Cine-mundial (1938)

Record Details:

Title:
Cine-mundial
Date:
1938
Publisher:
Nueva York, Chalmers publishing company
Volume:
Cine-mundial (1938)
Leaf #:
000484
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 28, 2022
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los productores de Hollywood, sin importarles el dinero que derrochan, han de insistir en contratar actrices que ni siquiera saben el idioma inglés? . . . ¿Es que no comprenden la dificultad de aprenderlo, o es que se imaginan que todo es tan fácil como el haber llegado ellos a magnates de una industria en la que todo parece pura improvisación? . . . —En otro estudio, de los más importantes, tienen contratadas nada menos que a cuatro estrellas extranjeras, en análogas condiciones. . . . Della Lind, desde el otoño de 1936, no ha podido hacer más que una partecita con Laurel y Hardy, el Gordo y el Flaco. . . . Miliza Korjus ha estado esperando dos años la oportunidad para ser presentada en “The Great Waltz.” ... Illiana Massie iba a interpretar “Love Carnival” con Nelson Eddy, y tuvo que contentarse con un papelito en “Rosalie.” ... Rose Stradna aguardó otro tanto hasta hacer “The Last Gangster” con Edward G. Robinson y, no ha vuelto a hacer nada desde entonces. . . . —Y en otro estudio está Dolly Haas (casada con el director Brahm), sin haber podido llegar ni a debutar, aunque comenzaron por cambiarla el nombre y bautizarla Lilly Marlowe. . . . —De los supervivientes extranjeros apenas si se pueden recordar con gusto cinco o seis mombres: Luise Rainer, Danielle Darrieux, Simone Simon, Franciska Gaal, Charles Boyer, Fernand Gravet. . . . La Rainer (que ahora se divorcia, para que nadie dude de su absoluta americanizacion ) (Continua en la pagina 489) Cada uno tiene preferencias en cuestión de pescar. Con caña y sin miedo, Dorothy Howe, artista de Paramount, lanza el anzuelo a las fieras del Jardín Zoológico.