Wednesday, February 6, 2008

What Kind Of Business Is Lia Sophia?

PLAY TO THOSE OLD FIGURINES "Piojera" everyday history


By Julio di Risio



One afternoon in 1947, I lived with an aunt in the neighborhood of Almagro and taking advantage of the sunshine of April, I went for a walk along Avenida Rivadavia to a film that was close Plaza Once, the cinema and then old Harmony, one of the many "Piojera" as they called these small rooms old, dirty, torn, musty, pee and with a screen that was not white and was perforated over with rocks.
Of course, my aunt was forbidden to go to those movies (he was an illegal departure), but the entry cost very little and gave up four films in one program. Suffice it to say that I frequented quite this kind of room, or I must have seen over 100 films in this exciting "state of secrecy." That afternoon
Easter movie was no surprise, as was "The Passion" as we used to call the film version of "Life Passion and Death of Our Lord Jesus Christ, who spent every year to that date. It was an old silent version with intertitles [1] to which they had to music with religious themes from the beginning to the end. Some time later I found out it was a version by Ferdinand Zecca in the late 10 and was another of the director and the same time contained in a yellowing poster of the movie hall "The victims of alcoholism ', but I do not let in by a minor.
The audience was this afternoon at the Harmony was not more educated or more serious than usual, so seeing the rapid movement of Jesus carrying the Cross, which was due to his early film at 16 frames per second [2] , the public, if you could call it that, was killed laughter.
But this afternoon something happened that marked an important change in me, the shadow of a bird hovering over the images irreverent Stations of the Cross led me look into the projection light and find the poor animal that Pullman had the big boys released into the room and that is crazy looking for an exit between light and shadow. The bird managed to escape but I stood mesmerized watching the changing light cone density and shrank to the back of the room into a point within a small window. There was an unknown, magical, that caught me as much or more than the images on the screen.
There was a time when I could not concentrate on the plot of the movie, I distracted the moving light that flowed from that mysterious window up there in the dark, at the end of the room.

1 - Titles of transition that were used in silent films to maintain continuity (synthesized) from the talks. Temporal continuity: "A few months later," was also covered with intertitles. 2 In

the early silent films was normal cadence of 16 frames per second. With the advent of sound, had to change the speed to 24 frames per second, this cadence normally reproduces the human voice. If a film is projected at 16 CXS shot in a sound projector (24 CXS), the images will be accelerated. Consequently, the normal rhythm can only be obtained by projecting the film at the same speed with which it was filmed.


Sunday, February 3, 2008

Examples Of Card Stacking Propaganda



WHAT TOOK TIME aims to be a real exercise in memory and remove it, as many memories as possible to add them to the history of our country that not only integrate the heroes, prominent figures and major events but also daily events that give support to our idiosincrasia.De so there will be no restrictions of any kind, everything fits in this place from a radio program, through cigarette brands to the memory of an advertisement. As they arrive these memories, I'll organize by category

Hp 9 In 1 Card Reader Driver

THE DAY I MET A EISENSTEIN

By Julio di Risio


"The formalist film is directed only to the excitement, while the intellectual montage gives way to process of thought "Sergei Eisenstein



Montevideo, summer of 54

was a very hot afternoon and the rain was coming, you could smell. Missing one or two blocks to get to the room SODRE. I would love to go there before returning to Buenos Aires. The sky darkened and began falling in thick drops. A few seconds later, as heavy rain fell on the stairs, a guard watching the billboards: one cycle a week commemorating the death of SM Eisenstein, who until then had only heard about. Excellent opportunity.

A presenter on stage reading a profile of director: "In the early hours of February 11, 1948, in his office writing a paper on color film, Eisenstein SM dies without having been released the second part of" Ivan ", banned by Stalin." Towards the end, an introduction to "The Battleship Potemkin" open cycle.

The heavy curtains were pulled back to the terrible screeching of the lack of fat. Some big titles in Russian, recorded with big characters, announced as the presenter that resulted from the side of the stage: "A film by SM Eisenstein," Battleship Potemkin. " Try to abstract from all the times I saw this movie, some for pleasure, analyzing other assembly, leaving me by that strange thrill that gave me those images gray and silent for many years.

The distant sound of the projector and falling of rain on the tin roof of the hall were the only sounds that accompanied those angry sailors who refused to eat the wormy soup. An officer apparently gesturing something serious. A poster and sounds of the projector and rain are cut by the commentator: "Tapen the rebels with a tarp and fusílenlos." Peers are reluctant to shoot. Another sign: "Brothers!". The soldiers turn their guns and fired on the officers. In the bloody battle that takes place on deck drops dead the leader of the rebellion.

sounds of rain and the projector that had disappeared by the intensity of the action, returning with a title: "Odessa."

The port of Odessa. The town next to the crew of the Potemkin, mourns the death of the leader. Voices are being raised fists and moving toward the grand staircase. The commentator translates it: "The soldiers fired on the defenseless people." A mother with her injured son in his arms up to them asking: "Do not shoot, my son is hurt. Do not shoot. " The soldiers are facing down and firing on women and children left lying on the steps. A baby stroller is precipitated quickly through the steps. More shots, people running, rolling, falling. The rain has stopped while listening very clearly the voice of the commentator: "The night of waiting."

Now only the distant sound of the projector flashes accompany the scenes of the crew waiting. The picture closes slowly to black. It is morning and attended the meeting of a ship of the fleet with the battleship, cannon plans are ready to shoot, sailors running up the iron stairs, busy times in the engine room. The commentator, with the noise of order and save your papers to go, release the tension in the raised giggles. Concludes with a final sign: "Brothers!". In this last scene the squad refuses to shoot. There are hugs of joy and tears of emotion. The word "Konek" and the raucous curtain closes on the monumental film.

a while I was sitting, looking at where all that had happened. Already in the hall, I looked carefully at each picture of the film. I thought to take one, but did not dare. I wanted to save, preserve a moment, not realizing that each one of them would accompany me all my life.