#JEan Carlos Aguilar

[ulisesbarreiro]

Le podcast Token Mithrandir et Cryptocurrencies a interviewé des représentants de la Fondation FUNINTEC.

Dans le cadre de l'événement CARDANO Tech Week, le Podcat Token Mithrandir et Cryptocurrencies, a réalisé quelques interviews, nous partageons ici certaines d'entre elles.

D'une part avec le CEO Wilmer Varón de FUNINTEC, et d'autre part avec Jean Carlos Aguilar, ambassadeur du Token Mithrandir à Caracas, membre de FUNINTEC et gérant de Crystal Corporation, une entreprise qui vend de la consultance web.

Nous savons que lorsque deux CEO d'entreprises se parlent, les conversations peuvent générer à la fois des avantages et des inconvénients, en fonction de la nature de la relation, du contexte et de la transparence entre les parties impliquées. Dans ce cas, la conversation et l'interview de Wilmer Varon par Ulises Barreiro, CEO de Token Mithrandir, ont généré des actions positives. Nous partageons l'interview avec vous pour que vous puissiez en profiter.

Regardez l'interview à l'adresse suivante : https://www.youtube.com/watch?v=BzdTlU_kKLE&t=112s

[carlocarrasco]

Multi-medalist figure skater meets Las Piñas Mayor and Vice Mayor at City Hall

Recently in the City of Las Piñas, local resident Julian Jean Quijano Plata – who won multiple medals in figure skating overseas – was welcomed by the Mayor and Vice Mayor at City Hall and went on to have a discussion, the City Government announced via social media. To put things in perspective, posted below is an excerpt from the City Government’s announcement. Some parts in boldface… Las…

[brokehorrorfan]

The Shape of Water will be released on 4K Ultra HD + Blu-ray on November 26 via The Criterion Collection. Greg Ruth designed the cover art for the 2017 Academy Award-winning romantic fairy tale.

Guillermo del Toro (Pan's Labyrinth, Pacific Rim) directs from a script he co-wrote with Vanessa Taylor (Divergent). Sally Hawkins, Octavia Spencer, Michael Shannon, Richard Jenkins, Michael Stuhlbarg, and Doug Jones star.

The Shape of Water is been digitally mastered in 4K, supervised by del Toro, with HDR and 5.1 DTS-HD Master Audio. Special features are listed below.

Special features:

A conversation between Guillermo del Toro and filmmaker David Lowery (new)

A Fairy Tale for Troubled Times - Documentary on the film’s production design, cast, special effects, and score

Anatomy of a Scene: Prologue

Anatomy of a Scene: The Dance

Interview with illustrator James Jean

2017 Masterclass on the film’s technical aspects with Guillermo del Toro, director of photography Dan Laustsen, visual effects supervisors Shane Mahan and Dennis Berardi, costume designer Luis Sequeira, and production designer Paul D. Austerberry

Trailers

Booklet with essay by film critic Carlos Aguilar

Cinema’s great modern mythmaker Guillermo del Toro uses the hallmarks of classic horror and fantasy to tell a strange and sublime fable about outsiderhood, connection, and love’s transcendence. An ineffably touching Sally Hawkins plays Elisa, a mute janitor at a top-secret government laboratory who finds herself drawn to the facility’s newest research subject: a humanoid amphibian—for whom she is soon risking everything, amid the stifling conformity of 1960s America.

Pre-order The Shape of Water.

[no-hay-identidad]

DJ Perro es una banda instrumental de Puebla, Mexico, conformada por Carlos Martínez (composición y guitarra), Axel Ibáñez (guitarra), Alejandro Solís (guitarra y producción), Rafa (batería) y Luis Granados (bajo). Su música puede ser definida de muchas maneras, han excursionado en el rock experimental, el math-rock y el post-rock y se caracterizan por sus intrincadas melodías y por lo inovadores que son con su sonido, reinventándose constantemente sin perder la esencia de lo que los hace únicos. Actualmente han producido dos albumes con uno mas en camino. Han colaborado y abierto para proyectos como Cotoba, Archipielagos, Mom Jeans, Anamanaguchi y los veteranos del math-rock en México, Austin TV. Su música ha sido muy influenciada por los videojuegos, sampleando juegos como Super Smash Bros. (del cual son muy fans), ademas de incluir mucha inspiración de los géneros de la musica tradicional mexicana.

[oscaryella]

Disclaimer, 2024

Luz interior y luz exterior; luz natural y luz artificial, separadas y combinadas, diálogo permanente. Luminarias de distinto tipo y distinta temperatura, queriendo ser discretas pero llenando el cuadro

¿ Es Disclaimer la mejor clase de cinematografía en línea disponible ? Cada minuto podría analizarse, en pausa o movimiento y obtener valiosas lecciones de luz. ¿ Qué falta entonces ? ¿Falta algo?

Cuarón recibió la novela en 2015 y a partir de ahí escribió un guión de 300 páginas según cuenta Carlos Aguilar en Los Angeles Times. La inspiración la encontró en el formato miniserie, desde Bergman hasta Dumont pasando por Fassbinder.

Se agradece ver a Kevin Kline en pantalla actuando drama y Cate Blanchet cumple como siempre. La historia funciona, la tensión se crea y se desdobla. No es que parezca filmada para buscar premios o reconocimiento pero sigue quedando la sensación de lo que podría llegar a ser Cuarón cuando él no seleccione la historia, no escriba el guión no produzca y solo dirija.

¿ Será que el migrar a Hollywood y triunfar temprano fijó un techo demasiado rápido ? Pareciera que no ha encontrado un guión a la altura de su talento ¿ Tal vez salir de Hollywood y de México ?

Cuarón le dijo también a Carlos Aguilar,en la misma entrevista, que Disclaimer se cuenta desde cuatro perspectivas distintas incluida la segunda persona, poco común en cine y literatura. A partir de ahí es que imaginó , y Lubezki apoyó , que sería bueno incluir a otro fotógrafo para contar la historia. Llamaron nada menos que a Bruno Delbonnel.

Delbonnel fue el fotógrafo de Amelié, la película que inspiró a una generación de aspirantes a artistas a querer su propia Amelíe. La dirección del clásico francés fue de Jean-Pierre Jeunet, con quién el fotógrafo colaboro desde 1990 en el corto Foutaises. La complicidad y el crecimiento en equipo son evidentes.

No pasa lo mismo con Lubezki y Cuarón, no parece haber un sello distintivo del duo, sí está la habilidad de ambos , están los verdes de Lubezki ( ¿ Demasiados ya?) y su innegable capacidad para adaptarse al director en turno pero, en el trabajo conjunto , no se percibe una evolución del lenguaje compartido.

Tampoco es que Lubezki copie a Lubezki o que haya caído en el preciosismo, es más bien como que la historia se pierde en la forma, tanto narrativa como visual y se olvida un poco del fondo. Es mejor que mucho de lo que hay en cartelera y, seguro alcanza para premios, pero no para buscar nuevos techos.

Las partes de Lubezki en Disclaimer se notan barrocas, saturadas , de maestría técnica sin duda, pero repetitivas al agregar sin integrar. Como si de verse tan bien se vieran menos reales, o como si priorizaran exigirle al lente antes que recrear el ojo humano. Lo que filmó Lubezki en Tree of Life en la playa comparado con lo que hizo en Disclaimer se explica en un fotograma.

Televisión de alto nivel técnico, a solo un paso de llegar al siguiente nivel, ojalá ocurra en la siguiente aventura.

[quasi-defender]

Pope Quasi Curia @hiraethstar

They assite Pope Quasi in anyway they can they attend all papal masses and events

Congergation for evangiztion: Cardinal Vincent Nichols

Congergation for the doctrine of the faith: Cardinal Celestino Milgore

Congergation for interiguis diolog: Cardinal Joan Chister

Congergation for the oriental churchs: Cardinal Norberto Rivera Carrera

Congergation for the clergy:Cardinal Laurent Ulrich

Congergation for the causes of saints: Cardinal Christhophe Pierre

Congergation for promoting intergal human development: Cardinal Peter Chung-Soon-Taick

Congergation for laity family and life: Cardinal Jorge García Cureva

Congergation for catholic edcucation: cardinal Blaise Cupich

Congergation for the service of charity: Cardinal Rhinadr Marx

Congergation for divine worship and the dispine os sacrements: cardinal Verna Babaneux

Congergation for Legitives texts: cardinal Raymond Burke

Congergation for communication: Cardinal Patrick Chauvert

Congergation for conscrated life: Cardinal Jean Marc Aviline

Congergation for Bishops: Cardinal Michel Aupetit

Congregation for the protection of minors: Cardinal Eric Moulins De Beaufort

Prefect of the Pontifical council for disabilities: Cardinal Gerard Lacroix

Prefect for the Pontifical Council for culture:Cardinal Carlos Aguilar Retes

Prefect for tje Apostolic Pleniney: Cardinal Norma Pimentel

Prefect for the Roman Rota: Cardinal Jose Cobo Cono

Prefect for the Apostolic Signatura: Cardinal Rainer Woelkie

Prefect of the Papal Household: Cardinal Wilton Gregory

Preacher of the papal household: Cardinal Luigi Ventura

President of the governat of Vatican City State: Cardinal Francis Xavier Arpondratna

President of the Office of economic affires of the Holy See: Cardinal Thomas Collins

Vicar General for Vatican City: Cardinal Carlos Ossero Sierra

Chamberlain of His Holliness: Cardinal Francis Xavier Chitmumbie

Orginzer of papal trips: Cardinal Andre Vingt-Trois

Vicar Generals for the Diocèse of Rome: Cardinal Timothy Dolan and Cardinal Jean Pierre Ricard

Papal master of ceremonies:Cardinal Youvon Reungoat

[ulkaralakbarova]

A thief makes a disturbing discovery in the house where he breaks in. Later, when he returns to the same house with his partner in crime, things are no longer how he expected. Credits: TheMovieDb. Film Cast: Cale Erendreich: David Tennant Sean Falco: Robert Sheehan Katie: Kerry Condon Derek Sandoval: Carlito Olivero Riley Seabrook: Jacqueline Byers FBI Agent Olivia Fuller: Tracey Heggins Don Falco: Rob Nagle Patti Falco: Lorraine Bahr Rowan Falco: Jacob Resnikoff Nino: David Meyers Detective Wayne Banyon: Tony Doupe Helen Leyton: Lisa Brenner Jocelyn: Sofia Hasmik Officer Aguilar: Delpaneaux Wills Sabine: Hannah Barefoot Mitchell: Danny Bruno Young Cale: Austin Leo FBI Agent: Jared Q. Miller FBI Agent Driver: Lydia Reim FBI Supervisor: Brandon Boyce Female Cop: Dana Millican Girlfriend #1: Emily Kimball Horse Trainer: Sam Bangs Newscaster: Brenda Braxton Uniform Cop: David S. Hogan Valet: Alex Donnolo FBI Agent: Tim Bennett Umbrella Ped: Chris Ihlenfeldt Film Crew: Producer: Dean Devlin Original Music Composer: Joseph LoDuca Sound Re-Recording Mixer: Greg P. Russell Second Unit Director: Carsten H.W. Lorenz Property Master: John Pearson-Denning Makeup Artist: Eva Lohse Director of Photography: David Connell Art Direction: Michelle Jones Screenplay: Brandon Boyce Editor: Brian Gonosey Production Design: Nate Jones Extras Casting: Susan Funk Producer: Marc Roskin Costume Design: Critter Pierce Gaffer: Neil Holcomb Steadicam Operator: Gary L. Camp Extras Casting: Bill Marinella Second Unit Director of Photography: Matthew Moriarty Foley Artist: Jörg Klinkenberg Makeup Department Head: Christina Kortum Stunt Double: Tim Bennett Construction Coordinator: Dean G. Roberts Scenic Artist: Ellen Lepinski First Assistant Director: Gregory J. Pawlik Jr. Sound Editor: James Gallivan Dialect Coach: Mary McDonald-Lewis Script Supervisor: Andy Spletzer Co-Producer: Mark Franco Special Effects Coordinator: William Boggs Assistant Editor: Lana Wolverton Focus Puller: Bob Webeck Stunt Double: Daniel Locicero Stunt Double: Kym Stys Still Photographer: James N. Clark Key Grip: Art Bartels Assistant Production Coordinator: Naomi Yospe Casting Associate: Marin Hope Makeup Artist: Stephanie June Johnson Unit Production Manager: Brandon Lambdin First Assistant “C” Camera: Ronnie Dennis Assistant Property Master: Sean Fong Producer: Rachel Olschan Set Decoration: Benjamin Hayden Stunt Coordinator: Kent W. Luttrell Assistant Editor: Rick Chapman Sound Designer: Mark Hailstone Dolly Grip: Todd England Nicodemus Location Manager: Robert Warberg Boom Operator: Heidi DuBose Stunt Driver: Michelle Damis Utility Stunts: Lex Damis First Assistant “A” Camera: Kyril Cvetkov Hair Department Head: Autumn Sanders Production Accountant: Colleen Emry Hairstylist: Dusti Leon Stunt Driver: Ken Clark Second Assistant Director: Devan Linforth Script Coordinator: Kerry Glover Stunt Double: Anthony Oh Makeup Artist: Tammy Brant Second Second Assistant Director: Jesse Bellis Second Second Assistant Director: James McCoy Leadman: Jason Beveridge Construction Foreman: Jarred Decker Greensman: Rick Lepinski Set Designer: Jason Raines Foley Mixer: Jean-Marie Gilles Stunt Driver: Tommy Goodwin Stunt Double: James A. Smith Second Assistant Camera: Michael Crockett Second Assistant Camera: Madison Rowley Best Boy Grip: Brian Shotzbarger Best Boy Electrician: Jeremiah Skender Costume Supervisor: Alison Carlos Set Medic: Michael Fine Set Medic: Taylor Saxon Producer: Tony Malzone Movie Reviews: offscreenbabble: I did not enjoy the movie. The trailer looked really interesting and I really like David Tennant.The movie had some strange editing choices. It’s unintentionally funny but not a movie thats so bad its fun. To give you a quick spoiler free review it’s about a valet who tries to rob David Tennant’s place. When he is about to leave he sees a woman tied up. The rest of the movie is him trying to notify the police but it becomes a “Cat and Mouse” game between the valet and David Tennant. But increasingly gets silly and overall the stuff that is s...

[gerardofontenelle]

Apple Arcade - A New World To Play In from Mauro Chiarello on Vimeo.

Director: Ian Pons Jewell Producer: Chris Avery @ Apple Writer: Jordan Pories Creative Director: Hamish Pinnel Art Director: Esteban Cardona Group Creative Directors: Sam Oliver & Carl Broadhurst AD Producer: Jacob Stitzel Production Company: Reset Managing Director: Dave Morrison Executive Producers: Deannie O'Neil & Jen Beitler Head of Production: JP Colombo Producer: Megan Moore Director of Photography: Mauro Chiarello Director’s Assistant: George Daniell Casting: Majo Gallardo Costume Designer: Nayeli de Alba

Production Service Company: The Lift Producer: Fuad Abded Managing Director: Avelino Rodriguez Production Manger: Israel González Cadena Unit Manager: Vladimir Espinoza Production Coordinator: Liliana Huacuja APOC: David Carretero Script: Andrea Eduardina Key PA: Juan Tovar Production Assistants: Erick Ávila, Miguel Luna, Isaac Alvarez Runner: Paulina Camacho Chaperone: Paulina Marín Chaperone: Paulina Maqueda Locations Manager: Sergio Aguilar Locations Assistants: Itzia Rojas, Rodrigo López, Eduardo Gutierrez, Andrés Macías, Juan Chávez

1st AD DGA: Robert Phillips 1st AD: Sandra Mayerstein 2nd AD Vala Cárdenas 2nd AD: Lorenza Ramos 1st AC Horacio Vega 2nd AC: Adonay Meza Camera PA: Edson Reyes DIT: Julio Cesar Gonzalez Data Manager: Hayde Medina Corona VTR Operator: Jonathan Fernando Noriega Hernández VTR Assistants: Eduardo Martinez & Miguel Valdez Wheels Operator: Felipe Pérez-Burchard Steadicam Operator: Gerardo Manjarezz Trinity Operator: Niels Lindelien Gaffer: Leonardo Julián Key Grip: Juan Antonio Aguilar López Key Grip: Jose Marcos Vilchis VFX Supervisor: Daniel "Chovy" Cordero VFX Assistants: Rafael Santana Cruz & Francisco Ruben Perez Reyes

Production Designers: Robin Brown & Margarita Laborde Hair & Make Up: Chela Olea Hair & Make Up Assistants: Yoali Cortés, Ixchel Cortés Stunt Coordinator: Tomas Guzman Art Coordinator: Katia Duarte Propmaster: Diego Téllez Decorator: Melinda Ridaura Decorator: Sandra Jalife Art Assistant: Jessica Peralta Wardrobe Coordinator: Giselle Arriaga Wardrobe Assistants: Rodrigo Montoya, Paulina Regalado, Christian Fernando, Rocelia Alexandra Graphic Design: Mireya Guerrero Renders: Hugo Jiménez Swings: Daniel Hernández, Jesús Enriquez, Aldo Márquez, Juan Cisneros, Néstor Luna, Luis Hernández, Gabriel Cabrera.

Edit Company: Whitehouse Post, Los Angeles Editor: Tobias Suhm Executive Producer: Joanna Manning Post Producer: Jordan Stricklin

VFX Company: Framestore VFX Supervisor: James Rogers Senior Producer: Joe Greenberg Art Director: Carlos Vidal Lead Data Wrangler: Fabio Zapata Data Wrangler: Juan Colon Coordinator: Evan Kanter

CAST Kid in car: Ariella Covalin-Mizarahi Metro Guy: Shu Sakimoto

Chef & Waiters: Jack Morris Jean Wolf Allison Vargas

Taco Stand: Mariana Arias Emme Gonzalez Paulina Camacho Oscar Sagrado Raphael De Cecco Ivan Modragon Christian Godoy Miguel Angel

Airplane: Heidy Diaz

Popcorn Eaters: Micah Bijon Charlie Scovill

Clothes Guy: Rick Darge Bus Shelter: Yuki Oc-Noda

[atletasudando]

Arnovis Dalmero: notables 8.18 en salto en largo

Informe: Víctor Zapata /Fecodatle El cierre del primer día de competiciones en el Campeonato Nacional Interclubes (mayores y u20) de Colombia, en el complejo El Salitre de Bogotá, tuvo un gran nivel en la mayoría de las pruebas, además de la aparición de una nueva generación de promisorios valores. Pero el nombre excluyente fue el de Arnovis Dalmero, quien batió el récord nacional de salto en largo con 8,18 metros (viento de 1.2ms). El campeón sudamericano lo hizo en su primer intento, dejando atrás sus 8.04 conseguidos el 17-10-21 en Guayaquil. Registró 7.76 en el segundo salto y 8.07 en el tercero, rehusando los siguientes. Gilmar Corra fue su escolta con 7.35 y el medallista mundial junior Jhon Berrio fue tercero con 7.26, en una prueba que vio a los seis primeros por arriba de los 7 metros. Gustavo Barrios en 400 metros con 47.51, Brayan Rojas en 110 metros vallas con 14.07, Elías Díaz con 66.14 en martillo y Billy Julio con magníficos 77.21 en jabalina fueron otros de los vencedores de este viernes 31 de marzo por la tarde, mientras que en la u20 se destacó Jean Carlos Ortiz con 70.24 en lanzamiento del martillo, muy cerca de su primado nacional. Después de su gran demostración de la semana anterior en Bucaramanga sobre 800 metros, ahora Evelis Aguilar incursionó en 400 y registró 51.85, quedando segunda Lina Esther Licona con52.34, mientras que la campeona de vallas Valeria Cabezas marcó 54.44 para el tercer puesto en la distancia plana. María Fernanda Murillo con 13.79 en 100 metros vallas, Susan Cañaveral con 1.71 en salto en alto y Sandra Milena Lemos con 15.82 m. en lanzamiento de bala fueron otras de las vencedoras de esta jornada en damas mayores, mientras que María Isabel Arboleda, con 1.77 en salto en alto, se lució entre las juveniles.   Read the full article

[rodpupo]

CCS: Brazilian Style

how did the musicians, filmmakers and artists deal with Brazilian sexuality and popular culture during the 60’s ?

 The main characteristic of the counterculture movement was its profound criticism of the capitalism system and the patterns of unrestrained consumption. The young people who integrated this movement of contestation to the moral and aesthetic values of the global society promoted revolutions in their ways of dressing. Their clothes and hairstyles became symbols of this parallel universe that they designed to break the capitalist fads of the elites.

The musical movement in Brazil greatly innovated Brazilian popular music, bringing in its lyrics irreverent verses that broke with the type of music made until then.

Tropicalismo or Tropicalista movement was a cultural movement that emerged under the influence of the artistic trends of the avant-Garde and of national and foreign pop culture ( such as rock n roll and concretism), mixing traditional manifestations of Brazilian culture with radical aesthetic innovations. It had behavioral goals, and to challenge the dictatorship, in the late 1960s.

Mix of national culture traditions and international aesthetic innovations, such as pop art.

Songs that talked about sex, about the woman’s body, clothing, but also morals and behavior.

The greatest representatives of this musical movement was, Gal Costa, Gilberto Gil, Os mutantes and Caetano Veloso.

Until the 60s, 90% of the songs that reachedthe album were about sex, bitter, vindictive and even tragic loves, pains and sufferings, in addition doses of moralism and chauvinism. When the woman is not the cause of all ills, a traitor or a fallen person, she is an idealized, ethereal and virginal figure.

National cinema has always had within is characteristics the erotic and sensual side of the people. One of the most important films of this time was “O Bandido da Luz Vermelha”. The story of criminal who gained enormous repercussion in Brazil in the 1960s, João Pereira da Costa, O Bandido da Luz Vermelha. 

O Bandido da Luz Vermelha promoted intense public disturbance of law and order, with dozens of assaults, accusations of rapes and homicides, would come to be considered the number one public enemy of the São Paulo capital and, after an unceasing police investigation, he was arrested on August 7, 1967.

The criminal, who spent a large part of the stolen money, with women and nightclubs, the film shows a lot, the woman as a kind of sexual object, for the bandit.

The movie have very controversial characteristics, but at the same time understanding the qualities that make us up, and with excellent camera work in hand and editing, he made a film which criticizes the Brazilian society at the time, and that still remains current.

As the military dictatorship was in power, the director Rogério Sganzerla’s features gains even more strength. The film clearly seeks to show Brazil as a corrupt place, with powerful people, and an entire social structure that punishes the poor, and frees the ignorant and arrogant criminals from the powerful classes.

He mixed the influences of Jean Luc Godard, Orson Welles, and Glauber Rocha to say how cinema in Brazil should be done from them on.

One of the most significant movements within this theme was “pornochanchada”. This represented a significant moment in national cinema. With erotic themes, getting very close to sex, these films were full of sensuality and the comic side always present.

Economically, this cinematographic movement had great repercussion, since it must be considered as popular, due to its success with the population in general.

They had their peak in the 60’s and 70’s.

According to its supporters, these films contributed to ‘de-eliteize’ Brazilian cinema, taking every kind of classes, to the screening rooms. 

Erotism is one of the strongest spheres of representation in Brazil. Since it manifested itself in the main stereotypes that the country has and that what people think are imagined by others, including foreigners. Our representatives, like football, samba, our natural beauty, are distinguished precisely by this touch of erotism.

Brazilian cinema was divided into two aspects, starting in the 1960s: family cinema, class situations and political life; and the other, centered on passions and sexuality.

In the past, however, the fame of sensuality of Brazilian women came to be used in official campaigns to attract foreigners to the country.

Terms like “feelings of protest”, “revolutionary pieces”, “rebelliousness”, “national identity” and “true Brazilian culture” open the way for more artistic manifestations. With regard to the process related to the idea of social participation of art: as is the case of opening art to the public, the collective aspects of production involved in it, as well as the tensions between engagement and experimentalism, in which a noticeable change in the use of images linked to the categories of “people” and “popular” can be perceived.

The central point involved is the predominant way in which the images of the urban and the suburban appear in the experimental projects of a group of artists linked to the neo-avant- Garde trends of the 60s- and no longer the image of the people as peasants or rural areas. The latter, incidentally, was prefigured to a large extent in intellectual and artistic debates about the national and the popular since previous decades and in various forms of art. The main idea was that the people’s culture, in its most authentic and genuine expression, was limited to its more traditional rural origins; manifested, above all, in the figure of the peasant, the simple man or the worker of the field.

 - During the 60s and 70s, Brazilian films had sex as their main theme. O Bandido da Luz Vermelha for example, shows the character as a womanizer, and women being treated as a sexual object.

- Pornochanchadas appeared in the late 60s and gained great notoriety in the 70s, and lost strength in the 80s, due to the rise of the porn cinema. Unfortunately, this was one of the factors that made sex tourism in Brazil encouraged. Embratour for example encouraged this type of thing, with extremely sexist posters made in the 60s and 70s.

- Tropicalismo mixed several styles of music from rock to Baiao. It transformed tastes of the time, not only in relation to music and politics, but also behavior, morals, sex and the way of dressing .

Was there a positive dimension on the production of Brazilian art, music, cinema by the 60s ?

 Film production in Brazil in the 1960s was marked by a series of readings and reinterpretations about the national reality in its various facets- in politics and plastic arts, in cities, in the countryside, in the world of work and institutions- that sought to negotiate already consecrated images of the country with new political and aesthetic projects. From the films and themes discussed in the course, discuss the legacy of this period from the continuities and discontinuities of its issues in current documentary cinema and interpretations of contemporary Brazil.

Glauber Rocha was one of the most important filmmakers of this period, because most of his movies contained themes such as anthropology, sociology, history and semiology.

Brazilian popular music, such as Bossa Nova, became extremely popular, and beloved both in Brazil and in foreign countries, like the the United States.

From the 60s onwards, the samba of bossa nova was definitely consolidated in the Brazilian music, where João Gilberto and the duo Tom and Vinicius stood out, such as Newton Mendonça, Billy Blanco, Aloysio de Oliveira, Banden Powell, Oscar Castro Neves, etc.

It was at that moment that the style experienced an international projection on a scale never seen before with another aspect of Brazilian popular music. In 1962 saxophonist Stan Getz together with the guitarist Charlie Byrd released the LP “Jazz Samba”, and also Frank Sinatra and Tom Jobim 1967 album ‘Francis Albert Sinatra & Antonio Carlos Jobim’ which drew attention of the music scene in the United States to bossa nova.

But there was also a music movement called the tropicalismo, which was a libertarian and revolutionary movement, that sought to move away from Bossa Nova intellectualism, in order to bring Brazilian music closer to aspects of popular culture, samba, pop, rock, and psychedelia.

This open, syncretic and innovative aesthetic experience launched by the tropicalists, changed not only Brazilian popular music, but the culture in general, in search of the country’s modernity.

The art of the Brazilians in the 60’s, were reflected in the country’s social reality, often with political facts of the period, his role was that of a conscious revolutionary.

For some historians, the art of that period developed in response to the military coup; a very important figure from that period was Wesley Duke Lee.

The artist used varied techniques such as: watercolor, painting and collages, it was duke who introduced the pop langue in Brazil.

Another artist from this period that can be highlighted is José Roberto Aguilar who produced works that contemplated the fantastic and grotesque character.

He was pioneer of graphite when using spray paint, around 1965, then used paint with a gun and even a torch on an aluminum plate.

- Wesley Duke Lee is a pioneer in the incorporation of pop themes and language in Brazil. In 1963, he created “O Realismo Magico” movement.

- Jose Roberto Aguilar was considered one of the pioneers of the new figuration in Brazil.

- During the 1950s, Brazil experienced the euphoria of the economic growth generated after the Second World War. Based on the wave of optimism of the “Golden Years”, a group of young upper middle class musicians and composers from Rio de Janeiro started looking for something really new and that was able to escape the operatic style that dominated Brazilian music.

- Glauber Rocha Filmmaker, writer. One of the leaders of new cinema, a vanguard movement of the 1960s, Glauber Rocha proposes a cinema aligned with the socio-economic reality of the so-called “Third World”.

- References:

- Links: https://periodicos.ufpe.br/revistas/revsocio/article/view/235218/28243

              26-90-1-PB (1).pdf

             http://www.generos.ufpr.br/files/b88c-producao-academica_paulo-reis.pdf

[ulisesbarreiro]

FUNDACIÓN FUNINTEC Y TOKEN MITHRANDIR HACEN MÁS GRANDE AL ECOSISTEMA DE CARDANO

Dos grandes proyectos que van por dentro de las venas del ecosistema de  CARDANO firmaron un gran acuerdo de trabajo en conjunto

Con la presencia de Wilmer Varón, como CEO de Fundación FUNINTEC, Ulises Barreiro como CEO de Token Mithrandir, y Jean Carlos Aguilar como representante de ambos proyectos, se dio firma al acuerdo que le da más firmeza a todo el ecosistema de CARDANO en el tercer mundo, dado que no solo impacta en Latinoamérica, sino además en África donde Token Mithrandir viene trabajando hace un año en diversas áreas de trabajo.

Acuerdo comercial entre Fundación FUNINTEC y Token Mithrandir, ambos proyectos como sabemos se van desarrollando por dentro del ecosistema de CARDANO, firmaron un interesante acuerdo de trabajo mutuo donde se destacan tres puntos especiales para ir desarrollando conjuntamente, estos son:

- Alianza comercial.

- Convenio en formación educativa en las áreas de DEFI, Blockchain y energías renovables. 

- Plan de impulso y adopción masiva de CARDANO en el eje Buenos Aires-Caracas. 

Como vemos, son tres grandes ejes de trabajo, que a medida que se implemente irán aportando sus columnas para engrandecer al ecosistema de CARDANO, en varios frentes de trabajo. Sabemos que hay muchos proyectos criptográficos, pero que solamente viven dentro de la web 3.0, porque casi no tienen participación de la vida real (dan charlas en Xpace, Telegram, etc pero carecen de comunidad real física). En este caso Fundacion Funintec, que sale desde Caracas y se va expandiendo por todo Latinoamérica por un lado, y Token Mithrandir, con presencia en más de 13 países, ya demostraron en este año de trabajo en conjunto en diferentes proyectos, que tienen comunidad real, y muy diversa, desde participación académica, hasta personas que participan en tareas de impacto ambiental, como lo es plantar árboles, o limpiar costas de ríos o mares, como se viene haciendo en varios países.

Por todo esto, sabemos que este acuerdo comercial beneficiará a toda la comunidad de CARDANO, celebramos este acuerdo entre ambas partes y sus respectivas comunidades que están presente en varios países de Latinoamérica y España. 

[topmodelcentral]

Renata Aguilar 

~ Mexico (4) ~

by Carlos Alvarez

[poettier]

Apple Arcade - A New World To Play In from Ian Pons Jewell on Vimeo.

Director: Ian Pons Jewell Producer: Chris Avery @ Apple Writer: Jordan Pories Creative Director: Hamish Pinnel Art Director: Esteban Cardona Group Creative Directors: Sam Oliver & Carl Broadhurst AD Producer: Jacob Stitzel Production Company: Reset Managing Director: Dave Morrison Executive Producers: Deannie O'Neil & Jen Beitler Head of Production: JP Colombo Producer: Megan Moore Director of Photography: Mauro Chiarello Director’s Assistant: George Daniell Casting: Majo Gallardo Costume Designer: Nayeli de Alba

Production Service Company: The Lift Producer: Fuad Abded Managing Director: Avelino Rodriguez Production Manger: Israel González Cadena Unit Manager: Vladimir Espinoza Production Coordinator: Liliana Huacuja APOC: David Carretero Script: Andrea Eduardina Key PA: Juan Tovar Production Assistants: Erick Ávila, Miguel Luna, Isaac Alvarez Runner: Paulina Camacho Chaperone: Paulina Marín Chaperone: Paulina Maqueda Locations Manager: Sergio Aguilar Locations Assistants: Itzia Rojas, Rodrigo López, Eduardo Gutierrez, Andrés Macías, Juan Chávez

1st AD DGA: Robert Phillips 1st AD: Sandra Mayerstein 2nd AD Vala Cárdenas 2nd AD: Lorenza Ramos 1st AC Horacio Vega 2nd AC: Adonay Meza Camera PA: Edson Reyes DIT: Julio Cesar Gonzalez Data Manager: Hayde Medina Corona VTR Operator: Jonathan Fernando Noriega Hernández VTR Assistants: Eduardo Martinez & Miguel Valdez Wheels Operator: Felipe Pérez-Burchard Steadicam Operator: Gerardo Manjarezz Trinity Operator: Niels Lindelien Gaffer: Leonardo Julián Key Grip: Juan Antonio Aguilar López Key Grip: Jose Marcos Vilchis VFX Supervisor: Daniel "Chovy" Cordero VFX Assistants: Rafael Santana Cruz & Francisco Ruben Perez Reyes

Production Designers: Robin Brown & Margarita Laborde Hair & Make Up: Chela Olea Hair & Make Up Assistants: Yoali Cortés, Ixchel Cortés Stunt Coordinator: Tomas Guzman Art Coordinator: Katia Duarte Propmaster: Diego Téllez Decorator: Melinda Ridaura Decorator: Sandra Jalife Art Assistant: Jessica Peralta Wardrobe Coordinator: Giselle Arriaga Wardrobe Assistants: Rodrigo Montoya, Paulina Regalado, Christian Fernando, Rocelia Alexandra Graphic Design: Mireya Guerrero Renders: Hugo Jiménez Swings: Daniel Hernández, Jesús Enriquez, Aldo Márquez, Juan Cisneros, Néstor Luna, Luis Hernández, Gabriel Cabrera.

Edit Company: Whitehouse Post, Los Angeles Editor: Tobias Suhm Executive Producer: Joanna Manning Post Producer: Jordan Stricklin

VFX Company: Framestore VFX Supervisor: James Rogers Senior Producer: Joe Greenberg Art Director: Carlos Vidal Lead Data Wrangler: Fabio Zapata Data Wrangler: Juan Colon Coordinator: Evan Kanter

CAST Kid in car: Ariella Covalin-Mizarahi Metro Guy: Shu Sakimoto

Chef & Waiters: Jack Morris Jean Wolf Allison Vargas

Taco Stand: Mariana Arias Emme Gonzalez Paulina Camacho Oscar Sagrado Raphael De Cecco Ivan Modragon Christian Godoy Miguel Angel

Airplane: Heidy Diaz

Popcorn Eaters: Micah Bijon Charlie Scovill

Clothes Guy: Rick Darge Bus Shelter: Yuki Oc-Noda

[javierpenadea]

"Whether He’s Talking ‘Amélie’ or ‘BigBug,’ Jean-Pierre Jeunet Doesn’t Hold Back" by BY CARLOS AGUILAR via NYT Movies https://ift.tt/Gy9S65K

[rtanoticias]

Policía captura a presuntos colaboradores del ELN en Cesar

Policía captura a presuntos colaboradores del ELN en Cesar

Presuntos colaboradores del ELN en Cesar. Personal de la Seccional de Investigación Criminal de la Policía Nacional capturaron a Jimy Javier Arzuaga Aguilar, alias “Yimy Moco” y a Jean Carlos Flórez Ochoa, alias “Yanca” quienes presuntamente se desempeñaban como colaboradores del ELN; encargados de realizar la instalación de banderas alusivas a este grupo subversivo en el corredor vial del centro…