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The violence and threats to rights defenders Mexico's human.

Josefina Chavez for Notebooks Feminist

The National Violence Against Women Human Rights Defenders in Mexico took place from 14 to 17 October 2010 in Mexico City. Approximately 60 women from several states of Mexico gathered to share about their experience and know what they are facing violence to carry out their work in the various movements, cities and states. This meeting helped to note that levels of violence stemming from the controversial national security policy in its many dimensions, impacting at an alarming life dedicated to women's rights. Intimidation, threats and death are risks and costs in Mexico have to deal with activists committed to defending human rights.

precautionary measures in their application with many problems, but above all suspicion by discredit and mistrust towards the institutions involved in providing this facility. An example of this is that the meeting could not be present Margarita Guadalupe Martínez (Liaison and Communication and Training) as the State did not guarantee protection to the city of Mexico. Another recent example is that of students while demonstrating and gunned their way to a forum against the militarization of the federal police in Ciudad Juarez Who's going to protect members of the same police who attacked? Also in the same city Cipriana Jurado (Center for Women Workers' Organization), threatened with death, could not have adequate protection despite the request for precautionary measures, by Amnesty International and Human Rights Commission (NHRC). He had to leave the country. There is a long list of cases to which are added the murder and intimidation against journalists, acts which threaten freedom of expression.

The problem for defenders who are denouncing the abuses and violations of human rights of military and police forces is that the criminalization of their participation. Faced with this reality, what is the alternative? The issue is of high priority for the High Commissioner United Nations, who has recommended the creation of a national mechanism for protection and the adoption of special protocols for investigation of assault.

During Meeting were heard testimony impressive, they put goosebumps. Surprisingly, fortunately still surprising that most participants maintain a high commitment, clarity of the need for continued work in defending human rights against injustice and impunity. The composition of the participants also reflected the plurality of women with very different experiences, backgrounds and movements. Many of them have a long road of struggle.

was a great success the achievement of this national meeting, the background to the given months earlier, when the city of Oaxaca was held in April, Mesoamerican Meeting on Human Rights Defenders. In the proceedings of that meeting emphasized that "information on the specific situation of human rights defenders is still inadequate and is often invisible to the institutions, organizations and movements." Hence, there is agreement on the need to develop diagnostics to find and examine what are the characteristics and specificity of the violence they are facing women human rights defenders in Central America and Mexico.

The key point is visible, and simultaneously contribute to the generation of support for protecting the integrity of women defenders. And on another level also support elements to create real mechanisms of protection. The visibility in this case means recognizing the legitimacy and disseminate their work and their beliefs as well as the correctness of all the struggles and causes that are fighting, the women of Juarez, Atenco, Chiapas, Oaxaca, Triquis, the San Juan Copala, that of Guerrero, Guanajuato, Veracruz and many other states, told their stories, the violence in their homes, in their movements, how they live everyday as hell face where they develop. Of diverse origins, but that yes all equally abused, threatened, harassed. In various sessions, suddenly you hear the silence in solidarity against the pain of loss, of the killings and detentions of their loved ones, for the murdered women as women, the dead who are still fighting for justice the syrup, "New Utopia?

is women who dare to speak out, face to the military and its systematic violations of human rights to the various local police to mark the end to their impunity in the flesh facing increased paramilitaries. The objective is to recognize the contribution of women human rights defenders; join efforts, strengthen links; respond effectively against the risks and attacks by advocacy work, reporting and advocacy. For the coordinators and organizers and the participants is clear that we are facing a rise of authoritarianism, the most conservative and right and that it is present throughout the region are pushing policies that help to set contexts and environments of fear in the population. Hence the importance of the analysis, exchange, to have spaces that allow personal reflection, which in this case takes on a fundamental, the body is the place where the strategy of fear attacks. The body is then free space to recover for rebirth. Building strengths needed passes through the collective recognition in all respects.

The Mexican human rights defenders are the lists of the contents of the daily nightmare, intimidation, threats of all kinds, integrity and freedom, defamation to delegitimize as public spokespersons, violence and obscene verbal attacks, disappearances; media climate justification of aggression by being involved, assault and sexual harassment and derision from the authorities, threats typically include sexual connotations. At the end is death.

When the turn to analyze the causes analysis becomes more complex, an adverse climate for women defenders breathing. The church-state conspiracy, comes out, the impact of national security policies that promote social rupture, the disruption of social movements, human trafficking networks, corruption, violence femicide, misogyny. And much more.

The advantage of tracing the disjointed policies is precisely the realization of this national meeting, the analysis of the situation that pervades the work areas provides both routes, meetings and strength and the need acuerpamiento; together to respond to emergencies, to clothe the persecuted, to give solidarity to those most in need, to keep fighting because the only way things will change, there were flesh and blood. How do you, mate? Asked one woman to another: "I am a sad woman, and live, sadly, every day when I get home at night after the meetings, put loud music and I get to mourn, and every day "

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NUMBER 60
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Nov. 10 to Nov. 24
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2 0 1 0

Art of Mirror.(1973) de Derek Jarman.

(super 8 m.m.)

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"KNIFE CLUB OR THE FEAR IS DRAWN FROM THE DEAD.

For
Andrès Romero Baltodano.



After the wonderful International Documentary 12 where we go from desert to the tears of a Russian poet suicide and saw many "Docus" that amid this storm of love and silence we have the presence of producer Marta Andreus brought the documentary "Palo/108 Knife" by Renate Costa (Paraguay.2010) we sneak up on this film and with tears in our door we write this ...






there under the shadow of a man perhaps his last and that the shadows do not give it the edge ...







108.
A larger number of points. Arabic numbers passing through creation of the Arabs over the issue of free association with the name, but in reality they are invented in India.
108.
could be the result of a hotel room where James Dean read an excerpt from the Koran.
could be the number you put in a sack when it comes to the laundry, in a yellow slip. Paraguay
But say 108 is scary, maybe panic fright.
Let us place ourselves in the fifties to give us more panic:
Stroessner in Paraguay.
Peron in Argentina. Trujillo
Dominican Republic.
Getulio Vargas in Brazil.
Anastasio Somoza in Nicaragua.
It breaks the ground and bury it who do not sympathize. On the streets, silence takes over the population and who try to walk in the opposite direction to power, will be eliminated or tortured or simply disappeared. And if that happens to those who are on the banks of the political, those minorities will be excluded, that same society has the luxury of "set aside" under conditions of morality uniquely and absurd?. Renate
Paraguaya Costa is a filmmaker, who once came to Barcelona at the Masters in Creative Documentary at the Universitat Pompeu Fabra and met Marta Andreu, who told us that initially Renate I wanted was to tell the story of his uncle, who was found dead naked in the backyard.

all started with a dead, but they did not know that behind this, many more would come knocking on the door of this harrowing documentary called "wooden knife / 108." Renate
wondered why his uncle was "rejected" and "island" within the same household and the fact that the guy was gay is what leads her to begin a journey that will make travel between the macabre and happy and between love and the eternal.

documentary narration so particular and so epiphanic, which lets you build with no logic but logic architect particular musician or photographer of the post Russian revolution. A window here that hunts with a dog that barks, a napkin which is listed a phone, which is broken at the tips, which can be sewn to an avenue where they torture just for fun.

lasted three years and reconstructive alchemical process, "said Andreu, that the more impressed them more roads opened and closed, appeared like a game tracks Arsenio Lupin, talked about, others were silent, the shadow of a monster called Stroessner (who ironically died little calm in his bed in Brazil) who is blamed for more than 4,000 people were killed and many disappeared, is making a shadow on the past Renate's uncle's hand Renate deep conversations with her father, taking a turn to match the box, where sometimes the referee away (such as missing Paraguayos) and sometimes in silence left the ring like a wounded sea lion, who calls his love as the last resort to float.
Float. Sink. Nadar. That's what happens in this thrilling documentary. The story may be the neighbor of the family, the millions living in anxious states, where its states, kneel and shot fulminate like bulbs. The story goes
entering territories to remove the masks, to have panicked why a guy like Stroessner, of leaning to the plight of millions of human beings for choosing a wig, are kicked and scorned while others (which is not the wig) probably are more lethal to their own people. Finally
a painful biopsy appears as a snake that enters the body, to discover the disease of indifference and shame that can nest in a family within their own members.
the end a homeless stray dog \u200b\u200bpursues the camera and you do not know if it is a heartbreaking tribute to the 108, the voiceless, those arrested for the crime of an announcer in 1959 for being gay (may 108 kill people or be one that is more likely the opposite?).
Upon leaving the room we have a lump in my throat and a "supreme discomfort" of the world know that these things happen, while millions of eyes watching the TV and say, shrugging his shoulders, something be done.

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JUBILEE: A JOURNEY IN TIME

By Mary Lucia Moncayo

Student Special Broadcasting

The Moviola


Derek Jarman proposes a fictional journey through time. Two different and contradictory eras in time and space, but also essentially for to each other in terms of the possibility of the hypothesis, producing a rich and articulate particular time and space.

Be Part of the golden age of English around the year 1558 and 1600 during the reign of Elizabeth I (Elizabeth I) called the Virgin Queen, in the very emergence of the British Empire, a term coined by John Dee also a historical figure who accompanies the virgin queen on a journey both prophetic and apocalyptic.

This commences overtones are distilled from the director's personality and his interest in the history of their nation. Especially in the Elizabethan period which also arise so great literary figures as William Shakespeare and Edmund Spencer.
John Dee played by Richard O'Brien manages a subtle and loquacious language as epic allegory, showing the taste of the director of the Spencerian stanza 9 Alexandrine verses.

The delicate and polite interlocutions between the "Virgin Queen" and his guardian lead to another historic event, the growing interest mathematician and astronomer John Dee in the world of spiritualism and magic. These facts allow queen and guardian to soak in the invocation of a divine spirit (Ariel), who at the request of the queen's plunge into the "waters of knowledge."

is then being transported from Mortlake (house of John Dee) in 1597 to a later time, to England in 1977 where reality set in terms opposite to those of an ideal society. A company located in the distant future where the consequences of manipulation and indoctrination by the mass media industry produce the extermination of all citizens.

noticed a difference between the scenes of Queen Elizabeth and her companions of the time contrasted with the punks of the future. The scenes of the queen have a melodramatic but preserve the historical plausibility. It distinguishes a diffuse contrast between light and shadow that becomes a significant factor in the connotation of the shares; promoting effect of nostalgia, reverie. As regards the representation of actors perceived Brechtian style, stylish body giving centrality to the movement overall.

But the future of the successive scenes the director opts for a representation and different treatment, similar to cinema verite, leading to a subjective realism by increasing the expressiveness to the work of a dynamic and energetic chamber, constantly using the zoom, decisions consonant with the actions of the characters are always moving and restless.

The following sequence introduces us to many of the main characters in the film and we are instructed in the new order of things in this dystopian universe. Abolished authority, a world without a clear hierarchy that exercise social control over the individual. Point where most people tend to say that Jubilee is a punk movie and makes apology to anarchy (anarchy as synonymous with disorder and civil war.). There is no denying that the aesthetic premises of the punk movement and nurture the film, but the intention is the opposite Jarman, the director forces us to reconsider the price of absolute freedom, no one could survive in a world. Despite this personal view of anarchy both held by the punk movement of the seventies (disorder and war) as the director's vision (product of fear and horror that infuse governments with the eventual destruction and lack of government) seems appropriate to reformulate the basic tenets of anarchy: anarchy

Who says government says negation, denial
Who says government statement said the people;
affirmation of the people who says says individual freedom;
Who says individual liberty, says sovereignty of each;
Who says sovereignty of each, says equality;
Who says equality, says solidarity or fraternity;
Who says fraternity, says social order.

said this and making clear the meaning of the term anarchy, we could take the nihilism which are governed by the vast majority of the characters in the film.
Amyl Nitrate is revealed after the introduction by Mad as daunting as the heroine of temporary space. It is in this scene where he distills the ideological position of the violent biker gang. Amyl states where obsolescence and uselessness of art at that time, he to his view it was necessary to channel the desires of people to a safe harbor and replaced by fantasy.

With the abolition of power structures and once the wishes come true this channeling of desires was no longer necessary and establishing new premises: "make your Desires reality", "do not dream it, be it ".
truths of that time are emphasized by the camera set rigid, static front. However
the next scene where Amyl recalls with nostalgia his dedication to dance is important for several aspects: a.

The use of allegory: they represent people through art and death. A strong counterpoint that represents the beauty dying around the destruction. B.

Considering that the story is transmitted to us through images and sounds, the embodiment of this sequence is full of underlying code. The image changes its format, filmed in Super 8 and accompanied by classical music that represents the aesthetic point of view of the now defunct ruling class. sound and visual treatment suggests a distant past and outdated.


c. The burning of books, jubilee books obsolete represent an object of a thorough knowledge that can not be acquired through images. Trivial thing for the new order of things where you own importance is what can be purchased through images, a superficial glance. The following

used scenes shots of the homes where the gang of women bikers with the Sphinx and Angel incestuous twins. In an internal monologue Amyl presents to friends and elaborates on his conception of history. Here the long shots, long deep compounds are used to transmit large amount of information that forces the eye to move objects to the characters and the environment obtaining large depth of field full of iconic information.

The staging of all visible elements in the film, stage, costumes, props and lighting is demonstrative of the use of the nascent punk aesthetic and iconography of the seventies.

exist in the film a number of scenes that, although scattered throughout the film have a strong causal thread and give it a temporary drive to work, Bod (short Boudica was a warrior queen the Iceni, he heads several British tribes, including the Trinovants neighbors, for the longest uprising against the Roman occupation between 60 and 61 d. C., during the reign of Emperor Nero), is in hot pursuit harassing a woman, he runs into an abandoned cabin where she is killed, it is worth noting here the style of the author to write counterpoint images with strong visual sense that gravitate between beauty and destruction (remember the sequence of the dancer) here despite the explicit violence of the murder of women, the image tends to end the barbarity of the delicacy of beauty represented by the flowers in the foreground the scene.

After being murdered women are stripped of their belongings, Bod escapes. After a child picks up a diamond near the body of the murdered woman and look through it. In the next scene reveals the identity of the woman killed in the proud moment Bod shows off your booty, it's Isabel II. Later
travelers passed along with the angel clairvoyant reach the scene of Elizabeth II, the dwarf companion of the queen of the past, curious, wandering through the rubble to find the child, who had the gem, this returns to the ubiquitous eyes of the angel. This scene demonstrates the skill with which the director handles the film time setting up a paradox.
The gem gift from his ancestors is recovered by travelers from the past avoiding being lost and so return to the past to once again be inherited by their descendants.
This fact expresses the idea of \u200b\u200beternal return and restitution of a historical nature and thus distorts the reflection on the historical reconstruction of the reality posed by Amyl nitrate. Jubilee

despite its obvious aesthetic and iconography of punk and the various appearances of musical icons of this movement that has led to assert that this film is a "punk film" is far from all of the true essence of the work, which the author delves into the true nature of art and the position of artist in the World (this reflection is expressed in the character of Viv which is the most humanly portrayed able to feel and love and who holds the key to a better future.)

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FICTITIOUS MARVEL MORENO: THE LAST VISIT. (FINAL RELEASE)

SECTION BOOKS FOR YOUR EYES

LAST PART

For
Yuri J. University Professor Franco Ferrer
District








the other side of the line, Martine observes the life of her childhood friend, hidden in all that paraphernalia intended for display to all an image of "bourgeois happy", instead of hide, helps to show the hell of madness that consumes, whose fire is fueled by the determination of Nicole, who is also sealing his conviction by entering into a marriage that means renouncing their projects to their careers, reducing it to a grim life of a merchant next to no prospects other than making money. The choice of Alice's lost in time and Martine, less talented, but triumphant, is a living reflection of what she would have satisfied to have chosen the path that led to itself and not the watered down inexorably toward death . The largest of the tragedies of Alice, knowing who has lost everything, is to know the living image of what will be his daughter in a few years because, as she leaned the wrong choice, she chose to resign rather than take the course of their existence.

waiver of the right lifestyle choice also finishes killing Renata, daughter of Teresa inflexible Haddad, who forced the girl to move away from "Man of gardenias, marrying with being mean and heartless that drags ruin lives. A narrator-witness, the sister of Renata, reconstructs the sordid history of women as weak and helpless as a bird that dares not offend the provisions of its mother, even knowing that he risked his life, proving that "neither had the courage to fulfill their desires." Renata helplessness leads to death or the persistence of love, or the intervention of his sister, can be avoided. Maybe that's why we succumb from the beginning of the story, the clinical miserable capital city where her husband was sentenced to die.

Mario and Marina, the twins to look face to face to feel like "The Mirror" are the protagonists of the narrative whose composition is within the letter the aunt of both written to assume the defense lawyer Mario, accused of killing his wife Cecilia. In the letter the aunt, witness and narrator reveals Details of the tortured relationship of twins who love since childhood with a feeling as strong as remorse and guilt triggered by incest.

The loss of a son and incestuous marriage of Mario and Cecilia, the daughter of a wealthy merchant of the city, Marina generated tremendous hatred towards her sister and rival assassin who freed from the burden of resentment and jealousy showing his brother with it, and horrendous act all crazy, how great was the love he felt for him that, corresponding to this crazy and passionate evidence, blames the death of his wife by failing to notify the police when is bleeding because of the fifteen stab wounds received at the hands of Navy.

Honoria, the maid, as Fidelia in "Oriane, Aunt Oriane" is a bridge between the events and the narrator who, because she knows many of the details before and after the crime. The murder comes in the story as a liberating because it removes the life of the brothers, the presence of a third party who altered the course of a love doomed from birth, a love unthinkable, impossible, but existing as the Oriana and Sergio, also bound by blood, passion and tragedy through a relationship marked by subtlety and subtext of a mystery, replaced in "The Mirror", for clarity that becomes raw and even violent, when we see after the murder, how Mario and Marina are discovered by the old servant, sleeping "like the angel of peace, the cover with their wings, the other one lying in the living room where hours before the events occurred. Nor
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may waive the memory of one love of his life. The cult of the feeling that binds Ribeira Gregory, who died in a freak accident "the day of the census," obsessively devoted his entire life. Mourning a young brand and runs until maturity, when it reappears Eliana (raw-witness narrator of this story) who tries to free her from the pain caused by this love is a lie enormous, because the same day of his death, Gregory was going to break her engagement with Matilde to woo her. Believing that making Matilde know the heartbreak of her boyfriend, it achieved a shift towards life, Eliana confesses the truth, a truth that when viewed in its cruel dimension, flat leaves of eternal life leading her to girlfriend death. Eliana, pragmatic and way happy, do not understand from their perspective as Matilda may have spent his life devoted to suffering, for it to Gregory Ribeira low pedestal that his girlfriend took him up, not realizing that by doing so, he was snatching the only reason she had to live. Instead

Ana Maria Alvarado, living shadow of death, it is impossible to rid the world of the areas that were grave in its existence. So back to them, from the beyond, trying to free Adriana, her granddaughter, the destination brand and tying condemns love for a mediocre, "a spoiled child, a gentleman sterile" conditions their love and your company to the resignation of the girl to their life projects and work, as Dr. Cristina Peredes did while starting the dance and Europe to bring to a tropical grave yard and galleries, where her beauty and grace went out, as Australia did well with Nicole, the daughter of the frustrated Alice, in "The Violin."

"Shadow" is all-pervasive: night, river, sea, swamp, Adriana's dream, the spirit of the old Dionisia-maid, confidante and guardian of their most intimate secrets, "the torpor of a sleeping city (Barranquilla) than to be discovered in his identity, takes the ghost to reveal, to confirm his own:

(...) And again moving toward shaking the water spout in the distance while the silhouette outlines of a city. My pain is reborn. Why the sadness comes over me like that? I would not plan on this market of sordid aspect, or admire the roofs of those dirty buildings, but I flew against my wish, and lo and climb, and suddenly find myself in awe at the Plaza de San Nicolás. Now I know who I am: I was Ana Maria Alvarado, wife of Fernando Casola, I was the mother of Cristina, how much I cried. Nothing and no one could console me for her, dragged her loss and grief to the end of my days (...)

Casola Ana Maria Alvarado can not revive Cristina Pereda Casola, for she could do nothing except see it disappear between tedious and petty mists of a marriage with which "the world thought he had caught at the right moment to lose," but in the case of Adriana Peredes Casola, her granddaughter, love becomes a force that drags by pulling the deep hole of the night that is death to let go into sleep and the thought of the girl for what will be his life within two decades, and Adriana is dreaming,

At the end of a path that all stones are equal, a woman and a little sad anesthesia that celebrates motherhood and bored in silence, has lost his illusions and barely recognized identity. Do not read or think, or have grounds to argue with the man of the blond hair

(...) And this premonition that causes the grandmother-mother, becomes known that Anne wanted, because the clarity looks the mind of his granddaughter startled waking from sleep, recognizes the impossibility of their future union with the dull boyfriend who wishes to become a husband. His mission accomplished, "Shadow" gets back to nature. Other shadows protect you, take refuge in them with just a vague feeling of being someone who suffered. Adriana

If the possibility arises of death itself, so Esteban Henríquez everything is impossible, except to sell his paintings, the art of lying, of appearances that the caprice of a few became fashionable in the field of modern painting of a large European city. Luxury and the people around him filled with an infinite boredom, distracted for a short period by an animal, "The Dog", which from the window of a moves in veterinary store with an afternoon romps. The animal's vision leads him to remember his childhood rage dark and uncertain, governed by an unfeeling mother, and also leads to its recent past in which Isabel worked as a maid so that he could paint in the little room that, as a couple they shared in Paris. Isabel

not fared much better than "The dog" which ends up being ejected from the apartment of the painter for having prevented the sale of one of his paintings. She also was cast into the street because, for the already famous and wealthy artist, was unheard of living with a woman who:

(...) know the art of seduction the charms of artifice. With his habit of plaiting the hair looked awfully American. At present he was uncomfortable with his new friends while attending their presentations.

In this, it is the only tales of the match featuring a man, a blurred figure of Isabel, generates a kind of denial about the cruelty of Henriquez, a figurehead whose fortune is, in principle, to sacrifice and the humiliations suffered by the woman who bet everything on his case moved by her love, receiving a ticket back to Colombia, a few dollars and a couple of tables with what was intended to offset the unjustifiable proceeding who the repudiated after use. Ana also

Victoria, "The Pilgrim", is forced to confront the impossibility of being accepted by almost everyone else in the proper dimension of sensuality that makes her hard to love, no brakes, many men at once, transgress all, challenging his status and the Catholic puritanism of his family, especially that of his mother, who looks like a monster lewd, vile, who constantly nags and criticizes his actions and submits to the humiliation of the confessional and medical treatment. For others, less for his late uncle Luis and Juan Miguel, the man was elected by husband ill. And as they had explored all possible cures, including witchcraft, medicine and the good offices of her confessor, was only the use of miracle it could be in Irino, a village near Seville where he was told, was a saint specialized newfound cure nymphomaniac.

Ana Victoria agrees to go to the pilgrimage to ask the saint Irino-acting only once a year during the procession, a cure that does not really want because they feel that by taking the full dimension of their sexuality, has lived in peace itself. But the pressures of his mother are so great and the moral flag flying hits so strong that it prefers to give up the enjoyment rather than suffer the torture of eternal mantra mother and blame for it built in the depths of his being.

In Irino, despite their intentions and hopes for the miraculous healing mother, Ana Victoria finds that the only true miracle is assumed as it is, as he had done so far. This conclusion comes from the arms of Paul, a man with inclinations similar to yours, who is staying with his room at the only inn in town. There is love for three days until they're exhausted and when they realize the passage of time, the procession has passed and the possibility of unwanted cure is postponed for next year. Are promised twelve months then meet again during the pilgrimage Irino, but no relief for its alleged bad, but to run again the miracle of love, using all his forces uncontrollable bodies and well endowed that by miracle, the saint of Irino not cure.

The story that closes the meeting involves the reader in the magic of the Mine, and Curbata Tuy, Mandinga drums that resound in Barlovento announcing the long awaited return of Elizabeth, who is not know until then, share in a pact love sealed two centuries earlier by his ancestor, Juana Maria Arimendi, La Marquesa and their offspring, females of hard race, have respected and perpetuated.

The mysterious disappearance of the girl's body Josefa, grandmother of Elizabeth, who upon learning that lead asks dying from Caracas to "Las Camelias," his ranch located in the Cariaco region along the river San Juan, determines the return Isabel to the mysterious forests within which it has been made for a date with love and with that part of herself that unknown and begins to suspect from moisture and heat in the region to possess his being.

Isabel comes to the rescue of a body that "does not know, lying in the bed of the river, next to the Mandinga who loved him in life, but instead of the corpse of the old, discovers chances alive, but still asleep in his own being that (in the arms of the black drag it to the hammock to let him know he had caught and the evil of love), begins new rituals and delicious so far had been denied and thereafter, will continue throughout their lives, making love again many times in this jungle full of noises and mysteries that, in due time, will also become the site for her final return. Isabel

can not free of predestination, magic trapped in secular pact that females of his race have been renewed from generation to generation with the Maroons "Windward," but this destination is not prison or fatality, but freedom, fullness that leads to his true self and reveals the reason for their existence.

In the accounts of the encounter the magic mixes with reality in its most raw. Only the supernatural, magic can liberate women who have the ability to save (Adriana, Adelaide, Ana Victoria and Elizabeth) of destinations that the condemned, the others succumb without the strength to cope with an adverse environment in which the capacity to decide have been denied.

Marvel Moreno was fifty-six years old when he died, more than half of which was devoted to literature, with a rigor and a passion that to isolate the external world, from Colombia and his native city, was tied to them through stories told and testify today, forever, his presence among us.

two unpublished books: The time of the Amazons (novel), and a volume of eight stories, which the French publisher Côté des Femmes awarded posthumous recognition mode, Gabriela Mistral Prize during the International Book Fair in Bogota 1996, expect to see the light after the disappearance of the author ... His ashes reached the immensity of the sea after crossing the Seine river, whose waters were scattered, at his request, on June 15, 1995, after cremation your body at the legendary Parisian cemetery of Père Lachaise.

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Child Diana

("BETWEEN THE FRIGHT AND TENDERNESS")

años.Colombiana
29. Photo- artist focused on the production of photography. Graduated from the race
Broadcasting emphasis Grancolombiano Politecnico photography and living in Brazil.
part in solo and group exhibitions in Bogotá and São Paulo, some of these: the Biennale of Young Artists, Artehoy, National University of Colombia in 2006, 3 levels: Photographs, Subject, Space also in 2006, the project off the group Na-festival in its first House (http://nacasa.wordpress.com/diana -nino /) and second edition (http://nacasa2.wordpress.com/diana-nino/) in 2008 and 2009 during the international photo festival Paraty em Foco, and Arquivo Criativa (directory of artists) group exhibition with face work hand in 2010.

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SI PHOTOGRAPHER SNOW BECOMES SEQUINS (about costume design in Italian cinema) PART ONE AGAINST ALL

SECOND DELIVERY


By Diana Ovalle

Correspondent The Moviola
Rome (Italy)



fell from a tree like the painter and costume designer Danilo Donati, who like lightning in the middle of the forest envelops light skin and eyes of his characters, beginning his work with Franco Zeffirelli in 1959 is called by Mario Monicelli to make costumes for the film "The Great War" and those characters: Jacovacci and Busacca (Sordi and Gassman) involuntary heroes a war in makeshift military uniforms, boots with cardboard soles, and a battle helmet spinning like a diamond in the folly of war. Danilo Donati

After this work would have a huge row of faces, bodies, characters before him, searching his eyes to reach everyone. In 1962 made the costumes for the episode "La Ricotta" from the film PPPasolini Ro.Go.Pa.g, recostruyendo habits Pontormo's paintings and Rosso Fiorentino, and establishes its collaboration with Pasolini in the film "Il secondo Vangelo Matteo (The Gospel according to Matthew) and thereafter Danilo Donati, squeezed through his passion for painting and his job as costume designer sensibility that touches the depths of history, the nature of the characters that are not mannequins in scene, but the voice of this same, among their other creations, are: "Francesco" (1989) by Liliana Cavani, "Uccellacci, uccellini", "Oedipus Re" (1967), "Teorema" (1968) and "Porcile" (1969) by Pier Paolo Pasolini . Zeffirelli

once again finds his school friend, Donati and invites him to work in "Romeo and Juliet" (1968), with which you receive the Oscar for best costume. Will be 1969, when Federico Fellini Donati find, and the pages will not be sufficient, nor necessary to count how much could happen in the film "Roma" (1972), "Amarcord" (1973), "Il Casanova" (1976), with which he received his second Oscar for best costume. Costume Pasolini's irreplaceable, I realize the poet's trilogy ("Il Decameron" 1970, "I racconti di Canterbury" 1971 and "Il fiore delle mille e una notte" 1973). Among other workers who complete their films, the art of Danilo Donati, rip wit the tradition of a new world, Jocasta in "Oedipus re" wears a cloak of shells, tunics costal fibers, charms pills reconstructed mosaics, lamps electricity in the world of Fellini's surreal and ironic complete the robes of priests and a experiemtno Donati gave another costume life wit of a poet as Benigni wanted to express, at night "The poet works."


At his side and as a friend and colleague defrente Piero Tosi, followed a route farther to the scene and characters, costume favored by Luchino Visconti, Piero Tosi began his career with "Bellissima" 1951, the same author, dense work neorealist poetic, clothing collected by their own street clothes, full of life for Anna Magnani recite in a strength and floor expiring while the image is open, from this experience Piero Tosi hosted the reality of the dress (as worn and lived ) as a value to represent, as happened also with the new filmic aesthetic of neorealism. The


Construction of the theater scene or film show, deals with open space to the body of the characters, words and music with them hanging moments of the play and in its entirety as an art of vision projects the "image" of the same story . Similarly, the costume as a visible representation, is built in the footsteps of his characters, giving each the colors and forms that guide their movements, read their thoughts, modeling more than a body, the character of a character. Piero Tosi


with Luchino Visconti, I think the image of a work that imitates the smell of the bodies of fabrics, metals and leather trunks recovered from some pirate distracted. These

are "Le notti bianche" (1957), "Rocco ei suoi fratelli" (1960), "Il Gattopardo" (1963), with whom receive an Oscar nomination for best costume, "I straniero" (1967), "La caduta degli dei" (1969), and also with "Morte a Venezia" (1971), and "Ludwig" (1972) received the Oscar nomination for best costumes. Liliana Cavani, Piero Tosi draw the body of Charlotte Rampling in the city away dull, gray, decadent Vienna in 1975 in "Il portiere di notte" (1974), will rebuild with Pasolini "Medea" (1969), eyes Maria Callas as a bird of the Amazon.


Wizard and future colleague Piero Tosi, Gabriella Pescucci be given to the office of the locker room since childhood in the Academy of Fine Arts in Florence, as an eagle-eyed apprentice, Gabriella Pescucci take your hand lesson opening Piero Tosi it our way under the lights of the scene. Among his first creations, working with the director Giuseppe Patroni Griffi in "Addio, Fratello Crudele" (1971), "Identikit" (1974), "divine creature" (1975), while Fellini goes again walking down the streets of Rome with the idea imagine a city of women, as in there women in this city of "La città delle donne" (1980) Pescucci falls in their dresses and veils herons ORNAND between the bodies of women who dreamed Fellini while snow is falling apart, among others, along with some steps the hands of the wardrobe, they discover "C'era una volta in America" \u200b\u200b( 1984) by Sergio Leone, "The Name of the Rose" (1986) by Jean-Jacques Annaud, and then it will cross the ocean to find Martin Scorsese with "The Age of Innocence" (1993), with whom receive Oscar for best costume. Below a certain Willy Wonka, the Pescucci claim that hat pipe from China and re-adapted to the French and English society 800 'in "Charlie and the Chocolate Factory "(2005) by Tim Burton, when just woken up after" The Adventures of Baron Munchausen "(1990) by Terry Gilliam.

These hands, similar to a carpenter and these eyes, like those of a bird in flight, are an essential part of the visible representation within the art of films, theater and television also waiting. Being in the service of history and director of the threads of this art are immersed in the flow of a river where fish the illusion among the field of the earth.

Finally beating out some names, Milena Canonero represents a path of fairies to the world of apparel through its magnificent creations with Stanley Kubrick in "Clockwork Orange" (1971), "Barry Lyndon" (1975) and "Shining" (1980). Recalling turn "The Godfather III" (1990) by Francis Ford Coppola and "Marie Antoinette" (2006) of the same daughter Sofia Coppola, with which it receives the Oscar for best costume.

Brazillian In Ho Chi Minh

By DIANA JIMENEZ LEFT
PRADO
Nathan Gomes Broadcasting Students Special
The Moviola

Freedom, morality, death, existentialism and the fight against himself are human conditions that compel us to act in a certain way, sometimes breaking the rules and behaviors that''we''have to fit into society. But what happens when our desires and impulses compel us to act differently? When do you just want to live without being bound by the rules?, When do we pay attention to our inner voice that goes against everything? The answers would target human decadence and rejection by society.

Gaspar Noe, Argentine filmmaker based in France, embodies the human condition in a butcher, a man 50 years of lower middle class living internal chaos in his mind. Life is not easy to put it, has no friends and family, is limited to his daughter, with whom he has a somewhat distant relationship, ultimately, his only refuge is his mind. Noah
shows this character physically very simple, your wardrobe does not have much else, use pale colors and monochromatic. He speaks little, but his mind is so active that is able to analyze and feed back in a few seconds. Always hear the voice of his thoughts ranging from optimism to frustration.

director at the beginning of the movie creates a simple narrative. The protagonist tells his life and this story is accompanied by still photographs that complement the dialogue. The whole story is recreated in Paris, perhaps you would expect to see the Eiffel Tower and beautiful streets, but Noah shows empty streets and seedy places, the perfect environment for the evolution of the protagonist.

The pace of the film is slow, long takes and static camera allows us to engage more with the protagonist's mind. The first planes are unexpected, startled the audience and create an atmosphere of tension, the forced camera to focus on what the director wants to promote, for example when you close the mouth of the character with particular emphasis on what you mean.
The proposed Noah narrative is mainly based off the voice of the protagonist, are quite profound dialogue where the character looks at life from many areas, social, religious, cultural etc. Noah is customary to create raw and violent films such as meat and Irreversible.

Dominique Colin is responsible for the photography, has worked with Gaspar in several of its productions. In alone against all, the picture has a yellow light that gives a sense of family warmth but rather gives a feeling morbid and distressing, there are great prospects and depth of field.

sound in this film is not composed of familiar melodies or songs are heard loud noises to disturb the viewer, these are inserted in an unexpected way and what the director is intended to frame or highlight something specific. The voice-over accompanies the main character throughout the film regardless of the words being said, the speed and volume of the voice are believed to be tension. The ambient sound, a shot or something sharp musical note, suggesting violence, excitement, danger, despite being too short to create nervousness.

to black inserts proposed by the director interrupted the narrative, but do not forget the atmosphere that prevails, the violence and disturbance by sound effects with them intended to alert the viewer.

The relationship of the film between fiction and reality is very narrow, as are events that anyone can live, feelings like anger, fear, fatigue and loneliness situations are real. The place where things happen may be fictitious but applicable to reality.
Society and their behavior, play an important role in the story, because this determines how the protagonist's life, as in real life, according to the society in which we live is our way of being and seeing things to hate or love. In the story the protagonist lives in a society that turns its back, after leaving his wife lying on the floor of the house with his mother, full of fear, he escapes and goes looking to rebuild his life, but it does not, all in the same company but each in his own world with its own problems. In real life this is also evident, people have to fight for their lives, find ways to get ahead, without waiting for someone to come out of nowhere to want to help. The society we only show us against all is that if a person has had a bad past "such as have been in jail for wanting to defend a loved one's daughter (though everything has been a misunderstood), closes many doors and it is difficult to resume a normal life, because although we are in the XXI century, that is a kind of paradigm and leaves a mark that people will not forget easily. (In this part we have a parallel with the Colombian society, where crimes occur as violations often go unpunished, then we wonder Will we have to take justice into our hands? If the life of a loved one who is in danger Why justice does not work? No matter how miserable life can be thereafter?)

alone against all also makes us think about filial love, morality, loneliness, general society, because the protagonist feels his life is empty, that even if a lot of people around, you're really alone,''believes that relationships are simply a business where everyone plays their part and work is made, a monthly call, a visit to the funeral and go, children love their mother only when she can give them food and when the father can give money, but when all this ends, it is easy for them to leave them in a nursing home and get rid of the problem,''and concludes that''the banal reality is that only live well when pleasure and when this is just nothing makes sense, because life is empty.'' When we turn this into real life, we realize that it is, also depends in which culture is grown in Latin America the family is a very important part, however this problem is noted, the children are fine with the parents if there money until a certain age where two things can happen, one, fail to recognize the value and the efforts of parents, or simply see them as a people which can not be ordered, as to the pleasures and banality, man daily lives for pleasure and not just the sexuality or services but are within that, the joy of reading, the pleasure of watching a good movie, the pleasure of being together, but if there is no pleasure, if there is something that makes feel good, then what sense does it get up and follow a daily routine, work and keep in the same?, a reward is that, the pleasure of eating, resting, meditating.
In this film, the director does not intend to give an accurate view on what is moral or not. With the evolution of French character and the environment, morality seems to escape any consideration to be taken on this. This story does not make judgments or decisions, plans to rob the thinking and way of seeing the life of an ordinary person.
The viewer may be questioning the veracity of justice. In this movie may be shown a large rejection of this by the characters. The butcher makes no assumptions about good and bad, simply remove everything that he considers appearance and dirt.
Each dialogue of the characters especially the butcher, is the self and a comprehensive analysis of society.

Existentialism, is another issue highlighted in this film, according to the philosophers is: "Man exists as that is the origin of himself and makes himself through his free elections, then we can conclude do exist have freedom to be and do whatever we want, but if you live in a society we have to follow some rules to follow and the fact implies that we do what we want, then how is our existence?, existentialists say that man is a being "thrown into the world" and in this film we show clearly that, because the protagonist's life is a bit miserable, living with a bitter woman who every day, he lost his shop when he went to prison, his daughter is at boarding school and when he decides to leave his wife does in the worst way, kill the baby in her womb, leaves, returns to the village where he once had a decent life for help and they all give back, that is where we say that man if he was thrown into the world to fend for themselves, some are lucky and others fail.
In our view Gaspar Noé tells a complicated story, not the argument, but because life is difficult for a man who makes us wonder about the role we play in our lives, we proposed to reaffirm our beliefs and convictions in a society where there is superficial and where it is better that makes everything perfect or That appears to be.
This film is a critique of society, politics, sexuality, philosophy and human relations from the point of view of a character where his frustrated life is governed by a society that prevents you from living without rules or laws but it from its position somewhat anarchic does what he pleases.
we ended up being the protagonists of the story and have a revolver with three bullets, it is our decision if the load and pull the trigger, if we're alone on that or we get someone else, or if you decide to face life as we did and have the ability to change with our actions and daily decisions.

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Beauty and the Beast (1946) Jean Cocteau (France)
On Monday November 8
12m
At the small auditorium in Block K

FREE ENTRY! ! Synopsis

almost ruined
A merchant gets lost in the forest and going to a strange castle. At the time it takes a flower garden, it appears the master of the place, a powerful beast that gives a choice: die as punishment for stealing the flower, or sends someone in his place. The trader decides to buy time and choose the latter. Who choose to replace is his daughter Bella, who soon discover that the Beast is not so stupid nor so wicked.
One of the most famous fantasy films ever made, this film by Jean Cocteau (The Testament of Orpheus) is a classic beauty, full of memorable images of that majestic tone to the Disney animated version just touched.
(from bazuka.com)


Sheet
Jean Cocteau
Original title: La Belle et la Bête
Country: France
Year: 1946
Genre: Romance,
Drama Screenplay: Jean Cocteau, from a story by Mme. Leprince de Beaumont.
Director: Jean Cocteau
Dialogues: Jean Cocteau
Art Direction: Christian Bérard
Photo: Henri Alekan (BN)
Music: Georges Auric
Production: André Paulvé
Duration: 96 minutes
Cast: Jean Marais (The Beast, Avenant, Prince), Josette Day (Belle), Marcel André (his father), Mila Parély, Nane Germon (the sisters), Michel Auclair (Ludovic).



The Director
French artist and writer, who made his name widely known in poetry, fiction, theater, ballet, painting and opera. Jean Cocteau's work reflects the influence of surrealism, psychoanalysis, Cubism, the Catholic religion. In his time Cocteau was a promoter and the fashion avant garde. His friends included such prominent figures as Pablo Picasso, the composer Erik Satie, the writer Marcel Proust, and Russian director Sergei Diaghilev.
"The worst tragedy for a poet is to be admired by the incomprehension" (from Le Rappel à l'Ordre, 1926)
Jean Cocteau was born in Maisons-Lafitte in the bosom of a wealthy Parisian family, which also was politically prominent. His father was a lawyer and amateur painter, who committed suicide when Cocteau was nine. However, he had a lasting influence on his son. It is said that this tragic event created an awareness of human weakness, which made up for seeing to it to serve the arts and the mysterious forces in the universe. Poetry was for Cocteau the basis of all his art, a religion without hope. "
At the age of fifteen, Cocteau left home. In high school it was only a mediocre student, and failed to pass the graduation test after several attempts. His first volume of poems, Aladdin's lamp, was published by Cocteau at age 19. Cocteau quickly became known in bohemian artistic circles as "The Frivolous Prince", the title of a volume of poems was published when he was 21 years. American writer Edith Wharton described him as a man, "for whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City ...." Cocteau in their young twenties was associated with Proust, Gide, and Barrès Mauris. It was also a close friend of the grandson of Victor Hugo, Jean.
In 1915 he met Picasso and Cocteau succumbs to its spell. "I admired his intelligence, and I clung to everything you said, because he speaks little, I kept careful not to miss a word. There were long silences and Varèse could not understand why they were left staring intently without saying a word. I'm talking, Picasso used a visual syntax, and you could see immediately what he was saying. He liked the formulas and arming of value in their claims while arming of value to sculpted in immediately to tangible objects. "(From Pablo Picasso by Pierre Cabanne, 1977) Cocteau and the poet Apollinaire were witnesses at Picasso's marriage Olga. Remained golden crowns on the heads of the bride and groom while giving three times around the altar in the Russian Orthodox Church rue Daru. Cocteau's friendship with Picasso continued after the artist said in an interview: "He's not a poet ... Jean is just a journalist. " Picasso also used to say, "Cocteau is the tail of my kite."
The Russian ballet master Sergei Diaghilev challenged Cocteau to write for the ballet - "Surprise me", with emphasis. This resulted Parade (1917), produced by Diaghilev, designed by Pablo Picasso, and composed by Eric Satie. "Picasso had ideas that I liked more than those of Jean" confessed Satie. "How awful!" The audience hissed at the time of the beginning of modern art. "Had it not been for Apollinaire in uniform," Cocteau wrote, "with his head shaved, the scar on his temple and bands around his head, women had been gouged out his eyes with forks. " In 1919 appears Le Potomac, a prose fantasy centered around a creature that lives caged in an aquarium. The book gave prestige to Cocteau as a writer. The theme of the poet's ability to see clearly into the world of the dead was a central theme of Cocteau's early poems such as 'L'ange Heurtebise' (1925). The first major critical work of Cocteau, Le rappel à l'ordre, was published in 1926. His adaptation of Sophocles' Antigone was performed in 1922 with sets by Picasso and music by Paul Honegger. However, Coco Chanel stole many headlines with designs that made for the work.
During World War Cocteau served as an ambulance driver on the Belgian front. After the war he met the future poet and novelist Raymond Radiguet, whose early death from typhoid fever plunged him into addiction to opium. In 1929 Cocteau was hospitalized for opium poisoning. Opium (1929) was a report about his addictions.
In the 1920 Cocteau turned to the psychological novel Thomas the Impostor (1923), and Les Enfants Terribles (1929), his masterpiece about four children trapped in their own frightening world. In 1926 Cocteau designed the scenery for the opera Pelléas et Mélisande by Claude Debussy. Cocteau also collaborated with Stravinsky in Oedipus Rex, an opera oratory. Orphée (1926) was an original one-act tragedy, and La Voix Humaine (1930) a sole proprietorship consisting of a telephone conversation. The famous sketch Indifféent Le Bel (1940), about a young woman and her indifferent lover, was originally written for Edith Piaf.
Cocteau's first feature film, The Blood of a Poet (1930), was based on his own private mythology. Typical of his films is the use of mirrors as doors to other worlds. For Cocteau, the reality was a mystery. In The Blood of a poet Enrique Rivero strikes the surface of a large mirror. "Proof, if proof," said his muse, Lee Millar. The hostility of the surreal Cocteau was to leave the avant-garde for something closer to classicism. His major work, The Infernal Machine, written before World War II, presented Oedipus as a puppet in the work of the gods. The work was based on Oedipus Rex of Sophocles' ancient Greek writer.
As a result of a bet with the newspaper Paris-Soir, Cocteau completed the journey imagined by Jules Verne Around the World in Eighty Days, describing his travels on my first trip (1936). His close friendship with the young Jean Marais began in 1937, when Marais played the role in the play Knights of the Round Table. From this film, paper design especially major Marais.
In the 1940s Cocteau returned to films, producing Beauty and the Beast (1946), Orpheus (1950), and Le testament d'Orphée (1961), which acted on the screen itself. The film was one of the favorite themes of Cocteau's death, which he called his "mistress." "As I shrank, it enlarges, it gradually becomes more places, cares about the little details, addresses trivial and unimportant tasks. Increasingly less and less effort to deceive. But his hour of triumph is one in which longer. Then you can consider your problems solved, and leave, slamming the door behind it. "
During World War II Vichy government Cocteau ranked as "decadent." But Cocteau himself in 1942 wrote a tribute to a fascist artist, Arno Becker, a mistake that would go unnoticed. A colleague of Cocteau, Paul Elouard, was disappointed: "We used to see among those prohibited. How wrong we were to expose among the censors. " The collaborationist press denounced him as a homosexual and the German police closed the performances of his works after riots. Although ostensibly Cocteau was never interested in politics, he denounced the Vichy government, but took no active part in the Resistance. In 1949 he was made Knight of the Legion of Honor.
romantic work of Cocteau's L'Aigle à Deux Têtes (1946), which takes as its theme the assassination of Empress Elizabeth of Austria, was shot twice. The first version of 1947 was directed by the author, starring Edwige Feulliére as the Queen, and Jean Marais as his lover and probable murderer. A new version was made by Michelangelo Antonioni in 1980 under the title of The Mystery of Oberwald. Antonioni was not particularly fond of Cocteau's work, but wanted to work with Monica Vitti, who played the Queen.

Cocteau in 1949 made a trip to the United States and a theatrical tour of the Middle East continuing its active life until 1953 when his health forced him to semi-retirement. Cocteau still amazed the public. It had a facelift in the face and had begun to wear leather pants and layers of bullfighter. In 1955 he was elected to the Belgian Academy and the Académie Française. In his last decade Cocteau worked on a wide variety of graphic arts. At the age of 70 he painted frescoes in the city of Menton and the chapel of Saint-Pierre in Ville-franche-sur Mer. Cocteau's mural at Notre-Dame de France in London was completed in 1960. In an unconventional way, we see the crucified figure in the media from the knees down, the identity of the figure is open to speculation. A foot of the cross is a rose cross. The artist himself is among the characters in the background, but he has turned his back on the cross.
"To enclose the whole work of Cocteau not reach a library, but a deposit ..." WH Auden once said. Cocteau died in Milly, on the outskirts of Paris on October 11, 1963. Was preparing a radio program in memory of Edith Piaf and when he heard he had died, he exclaimed: "Ah, la Piaf est morte, je peux mourir" and suffered a heart attack. Cocteau's last film was his faithful adaptation of a novel by Madame de La Fallet, The Princess of Cleves. American artist and filmmaker Andy Warhol, who perhaps felt more spiritual affinity with Cocteau, then developed the vision of the prints in a series of iconographic. Filmography


Le sang d'un poète, 1930.
La Belle et la Bête, 1945.
L'aigle à deux têtes, 1945.
Les Parents Terribles, 1948.
Orphée, 1949.
La villa Santo-Sospir, 1952. L'Amour sous l'
electrode, 1955.
Le testament d'Orphée, 1959.