on the one hand, by dictatorship, civil war, and Franco's rise to power and, on the other, by a surge in the production of documentaries of various types, from films and photographs to international exhibitions. Mendelson begins with an examination of El Pueblo Español, a model Spanish village featured at the 1929 International Exposition in Barcelona. She then discusses Buñuel's and Dalí's documentary films, relating them not only to Fren...
Bread and Beauty: The Cultural Politics of José Carlos Mariátegui
Influenced by anarchism and especially by the anarcho-syndicalist Georges Sorel, the political praxis of Peruvian activist and scholar José Carlos Mariátegui (1894–1930) deviated from the policies mandated by the Comintern. Mariátegui saw that new subjectivities would be required to bring about a revolution that would not recreate bourgeois or fascist structures. A new society, he argued, required a new culture. Thus, Mariátegui not only founded the Peruvian Socialist Party, but also created Amauta, a magazine that brought together the writings of the political and cultural avant-gardes. In the spirit of this approach, Bread and Beauty not only studies the political signifi cance of cultural habits and products; it also looks at the cultural underpinnings of the political proposals found in Mariátegui’s writings and actions.
Spanish Cinema against Itself
Spanish Cinema against Itself maps the evolution of Spanish surrealist and politically committed cinematic traditions from their origins in the 1930s—with the work of Luis Buñuel and Salvador Dalí, experimentalist José Val de Omar, and militant documentary filmmaker Carlos Velo—through to the contemporary period. Framed by film theory this book traces the works of understudied and non-canonical Spanish filmmakers, producers, and film collectives to open up alternate, more cosmopolitan and philosophical spaces for film discussion. In an age of the post-national and the postcinematic, Steven Marsh's work challenges conventional historiographical discourse, the concept of "national cinema," and questions of form in cinematic practice.
A Companion to Experimental Cinema
An exploration of what experimental cinema was, is, and might become A Companion to Experimental Cinema is a collection of original essays organized around both theoretical and historical issues of concern to film scholars, programmers, filmmakers, and viewers. Newly-commissioned essays written by specialists in the field, along with dialogues conducted with a diverse range of practitioners, focus on core subjects to present an international array of overlapping and contrasting perspectives. This unique text not only provides detailed accounts of particular films and filmmakers, but also discusses new approaches of understanding, characterizing, and shaping experimental cinema. The Companion...
Inside the Tortilla: A Journey in Search of Authenticity
Life has a habit of throwing obstacles in your path for a good reason: They arise to challenge the undaunted, or deter the uncommitted. Either way, when you stumble into a town that the guide books warn you away from, you must choose between quickly moving on, or staying to see what the obstacles conceal. When one man and his faithful hound turn their backs on the Mediterranean Sea and set out on a journey into the interior of Andalusia, they go in search of a town that still cooks it's food rather than shops for it. Tired of the disposable nature of modern living and its embrace of microwaved food, this search for authentic recipes unveils not just a series of gastronomic secrets, but the rich history, culture, politics and diet of a charismatic country as it struggles out of the shadow of its past and into the searing light of its future. A Journey deep Inside the Tortilla.
Expanding Cinemas
This is the first book on experimental cinemas of Latin American and Spain to offer a comprehensive look at old and new technologies, including Super 8, VHS, cell phones, virtual reality, artificial intelligence, and more. From the militant films of the 1960s to today's expanded reality experiences, filmmakers in Argentina, Spain, Cuba, Colombia, Brazil, and Mexico have continually used alternative formats both to dialogue with international movements and to counter commercial cinematic trends. To make this argument and cover this vast geographic and historical terrain, Eduardo Ledesma adopts a transnational and intermedial approach, examining exchanges and associations between cineastes to better understand how their films were created and circulated. Ledesma works to untangle both the relations between media and the associations of experimental cinema to cultural phenomena such as diaspora, exile, displacement, and immigration. Throughout the book, connections are further made to other global avant-garde and alternative cinemas and formats, including in the United States.
Val del Omar y las Misiones Pedagógicas
La muestra ofrece un acercamiento a la experiencia educativa que supuso el proyecto de las Misiones Pedagógicas durante los años de la Segunda República, así como sobre el cineasta José Val del Omar, quien trabajó en las Misiones como técnico, fotógrafo (realizó más de 9.000 fotografías) y proyeccionista.
A History of Popular Education
Popular Education is a concept with many meanings. With the rise of national systems of education at the beginning of the nineteenth-century, it was related to the socially inclusive concept of citizenship coined by privileged members with vested interests in the urban society that could only be achieved by educating the common people, or in other words, the uncontrollable masses that had nothing to lose. In the twentieth-century, Popular Education became another word for initiatives taken by religious and socialist groups for educating working-class adults, and women. However, in the course of the twentieth-century, the meaning of the term shifted towards empowerment and the education of th...
