Cine-mundial (1923)

Record Details:

Title:
Cine-mundial
Date:
1923
Publisher:
Nueva York, Chalmers publishing company
Volume:
Cine-mundial (1923)
Leaf #:
000409
Language:
Spanish
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Spanish Publications, Global Cinema, and Hollywood Studio System
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
Description (English): Cine-Mundial, the Spanish-language version of Moving Picture World, was published between 1916 and 1948. The magazine documents Hollywood’s growing dominance in Latin American markets in the 1920s and the emergence of national film industries, such as those of Mexico and Argentina after the introduction of sound film. Far from being a mere translation of its English-language counterpart, Cine-Mundial focused on issues that were important to its readers in Latin American and Spain—the representation of Latin Americans on screen, the geo-politics of film distribution, and Hollywood’s short foray into Spanish-language film production in the late 1920 and early 1930s. Functioning as both trade publication and fan magazine, its regular columns that featured reports from national correspondents and letters from readers from every corner of the Spanish-speaking world provides invaluable insight into Latin American audiences and their reception of both imported and nationally or regionally produced films. -- Laura Isabel Serna, 2013
Date Added:
June 20, 2024
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CINE-MUNDIAL | ü C———————Á CINE-MUNDIAL | | | EN CINELANDIA ES a S Por J. M. Sánchez García | A 1 7 : we. | | | A empresa que capitanea Richard Walton Tully — en cuyo elenco figu ra el genial Guy Bates Post— da a sus artistas quince minutos de lectura: bíblica, antes de comenzar las labores diarios. £s Wu. E EBE DANIELS (de la Paramount) se interesa mucho en conquistar admiradores y entre las cláusulas de su contrato, hay una que especifica el mínimum de pies de película en que ella debe aparecer de frente. S xs E ETTY COMPSON (de la Paramount) usa, por superstición, espejos de acero bruñido, para evitar que éstos puedan romperse. Es E» o e IERTA noche, al entrar Jack Mower (de la Universal) en su domicilio, se dió -cuenta ca| sual de que tras las matas del jardín le acechaba Li un hombre armado. Jack no perdió su serenidad, ; J [| y tomando del suelo con disimulo dos puñados de ii | tierra, llegó sin reservas al lugar del peligro. Al (Continúa en la página 361) I Nuestro corresponsal, en el centro, arriba, al piano con 3 i í | Ethel Broadhurst. A la izquierda, de arriba a abajo, con Betty Compson, con Priscilla Dean, con Raymond Griffith, con Jane Novak y con Malcolm McGregor, que acaba, por lo visto, de “desmomificarse”. A la derecha, de arriba a abajo, a los palos con Clarence Burton; con Guy Bates Post y Richard Walton Tully, con Kathleen Key, con Bebé Daniels que le confía su bolsito — ¡la imprudente! — y declarándose en público a Carmel Myers. Abajo, en el centro, haciendo toda una película sentimental con Jack Mower y sus camaradas. ANETTE o NANA Junio, 1923 <— —— > PÁGINA 329 TUN J