Cine-mundial (1923)

Record Details:

Title:
Cine-mundial
Date:
1923
Publisher:
Nueva York, Chalmers publishing company
Volume:
Cine-mundial (1923)
Leaf #:
000772
Language:
Spanish
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Hollywood Studio System, Global Cinema, and Spanish Publications
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 Selecto grupo de intérpretes de la última cinta de Rex Ingram para la casa Metro, “Scaramouche”, en cuyo reparto figuran Ramón Novarro (en esta página a la derecha, arriba) Alice Terry (junto a él) y Lewis Stone (el tercero a contar de la izquierda en la página opuesta, abajo), además de Lloyd Ingraham, Julia Swayne Gordon, William Humphrey, George Siegmann, James Marcus, Roy Culson y Edwin Argus. Esta película es el triunfo definitivo de la técnica cinematográfica contemporánea. Aunque de las llamadas de “época”, porque retrata escenas de la revolución francesa, y por más que el asunto no tiene nada de par? ticular, tan atractiva es su presentación y tan fino el trabajo de los actores que la crítica, unánimemente, la ha colocado entre las mejores que se hayan exhibido en Nueva York desde principlos de año. MR CERES S Ie $ NOVIEMBRE, 1923 <