Bernard-Marie Koltes From
"A sight to see broken mirrors and relieve the otredadades"
What happened in Ecuador? 
When producing political imaginary, the film shares the spotlight with other sources of visual culture such as television or in the last fifteen years, Internet . However, the aesthetics of film language itself reaches levels much higher epistemic value, in some cases allowing the viewer an even more intense way than television, set their views on critical policy issues.
In cinema, as espac 
specific cultural io is the scene of representation of the dynamics of power, imaginaries, interpret the conflicts and form consensus. The fictionalization and representation that the film has made national histories of the center-periphery relations or what it means to be female, have a fundamental ideological weight when it comes to understanding the political behavior of different social groups.
This course not only explain the film as a resource to think and reflect theoretically Social Sciences History and
The course will provide students with theoretical tools management, research methodology and film, to discuss political film, so as to be able to unravel how the antagonistic relations are represented power
Through detailed analysis of films in the program (and some of their literary reference), relying on literature and individual and group work, study, counter hegemonic discourses with particular attention to the historical memory of colonialism and representation of women.
PROGRAM
ITEM 1. INTRODUCTION TO POLITICAL ANALYSIS OF THE CINEMA (on film with Machiavelli and Gramsci). Politics and culture. The impact of cultural and postcolonial studies. Hegemony and power cinema. Cultural governance.
ITEM 2. AESTHETIC-KEY TECHNICAL AND AESTHETIC-POLICIES TO DISCUSS POLITICAL CINEMA (on film with Walter Benjamin). Flat rates, rules of framing and camera movement. The political use of chopped and contrapicado. Narrative structures. Individual or collective protagonist. Narrative realism against vanguard (Costa-Gavras versus Godard). The debate over thriller political. Film to think. Brecht and alienation. Eisenstein and Kulechov effect.
ITEM 3.
ITEM 4. FILM AND REPRESENTATION
ITEM 5. FILM AND REPRESENTATION
The course will be taught by Paul Churches Turrión
resume: Turrión Pablo Iglesias is Professor of Political Science at the Universidad Complutense
Profile l @ s students
undergraduate or graduate students in Social Sciences (Political Science, Sociology, Economics, Law, Anthropology etc.), History, Communication Studies or Humanities (Philosophy, Philology, Arts, etc.)..
Professionals and students interested in the subject
Academic requirements: entrance examination
Collaboration: Associate Dean of Students, New Technology and University Extension,
Date, duration, credit and venue
15 sessions on Tuesdays from October 19, 2010 until on February 15, 2011 from 17:00 to 21:00 hours. Two complementary practical activities (visiting the film library, attendance at shooting or projections etc.) 5 hours each.
70 hours
Venue: Faculty of Political Science and Sociology at the UCM
7 free credits settings (it is in the process of granting credits ECTS ). After passing the course will get a certificate / diploma
Registration fee: 120 euros
deadline: until all the seats
REGISTRATION
More information: pabloiglesias@cps.ucm.es
By Gilda Matos
CHARLYN was the great revelation of the Festival Theatre National Theatre of the Dominican Republic, 2010.
The monologue written, acted and directed by Stalin Rafael Morla is a scathing portrait, Ironically, sour and cruel of human existence in modern times. The piece reveals the essence and philosophical dilemmas of the reality of "Being" of today.
Marx is the hero of the dramatic, the hero is outdated, who rises in revolutionary resistance against a society based on consumption, which overrides and undermines the freedom of choice of Ser
The genius of this theater piece is in dramatic conflict, presents a revolutionary revolt and exiled to the closure of a toilet against the empire of consumerism called "Mafia Propa " from this situation reflects contradictions convincingly on philosophical, psychological and policies today. The author provides a speech nonchalantly risk using the word "stool" with all verbal modes, without ridicule or in bad taste, rather, leads and brings the whole rotten world that we reveals, and almost managed to convince us, that " The world is a huge crystal ball full of excrement."
The visual image and sense of evocative monologue keep a relationship with the iconography of the work The Death of Marat French painter David, held in memory of the death of Jean Paul Marat critical revolutionary, martyr of the French Revolution. In parallel, the stage picture created by Rafael Morla brings to the National Theatre Festival to Marat located in the XXI century, with a critical eye at a time where they have disappeared and utopian ideological struggles to gain strength to the opinion of capitalism until reduced global consumption of Being focused
Morla critical conflicts in the postmodern individual, communicating with words, signs, image and music reveals a speech that became the surprise of the National Festival of 20010.
The central conflict of the lovers and Celestina becomes a secondary element, against which the director role at Sempronius, who with his magnificent gesture, agility and grace, seems to become the central character, as opposed to design intimate of La Celestina in this release. The PUBLIC
The audience received with great care and without empathy history of the English author Fernando de Rojas in Gayumbo version for lovers of dramatic literature was a pleasure to hear a text has been understood, without further moments of interaction and play with the audience but with ease, expertise, and precision cleaning stage.
The great merit of Gayumbo Theatre in this production, is precisely to have fought in some way with their own tradition, to be faithful to the essence of the work, offering a new version that does not deny the author, but proposes to a new look, beyond the gaze of the audience.
