Cine-mundial (1939)

Page scan 000430 from Cine-mundial

Record Details:

Title:
Cine-mundial
Date:
1939
Publisher:
Nueva York, Chalmers publishing company
Volume:
Cine-mundial (1939)
Leaf #:
000430
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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Con ese perfil, el hijo no puede renegar del padre. Aunque esté renegando. ¿No pretende Spencer Tracy darle lecciones de agricul tura elemental en su rancho del Encino? El chico se llama John. El grande es as de M-G-M. Todos están interesadísimos, menos el perro de Frank Capra a quien las películas aburren soberanamente. El director de la Columbia hace notar un detalle de ‘Caballero sin Espada" a sus artistas James Stewart y Guy Kibbee. Una galletita sella eterna amistad entre Baby Sandy y George Raft, al tropezar (Raft tropezó con Sandy y por poco lo aplasta) en los talleres de la Universal donde filman uno "Bebé sin Papa" y el otro "Yo Robé un Millón". Página 462 Una fotografía a la que le salen sobrando los comentarios, las alusiones y hasta las palabras. Nada falta, por contraste,:al original que tiene por nombre Gloria Dickson y por misión lucir en los fotodramas de Warner Brothers. Cine-Mundia