Cine-mundial (1931)

Record Details:

Title:
Cine-mundial
Date:
1931
Publisher:
Nueva York, Chalmers publishing company
Volume:
Cine-mundial (1931)
Leaf #:
000137
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:
August 29, 2022
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CINE-MUNDIAL Nas Er a | > Ld Reseñas críticas de las últimas producciones cinematográficas, a cargo de nuestros propios redactores: Ariza, Guaitsel y Don Q. EL VALIENTE Sonora; toda en castellano. “Fox” TRO éxito hispanoparlante. Y sólo van tres hasta la fecha. Interpretan ` el argumento — un argumento ori ginal, con esencia dramática reconcentrada — Juan Torena, Angelita Benítez, Ralph Navarro, María Calvo, Carlos Villar, Rafael Caillol y Julio Villarreal. Como en otras producciones habladas en nuestro idioma, lo más débil de la cinta es el elemento femenino, con el cual, aunque sólo sea por galantería, no conviene arremeter. En cambio, Torena se luce. El protagonista personificado por el joven actor mata a un hombre y decide ir al cadalso sin descubrir su identidad, a fin de no in FEBRERO, 1931 famar a su familia. Todo el drama reside en la lucha interna del condenado, pero avivan lo emocionante de las situaciones là excelencia del diálogo (ignoro a quién hay que agradecer este detalle, aunque presumo que se deba a la reconocida competencia del director Harlan) y lo discreto de la caracterización de todos, absolutamente todos los actores. Ni muecas, ni exageraciones, ni gritos, ni sombrerazos. La concisión de los parlamentos se ajusta muy bien a lo comprimido del drama. — Ariza. LA MASCARA AMARILLA Cinta inglesa, sonora. Experiencia británico-cinematográfica que tuvo por objeto mezclar música, co Lester Vail— ei joven soldado del cigarrillo en los labios que lanza miradas de sosluyo al individuo de las barbas — hace de protagonista en “Beau Ideal” de RKO, de donde es esta escena. Bessie Love, a quien los triunfos suces vos en la pantalla sonora han rejuvene cido de modo que ahora parece más chiquilla que antes. media y melodrama. La experiencia, a costa de Lupino Lane, salió muy mal. Por lo visto, en cine, cada ingrediente por separado PÁGINA 133 O SU ———————————————— AA