{"id":8333,"date":"2012-01-31T17:45:00","date_gmt":"2012-01-31T17:45:00","guid":{"rendered":"http:\/\/blogbibny.wordpress.com\/?p=8333"},"modified":"2012-01-31T17:45:00","modified_gmt":"2012-01-31T17:45:00","slug":"espanoles-en-hollywood","status":"publish","type":"post","link":"https:\/\/blogs.cervantes.es\/nyork\/2012\/01\/31\/espanoles-en-hollywood\/","title":{"rendered":"ESPA\u00d1OLES EN HOLLYWOOD. Ciclo de Cine \/ Cinema Club"},"content":{"rendered":"

El Instituto Cervantes de Nueva York presenta el programa monogr\u00e1fico ESPA\u00d1OLES EN HOLLYWOOD.<\/em> Un ciclo de pel\u00edculas seleccionadas por el historiador de cine Rom\u00e1n Gubern,<\/em> que trata sobre la influencia de los espa\u00f1oles en la meca del cine. Los filmes constituyen un recorrido hist\u00f3rico a trav\u00e9s de un siglo (centr\u00e1ndose especialmente en la d\u00e9cada de los treinta), que se ocupa de los actores y actrices m\u00e1s conocidos: Antonio Moreno, Raquel Meller, Catalina B\u00e1rcena\u2026,<\/em> as\u00ed como de los novelistas que inspiraron los guiones hollywoodienses: Blasco Ib\u00e1\u00f1ez, Jardiel Poncela, etc.<\/em><\/span>\u00a0<\/em><\/strong><\/p>\n

SPANIARDS IN HOLLYWOOD<\/strong> is a series of films selected by the film historian <\/em>Rom\u00e1n Gubern<\/strong> that show the influence of Spanish filmmakers in the mecca of cinema.\u00a0The films are a historic journey through a century (with particular focus on the twenties and thirties). They bring to life the work of some of its most famous actors and actresses (<\/em>Antonio Moreno, Raquel Meller, Catherine Barcena<\/strong>s<\/strong>), as well as the\u00a0novelists who inspired the Hollywood scripts (<\/em>Blasco Ib\u00e1\u00f1ez, Jardiel Poncela<\/strong>).<\/em><\/span><\/div>\n

ICNY – Auditorio. 01 febrero, 6:00 pm<\/em><\/strong><\/span><\/h1>\n

\"\"<\/a><\/span><\/h1>\n

Dr\u00e1cula<\/em><\/span><\/strong><\/h1>\n

\u00a0USA. George Melford<\/em>, 1931,\u00a0 102 min.<\/span><\/strong><\/h3>\n

En los inicios del cine sonoro era com\u00fan que los estudios hollywoodienses rehiciesen versiones de sus propias producciones en otros idiomas (normalmente en franc\u00e9s, espa\u00f1ol y alem\u00e1n), usando el mismo vestuario, localizaciones\u2026 Muchas de esas pel\u00edculas no se han conservado, excepto la versi\u00f3n espa\u00f1ola de Dr\u00e1cula<\/strong> hecha por George Melford<\/strong> y que fue rodada por las noches de manera simult\u00e1nea a la pel\u00edcula original. En los \u00faltimos a\u00f1os, esta versi\u00f3n ha sido incluso m\u00e1s apreciada que la original, y sus admiradores la consideran m\u00e1s lograda a nivel art\u00edstico.<\/span><\/p>\n

In the early days of sound, it was common for Hollywood studios to produce Hollywood foreign-language versions of their films (usually in French, Spanish and German) using the same sets, costumes… Unfortunately, most of these foreign language versions no longer exist. The Spanish version of Dracula is an exception. It was made by George Melford, who simultaneously filmed the movie using the same sets at night. In recent years this version’s supporters consider it to be much more artistically effective.<\/span><\/em><\/p>\n

M\u00e1s en<\/span>: <\/em><\/strong>Cinema Club\/Ciclodecine<\/strong><\/em><\/span>\u00a0<\/strong><\/em><\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

El Instituto Cervantes de Nueva York presenta el programa monogr\u00e1fico ESPA\u00d1OLES EN HOLLYWOOD. Un ciclo de pel\u00edculas seleccionadas por el historiador de cine Rom\u00e1n Gubern, que trata sobre la influencia de los espa\u00f1oles en la meca del cine. Los filmes constituyen un recorrido hist\u00f3rico a trav\u00e9s de un siglo (centr\u00e1ndose especialmente en la d\u00e9cada de […]<\/p>\n","protected":false},"author":34,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[16,105,18],"_links":{"self":[{"href":"https:\/\/blogs.cervantes.es\/nyork\/wp-json\/wp\/v2\/posts\/8333"}],"collection":[{"href":"https:\/\/blogs.cervantes.es\/nyork\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.cervantes.es\/nyork\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.cervantes.es\/nyork\/wp-json\/wp\/v2\/users\/34"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.cervantes.es\/nyork\/wp-json\/wp\/v2\/comments?post=8333"}],"version-history":[{"count":0,"href":"https:\/\/blogs.cervantes.es\/nyork\/wp-json\/wp\/v2\/posts\/8333\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.cervantes.es\/nyork\/wp-json\/wp\/v2\/media?parent=8333"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.cervantes.es\/nyork\/wp-json\/wp\/v2\/categories?post=8333"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.cervantes.es\/nyork\/wp-json\/wp\/v2\/tags?post=8333"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}