How To Find A Women Who Wishes To Go Bald

VENEZUELAN FILM CLOSES 2010 WITH BROOCH GOLD: 15 PREMIERES IN TOTAL WITH MAJOR INTERNATIONAL AWARDS AND THE HIGHEST COURT IN 22 YEARS ...

The coordinator of the National Platform of Entertainment and Arts Audiovisual Xavier Sarabia

The highest audience in the last 22 years, 31 international awards, six tapes Creole simultaneously in theaters and 15 releases are the record of the last 12 months in the national cinema. "2010 will be recognized when history is written as a very important year," said the coordinator of the National Cinema Platform and Audiovisual Arts, Xavier Sarabia, with respect to the achievements of the national cinema during the past twelve months.

In his view, beyond the figures, one of the ranges important is that this year fell several myths that somehow prevented the emergence of this artistic industry in the homeland of Bolívar.

One of the stigmas collapsed was the unfounded belief that two Venezuelan films could not coexist on the card at the same time, for allegedly hurting the hearing of the other. For about six months in the tender film contained at least two national titles simultaneously.

What has happened, says the manager, is the opposite: People who watched a tape of local production were interested to see the other Venezuelan production was offering the card.

Until this year the cinema exhibitors argued that the public perceived local productions as a single genus. For José Antonio Varela, president of the Villa del Cine, that belief was removed by an aggressive policy of releases that began early in the second half of 2010, combined with a similar approach from the National Autonomous Cinematography Center (CNAC).

precisely in September came a totally new fact in the history of cinema: The public had the opportunity to choose among six titles Creoles, one documentary. That month shared space on billboards The faces of the devil, Carlos Malave, gentle hands, the brothers Alejandro and Andres Eduardo Luis Rodriguez, Taita Boves, Luis Alberto Lamata, Havana Eve by Fina Torres; Cheila a house pa 'Maita , Eduardo Barberena, and brother, Marcel Rasquin.

"That has been also understand that the national audience to the cinema irrespective of gender. Do not have an audience inclined to one type of film, has been historical thriller film, some drama, with a touch of comedy. So that has vindicated the cinema is an integral part of Venezuelan culture, "said Sarabia.

Meeting of generations in the Big Screen

As for the opportunity to venture make a film this year contradicts the view that funding agencies and support in this area benefited only a group of filmmakers and consolidated. Sarabia mentioned as arguments, operas cousin, the zero hour and Marcel Heart Amorcito Rasquin, and Carmen Velasco Diego Roa, respectively.

Added to this are works of new artists who benefited from child support, or other entities for Subhysteria, Leonard Zelig and Enemy at home, Cesar Saffont. Emerging directors this year were able to exhibit their first feature films. Another

for veterans like Cesar Bolivar, who had 15 years off the big screen when it opened its newest police, death in high contrast. Fina Torres, after the women up, not directed a film for about 10 years. And Elia Schneider After his film Punto y raya in 2004, he returned to Des-authorized.

Xavier Sarabia's view, this meeting of the generations and all that has happened in the film industry since January, is made possible by the confluence of a set of institutions that are now maturing as the National Platform for Film and Media Arts.

stressed that all work has been done since the platform is a testament to the inclusive nature of management in this sector, especially from the Villa del Cine, a far cry from what some critics thought. "I do not think that co-productions or productions that make the Villa gobierneras can be attacked."

cited the case of Eva Havana, which is attacked by people on the left and right. Zero Hour also where "the audience of both sectors are in favor or against something." "The film does not have a single reading, has multiple, and when they do we are faced with a work of art," he reflected. "Can you criticize Havana Eve? We like or not like, but I do not mean frivolous taste, this film gives to discuss, this is not achieved with all the commercial cinema."

recalled that just four years ago there was the Village Cinema and Film and the Film Amazonia was just two rooms and now only has 16 different states. He added that the number of releases, which in 2010 reached a record 14 productions, can be taken as a reference to the goals of the coming years. "There is the possibility that the Villa del Cine maintain a pace of production and release that borders the 14 or 16 movies."

"The 2010 will not be viewed with nostalgia as with the 80. In those years we did not find conditions to be maintained." But "no one can dare to say that Cinema City is not going to keep growing, the Cinematheque is not going to go from 16 rooms that have now, probably to 22 next year. No one can dare say that it will have less money for independent films, "said the coordinator of the Platform National Film and Media Arts.

The figures

Of the 15 productions that were planned Venezuelan label in 2010, six were supported by the National Autonomous Cinematography Center, namely: Amorcito heart, Des-authorized Brother The faces of the devil, Zero Hour and Extremes. Two other minority co-productions were the same institution, such as Nine months (Spain) and Tarata (Peru).

Five were created thanks to the Villa del Cine. These are Cheila, a house pa 'Maita, Havana Eva, Taita Boves, gentle hands and Death in High Contrast. Between the two that were made with independent financing, home and Subhysteria Enemy, the first received input from regional governments and the second was supported by making copies of Cnac.

Interestingly, despite the record, Jose Antonio Varela recalled that in the four years that has made the institution he leads, there have been 26 films in total, with 2010 the year less fruitful of all in terms of production. According

Alizar said Dahdah, president of CNAC, during 2010, supported 60 projects for which earmarked about 60 million Bs, 40 of them led to feature films and 20 at short and medium length. While from the Villa was invested 29 million bolivars six motions were used to support production and 10 in post production.

in 2010 also recorded the largest audience of national cinema in the last 22 years and doubled the number of viewers who regularly go to movie theaters vernacular motivated. Until December 12 1,612,781 people had paid admission to see a tape made on our land and is expected before the end of the year to attend at least 37,219 more, for a total of 1.65 million viewers.

Xavier Sarabia argues that in reality this number is much higher under the projections made in squares and streets with mobile cinema in the Film and 180 community halls scattered throughout the country.

The age distribution among the 10 highest grossing films, until mid-December 2010 was as follows. The zero hour, 601,131; Brother, 308,767; Havana Eva, 175,597; nine months, 93,835; The faces of the devil, 78,308; Cheila a house pa 'Maita, 63,618; Subhysteria, 53,182; Taita Boves, 38,704; Death in high contrast, 29,373 and Amorcito heart, 17,149. All this happens, unfortunately, even if only informal trade has managed to sell the productions Venezuela at the same time it premiered on the big screen.

As for the quality of the proposals, make it grow 31 international awards that have so far accumulated 10 Venezuelan film productions, festivals of high global significance such as Huelva, Havana, Moscow, Los Angeles and New York, to name a few. Among the most decorated Brother and Venezzia count with 10 awards each and Havana Eve, with four. There are still hopes for the American Oscar Goya and English.

Short-term targets

"We have to reach agreements and solutions that we see fit with the channels of commerce to improve the distribution and exhibition of Venezuelan film," said initially Sarabia, referring to the factors to improve for the future.

Another weakness to address, in his view, has to do with optimizing audience studies and creating processes for their formation. Also considered necessary to advance the current reform of the Cinematography Act. "If we are in a relaunch of the Republic, we must understand that there are laws that are untouchable even if they are made within the process," he said. Among other things, noted in this connection the need to include the new institutions in legal texts.

technological independence, mainly in the area of \u200b\u200bpost-production is one of the bottlenecks to be solved in the short term. In this regard, Jose Varela reported that the Villa del Cine made an investment of nearly one million dollars worth of equipment to lower costs, especially in the incorporation of Dolby sound and video transfer to 35 mm format. "We will be able to cover the domestic market and the countries of the Bolivarian Alternative for the Peoples of Our America," said the director.

latter will, including independent filmmakers, have the option to make the Villa del Cine post-production work, which are usually the most expensive of the entire process of filmmaking. In terms of volume of production, the president of the Villa del Cine is plotted goal, more than recovering the previous pace, to overcome to reach between 10 and 12 features for the next year.


Source:

http://www.cantv.net/recreacion/resena.asp?id=198769&cat=6&Fresena=TRUE

When Will Molly Give Birth

STRATEGIES FOR THE COMPLETENESS IN THE LITERATURE OF VICTORIA DE STEFANO ...

  By Luis Islands on Paleography (dark lines on blurry lines), Victoria de Stefano. Re-posted by Prof. Juan Paez Avila, a journalist and a retired teacher from the Central University of Venezuela (UCV)

Stefano Victoria was born on June 21, 1940 in Italy. He graduated in Philosophy in 1962 at the Universidad Central de Venezuela (UCV).

recently over a decade, Olga Dragnic, reading of exquisite taste and, by that time, fellow Master of the UCV, asked me while we were having coffee rigorous Mall Los Chaguaramos: "Have you read Victoria Stefano? ". I said no, he did not know. Olga took time to rave about the literature of Victoria, who was also a close friend, and told me that unfortunately their books were difficult if not impossible to find in bookstores.

Within days, Olga gave me the novel The writer's place in a Mexican edition of 1993 (reissued this year by Editions Otero). I began to read immediately, and the first lines I sensed that it was these books that ask for unhurried reading. As you read poetry or essay, without impatience, with detailed tasting. A writing outside the plot and writing spasmodic rather sought a slower pace, a "listening" and a leisurely walk through meditative prose delicately wrapped ends and intelligence.

That

is the efficiency of the whole work of Stefano Victoria: take the reader slowly to that sounding board in which the privacy of those who read read and recognized as a neighbor. Books not to runs like a sprinter, but to move from the gaze of someone who sits in front of a window, or a screen-to observe closely what happens on the other side, and suddenly this other side becomes a mirror; in revelation.

Today his books are well visible at local bookstores, through the deserved reissues that have been made of his novels The desolved , The night calls the night , Stories walking , Rain and cited The writer's place, and their trial Poetry and modernity, Baudelaire . And since 2004, when his novel appeared too request, readers who have followed Victoria in every book, every essay, article and interview, we expected the arrival of what is now not only is his latest narrative work, but its debut on the editorial Alfaguara.

Paleography (dashed dark about blurred lines) is, in principle, history of severe depression. And this issue makes a novel deeply Venezuela. Force. Nearby. A protagonist, the painter Augustus, in his fifties into life and with a heavy balance of sacrifice, loss and frustration, he has lost the vital enthusiasm. Displays one of these crisis he fears no return. Does not already want to live, nor die. Unfortunate victim of a severe barrier that keeps the "mood of the closing foggy," Augustus, in an effort to come to the surface, decides to spend a few days at a beach hotel to mitigate-or perhaps assimilate from one angle less turbid that neutralize the memories. The sun on the coast then takes the expectation of a search of an enlightening salvation that can heal the wounds of his memory. Or maybe read that dark strokes on fuzzy lines that have become his days and nights.

But suddenly starts raining. A drop one of those showers that bring us memories so ungrateful to those who inhabit these lands where it does rain in the wet. However, the hotel is temporarily protected, even at home, and while landslides and roads are announced walled around, Augustus other unforeseen encounter. Of those who have the name and body and voice of women. He meets Gina, a translator who is also running away from what she defines as the "whims of adversity" and whose business is relevant to understanding perhaps the suggestive title of the novel. But that meeting in the history, it also corresponds to the future reader of this novel, who did not intend to disclose further details. So we run a veil and he is also a kind of paleographer of those past lives and imagined that Victoria has been designed with sensible wisdom narrative.

What I would like to emphasize is that the author offers in this book a thorough and chilling image of pain human. Reason has Diomedes Cordero when he says that deep down almost all the stories of Victoria reflect on "strategies to cope with suffering." Palaeography is no exception. Rather it is one of his novels that explore in greater depth and thickness in the sick mind of the artist depressed, and on that dive, extract pages that I think that for the first time in his work, the topic of writing that reflects on itself gives way to the artist who delves into his psyche shattered and faced with the bulk of fears and guilt that fills your memory, that is: its existence.

It is, of course, complementary areas. The relationship between depression and writing, between melancholy and artistic creation, they have covered much of the public and private history of literature. I think, to quote one of the beloved books of Victoria, The Magic Mountain by Thomas Mann, but also in the works of Virginia Woolf, Franz Kafka, Emile Cioran. I also think a few words of Roberto Bolaño, who knew, by trade and by nature, the close relationship between disease and literature: "The world is alive and nothing alive is hopeless and that is our luck." Writing then literature can not provide definitive cure. The art is not intended to cure, nor can promise as a miracle drug. Health is always a utopia that time or are responsible for the calamity to fade away.

But it is possible that art, in any branch of discourse, aware of certain strategies to prevent, as Maria Fernanda Palacios said that the world, our world, get rid of everything. That pause before the inevitable, the spiritual enrichment of the brief stay human in the world, is one of the advantages that more should we thank the artists. Paleography indelible part of these enrichment of our souls are sick, but insist, with good reason and emotions, to remain.

In this regard, I remember a few words to me a few months ago Victoria said when asked what she considered a priority value. She replied integrity. And it is true, considering that all his work is a human landscape in which it can not be many joys, but there is no despair. There is something that lies rather in an intermediate zone, that strength without fuss that offers a second wind, and even a third, not to forget that life is full of pain, but not is a pain. This modest courage that prevents the urge to disappear beauty and justice, but also of freedom and love that dwells in its characters, although they in some cases.

imaginary Because writing is not only weight but lightness , and at times, manages to remove some stones from the pockets of depressed and return of those black waters that could not leave the beloved Virginia Woolf. It is the awareness that failure, suffering, fear, loneliness often put us in a perspective that does not have the winner, or what society understands about winning. That is one reason that more rescue, I feel closest to the Victoria de Stefano's work. The script to recreate the suffering of disappointment and defeat, even creation itself, but in which his characters, although they lose their balance and mislead the center, make an effort to stand by through the dark passage of their lives to look more lucid hallucination. Beings for whom integrity is sometimes a cause, and others, a measured target.

why I believe that, not coincidentally, this writer's books are as signing the name of Victoria. It is not random: it is justice and nothing poética.vivo vivo is hopeless and that is our luck. " Then literary writing can not offer a cure final. The art is not intended to cure, nor can promise as a miracle drug. Health is always a utopia that time or are responsible for the calamity to fade away. But it is possible that art, in any branch of discourse, aware of certain strategies to prevent, as pointed out by Maria Fernanda Palacios, the world, our world, get rid of everything.

That pause before the inevitable, the spiritual enrichment of the brief stay human in the world, is one of the advantages that more should we thank the artists. Palaeography is part of These indelible enrichment of our souls are sick, but insist, with good reason and emotions, to remain.

In this regard, I remember a few words to me a few months ago Victoria said when asked what she considered a priority value. She replied integrity. And it is true, considering that all his work is a human landscape in which it can not be many joys, but there is no despair. There is something that lies rather in an intermediate zone, that strength without fuss that offers a second wind, and even a third, not to forget that life is full of pain, but it is a pain. This modest courage that keeps disappearing the desire of beauty and justice, but also of freedom and love that dwells in its characters, although they in some cases.

imaginary Because writing is not only weight but lightness, and in some cases, achieved remove stones from the pockets of depressed and return of those black waters that could not leave the beloved Virginia Woolf. It is the awareness that failure, suffering, fear, loneliness often put us in a perspective that does not have the winner, or what society understands about winning. That is one reason that more rescue, I feel closest to the work of Victoria's Stefano.

The script that recreates the suffering of disappointment and defeat, even creation itself, but in which his characters, although they lose their balance and mislead the center, make an effort to stand by through the dark passage of their lives with more lucid look amazed. Beings for whom integrity is sometimes a cause, and others, a measured target. So I think that, not coincidentally, this writer's books as a signature have the name of Victoria. It is not random: it is poetic justice.

VICTORIA DE STEFANO :

Victoria De Stefano was born on 21 Viserba June 1940, Italy. His parents, Italian, brought it to Venezuela in 1946. In the sixties studying philosophy at the Universidad Central de Venezuela (UCV), in which Philosophy Center began working with Professor García Bacca since 1962, when he obtained his BA in Philosophy.

At that time she was married to Pedro Duno and her two children were born. As political activities her husband often kept him prisoner and others, in hiding, the writer since 1962, frequently traveled abroad on a continuous wandering five: Cuba, Algeria, France, Italy and Spain. When he returned to Caracas in the year 67, her husband was arrested again and after a short period of legality and a new arrest, exiled in Chile from 1970 to 71.

In 1971, he published his first novel deSolve (Duno, 1971), under the imprint "Barbara." From this period also is his essay "Sartre and Marxism," published years later (Duno, 1975). Victoria De Stefano has said in an interview with López Santos (1984. Sep, 8), the need to write fiction and nonfiction at once: "I could never write fiction without writing test. My first novel, The desolved (1970), simultaneously to the test I wrote Sartre and Marxism (1971). Task is a kind of compensation between imagination and intellect "(C-2).

http://www.sololiteratura.com/vict/victsemblanza.htm