Does Nadia Bjorlin Wear Contact Lenses

Cormac McCarthy, the Coens and the rough finish of No Country for Old


In the construction of characters there is always a particular hierarchy that must be respected. If a character has not been presented with a primary role may not assume in the course of the plot and main characters should carry out its mission throughout the movie plot. Breaking this rule is possible, but for this we must develop a structure that justifies the change of roles or characters. It happens in movies such divided into chapters or formed by many independent accounts.

The literature is much more common to find such resources. Written language features give greater freedom the author to change the view so you can play with the characters moving narrative weight from side to side. However, in the movies half the limitations of the story make it less flexible to use these resources.

The "abandonment" of the hero by McCarthy and the Coen

Warning! Spoilers!

In the book of Cormac McCarthy No Country for Old the author relates in the third person, but also giving space to the inner world of some characters (the old sheriff who begins as a child). In his film adaptation, the Coen brothers do not get away from the history as account for much of the conflict between Moss, starring the best built and most caring, and Chirgurh, the indestructible villain played by Bardem. After

focus on that conflict to the western style, the Coen just confuse the audience when they kill the main character before the end of the film. In the book McCarthy backs covered through other characters, also relying on a registry change in language giving more insight to the story. But when the Coen resort to these other characters, everything seems more hollow because the secondaries have just imposed (especially the sheriff who is in book a more defined). Perhaps another approach, a little less sharp and more closely in parallel plots, the end may contain a greater force.

Moss's death in an off, right after seeing him survive a brutal persecution for an hour and a half, with only 20 minutes to complete. Is this what is expected of a hero?

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stereotype and archetype: Opposites in artistic creation

quote of criticism in the newspaper ABC about the film No call it amor... llámalo X firmada por Javier Cortijo :

"Mala, repleta de chistes de barra de Whiskería, situaciones sitcom de vergüenza ajena, y personajes casposos y arquetípicos "

Me sorprende mucho el calificativo "arquetípico" dentro del razonamiento utilizado por Cortijo para enjuiciar la construcción de personajes de esta película. Creo que todos captamos el sentido que pretende darle, ya que se encuentra marcada por un análisis más cercano al reproche que a la argumentación. Pero el significado real, o al menos el significado that given the term "archetype" in artistic creation, is very different concept here is handled.

But what is an archetype? Is it a stereotype synonym (word sure all the readers who will come to mind)? Is there a difference between these two terms? Drawing

relief and universal resource dictionary, we find the crux of the matter:

"Archetype: original and primary model in an art or something else."

"Stereotype: Image or commonly accepted idea of \u200b\u200ba group or partnership with immutability. "

The opposition between two concepts can be clearly seen. The archetype of a unique brand, exclusively, on developing an idea, while the stereotype refers to plantemientos already in place widely in the social group. The first is proper common latter. A radical difference that sit on the important bases of artistic production.

archetype and stereotype the script

Both the script as any other type of work, use the stereotype is a resource poor. Its design is based on the topic and the commonplace and almost always hollow. There is nothing different, nothing new, it offers the same with different packaging. Often these formulas are included in the cliches of genre or narrative fashion, which should not be neglected ever. They are also present in all areas, both on the characteristics of the characters as narrative structures, resources, script ...

However, the archetype has a strange, unknown to the audience that is attracted by its unusual nature and unknown. The great merit of building a good archetype is the ability to give this story an absolute alien who is a reflection of what days we live and feel a day from a perspective that brings different shades. Which often provide the leap to archetypal narrative will be searching for new models, new references or creative skills.

To conclude in the most revealing as possible, a quotation from script guru Robert McKee defining these two concepts:

"The archetypal stories that reveal universal human experiences dress unique expression of a specific culture. The stories stereotypical lack both content and form. are reduced to a limited experience of a particular culture disguised in general "

Given this, do not think a story of whiskey bar "is itself an archetypal construction. Javier Cortijo , great critic whom I admire, it goes this time with a very common slip and extended vocabulary. No big deal, but at the same time to create, that boundary is always maintained solid and immovable.

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Evita Peron and operated - the collective imagination to imagery Arti ... Evita Peron and Intervened




Evita Museum

Lafinur 2988, Ciudad Autónoma de Buenos Aires

From April 14 to May 14

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American Beauty and the 'bait' in the first scene reminded


The 'bait' is an action that seeks direct impact skipping the linear development of speech. Is to show a scene that involves an advance in the plot, so that the 'sacrifice' story gets generated interest in the viewer and predisposes to the rest of the story. Very often lies in the opening scenes of the film, or at least within the first act of the same.

's often chooses to reveal a part of the outcome, but not always necessary to remove some of the content of the final. Whatever you decide to extract, the scene must always be logically linked with the scene that will go ahead. If you opt for a meaningless blob is positioned to produce an effect will break the coherence of discourse. Should always be spun any way with the start of the story to avoid becoming isolated.

Above all, avoid placing the bait in a particular that reveals the axis argument, which break the interest of history. The scene gives a hint, in context and describes the tone of the film, but never offers key points. In that case, the interest to be created would fall for the rest of the plot.

's daughter and the camera: the bait

American Beauty screenwriter Alan Ball uses the bait bound in two scenes. In the first scene, the daughter talking to someone that recorded in video camera and tells him that if he could kill his father (Lester, the protagonist of the film.) In the second, reveals that Lester is effectively dead.



The bait is thrown in a certain and very attractive combining the intimacy of the first scene with the sarcastic tone of the next. We say that a daughter plans to kill his father, and that this indeed has died. Does it meet? How will history to that point dramatically so controversial? There is create expectations, and gains much of the viewer's attention.

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Evita Museum

Lafinur 2988, Ciudad Autónoma de Buenos Aires

From April 14 to May 14

the collective imagination the artistic imagination.

Since its inception the Peronist iconography was an endless source of creativity in the service of building an identity policy. For ten years, books like The Reason for My Life and La Nación Argentina, Just Free and Sovereign World Peronist magazines, pictures, posters, banners, flyers and newsletters circulated forming a collective memory based on the work of the government of social justice . Pedagogy of change and real equality between men and women. Access Tool sensitivities oppressed. Construction of a libertarian aesthetic discourse.

Liberating Revolution Peronist blasted everything: work, speech, songs, feelings, symbols, memory. A true iconoclast bureaucracy.

But the memory of a people can not be annulled by decree. Then did his Peronist resistance. Kept alive the exiled Peron, revitalized and recreated the Peronist memory, recovered the stolen body of the bearer of the humble.

created logos, slogans and two letters on a wall amounted to understand that Peron would return.

And Peronism became the subject of historical analysis, sociological, psychological. Diluted, was rebuilt, was destroyed, was merged, dissolved, lost, was rediscovered and reproduced. Until it became unthinkable for some: Art. Literature, cinema, painting, sculpture, street, bridge, murguero coat of living museum of the dreams of a more just society, free and ours.

inexhaustible topic, the National Movement, it recreates itself. It looks and reinventing generation after generation.

The great challenge for artists to think of Peronism and its symbols came to life. Enter a world that in some cases they were not his own, to project a new artwork. Studied history. They made calls to colleagues to discuss the sketches. Assembled a great tide of dreams that led to our collective commitment, make up a sample of forty views different envelopes symbols of Peronism.

Curators: Ruben Torrente and Andrea Trotta.

Mystic. 2011. Work presented.

































http://cl.noticias.yahoo.com/muestra-ins ...

http://noticias.terra.com.ar/sociedad/es ...

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Uncle Boonmee experimental film


can not find consistency in this movie. At least not as narrative coherence is defined in the usual canons of film. Perhaps if you can find a coherent, underlying beneath the haze of a plot diffuse, diluted on an amalgam of symbols and metaphors willing to provoke a sensory or emotional suggestion dodge at all times any hint of rationality. film by Apichatpong Weerasethakul open play and not closing any roads, and that is what breaks the logic, which apparently dissolves consistency.



The film is, as the author has defined an exercise 'Open Cinema' , open cinema, without limits or boundaries of convention. The content evokes unexplained, and the viewer interprets and assimilates without inferring arguments. Here is what I regard as the essence of experimental cinema: Beyond the idea of \u200b\u200bfilm as an "experiment" in which the filmmaker explores and reinvents new artistic standards, the basis of the genre is the concept of a product that the viewer must prove , review and complete. In short, the public también debe "experimentar" la película, darle un sentido propio y construirla desde lo abstracto y emocional.

Y a partir de estas premisas, ¿vale todo?. No. Para que haya cine debe existir narración, de una u otra forma. La materia conceptual debe estar unida siempre a una historia. De lo contrario, estaríamos hablando de videoarte u otros formatos de creación audiovisual. La forma de darle la vuelta a esa gran regla de oro es, como en el caso de Uncle Boonmee recuerda sus vidas pasadas , una de las grandes motivaciones para este tipo de cine. A partir de aquí todo vale.




This is the game proposed Weerasethakul, an exercise that rides between the surreal and fantastic film in search of consciousness between the real and the mystical. The union between these two worlds is the illness of its protagonist Boonmee, which is on the verge of death sufir kidney problems. This is the necessary link that justifies the barrage of symbolic theater for 113 minutes. A mere pretext, a MacGuffin that contextualizes the content that can transcend beyond. Here the plot is generated and begins to build.




Its slow, its almost lyrical incoherence or tie in with an apotheosis excessive visual and conceptual goes in search of the sensible limit, wherever this border clashes with the reflexive. And at that point, the viewer's mind chewed and savored each frame. Here's where the "experience." Or maybe it's where it ends. No idea, because every person experiences in their own way.

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knot the plot and the pill in The Matrix Neo



Sometimes it boils down to choosing between the red pill or blue. That image of holding the pills Morpheus showed Neo him the two paths it could take is a very clear example of what is elemental knot pattern. This appeal involves the appearance a major turning point where the protagonist of the story, once immersed in the conflict set, directs the action taking a particular course , choosing how you want to face that situation in which it has been immersed.

There are many ways to make that transition from the first act of approach to development beyond the knot of plot here explained. The inciting incident, the trigger ... There are many formulas and there is no better than another. It all depends, as always, the pace and content of the story you want to tell. However, all agree on the same point: the player must take part implicitly or explicitly the twist of history. Should always act as the core of the story and not vice versa.

In this case, the knot of plot must be active, ie, the character must choose the path of action and undertake not to receive (in this case would be passive.) The most natural way, as in the example of Matrix, to make this change is by making decisions. In a concrete situation the character is forced to act on the conflict preferring an option consistent with the position taken by it in the story.




It is good to offer several possible alternatives, not necessarily two or not always clearly expressed in the plot. One of the most effective ways is to show the tradeoffs possible to verify later if you choose a character prevails over the other in the outcome. There are many more possibilities, no matter if other options are lost and you never again be possible after the decision, as happens to Neo decides to Matrix and can not return to normal life. The important thing is to make clear the meaning of the film, once the plot twist.

Including frame knot should respect much the structure of the three acts, and placed just behind the first act. Ie on 25 or 30 minutes. It would be pointless for one hour break to lengthen the narrative rhythm. In addition, we must ensure that the scene there is a "mini-climax, which is a situation of tension or dramatic impression with great atmosphere to be remarque drawing strength that will produce the film.

Example The Matrix , albeit in a somewhat too simple and predictable, all the elements discussed in a very clear. In this scene sums up and restates the approach in the mouth of Morpheus and Neo in front of it is who decides the course of the film.

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'Let me' and the boundaries of genre films



Often we are too reductionist. We want to see in a tree forest, the forest always see the same tree. We always want to quantify, measure and qualify what we see and we turn to formulas and shortcuts that simplify the explanation of what we perceive.

our way to classify the film is by gender. This form of cataloging records has been rooting film many bases that have enriched the film. And, obviously, have facilitated the process of naming and identification of what the viewer sees on the card. Over the years, this definition of gender led to the creation of so-called 'genre film', characterized by taking a seat in such structures and common resources of the tapes of the same theme.

In principle, this is a good thing. There are viewers with specific and common tastes, which demand a kind of cinema with some concrete ways. This does not mean that the public always look the same premises, the same habitats or the same approaches. Here is the error. Genre films always keep common standards, a conceptual universe in which to develop ideas and stories. But today we have the concept, I do not know if general but at least it majority of genre cinema as an initial base straightjacket approach in public areas, which repeats the same resources and in the same constructions and over again.

But is it truly genre films? No. When addressing a history of 'gender' can go far beyond even the tightest of them all. This is not to make a kind of 'film like', but to develop a nature film about a specific topic. And yet there are examples of this.



Let me , Swedish film Tomas Alfredson, provides an to understand the genre film with his eyes wide. We can not say that the script is totally free of common resources of the horror film, but the approach is what makes it so valuable. Because above all, in Let me see a message, a plot that goes far beyond the terrors and darkness and, of course, the vampires themselves.



This tender story of two children who love and understand each other despite being of mixed and conflicting beings is perfectly situated within the imaginary space of terror. However, the basic story is not fear, but the relationship between these two guys, the complexity of their situations and fed back as helping to overcome the difficult situations that both cross. The concepts of gender as a discursive element developed as a metaphor or extension of the harsh situations that are subject Oskar and Eli.

is a different vision of the concept of evil, injustice and survival. But above all, this is another alternative form of horror. As close as supernatural. An heir to the same vision Nosferatu Murnau of which is perhaps the best genre film of the story.

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Short: The final turn

The short, so wide and so good health in Spain, has some resources at a very interesting script that has spread almost like a brand identity. Obviously, they are usually adapted elements of larger, but sometimes end up having certain specific characteristics of the film.

One very common especially in the smaller films, is the 'twist ending', a successful appeal to finish off the short, where the surprise comes always a great value. About teaching an elementary part of the plot that was unknown at the height of development, giving new meaning to everything we have seen previously.

The main danger of this shift is their job too premeditated, that history can only rely on further action and that all development is an excuse to give the final blow. The approach should make the air a little mystery is finally resolved in the final part of a natural. When an appeal is widespread, the public tends to be quite alert, so we must go for unpredictable and unexpected twists that surprise and leave a good impression. But above all, do so with subtlety and naturalness, to complete the message of the film and is not a simple blob gimmicky.

To illustrate, three short (the latter are actually 3 short to form a whole, the money is in the final short) removed from the festival Notodofilmfest and successful in the competition.

for being you of Álvaro Fernández Armero



Next stop of Carlos Agulló Coloma



Code 7 of Nacho Vigalondo

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"Words"
Paza intervenes in May and its environs as part of the 35th anniversary of the coup d'etat of March 24, 1976

































Contemporary Art Week 2011 Mar del Plata

































The Fall. two hundred and first. Photography, measures variables.
involvement with this work in "Section Time"









Paintings 2011


Bipolar. Acrylic and marker on canvas. 70 x100 cm







force Relations . Acrylic on canvas. 100 x 70 cm






Animal. Acrylic on canvas. 70 x100 cm






Now we are three. Acrylic, marker, graphite on canvas
. 80 x100 cm








Long walk . Acrylic, marker, graphite on canvas
. 70 x100 cm

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La gente que duerme en el metro

The image of people sleeping on the subway in Japan is very famous.

When I lived in Japan, it struck me, but as I have 13 years living outside Japan, each time I return to my homeland, I am a little surprised to see that scene.

why people often fall asleep on the subway? Well, simply because they lack sleep. A survey Japanese NHK shows that sleep about 7 hours 26 minutes on average. Beware! This figure includes children too. There is another interesting number. In another survey they did for workers aged 20 to 50 years, over 60% of people said that the hours they sleep during the week is less than 5 hours. It is very normal to them from sleep during your commute on the subway ...

not think this also reflects that there are not many criminals on public transport in Japan? At least, there is something positive.

There are people who by chance, get your seat on the subway. Sleep at ease until its fall season. There are others who could not get the seat, but also sleep standing up. It is a technique to sleep standing up but not too hard (I also did).

freak a lot of what foreigners is the ability that people have. Is asleep, but when the subway reaches the station that have come down, wake up, without checking the name of the station and down, as if they were prgramados ... I myself slept in the subway daily, and the truth is that it's true I just woke up at the station where he had come down, there is no need, it's just a habit.

As public transport network in Japan is well advanced, most people use this medium. There are very few people who used their car to commute to work daily. Naturally, not everyone sleeps on the subway. There are also people who study, read, check their phones, or play with a console.

Recently, the education of some people is changing. Perhaps above all people of the new generation. Unfortunately there are Japanese girls who put makeup on the subway without shame from the eyes of more (is frowned on such behavior in Japan), and there are times when uniformed schoolchildren (13-18 years) sitting on the floor of the metro . And even some are so unethical that the seats reserved for the elderly, sick, disabled or pregnant women.

As underground scene has always been and will be one of the windows in Japan, I would not want my countrymen lose their ethics.

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Chashitsu (teahouse) y Chadougu (tea utensils)

This entry is a continuation of " Sado " (茶道) , which you have not read, first visit here , please.

The tea ceremony, called " chaji " takes place in a place specially prepared for this, is where the host invites people, to serve tea. This facility is called " chashitsu " (Shitsu tea tea room) y está situado dentro de unjardín japonés llamado" Nihon-Teien " (Japan Ien to UK gardens) .

Today, you can find a chashitsu inside the building, or within a hotel or at a cultural center. There are also colleges and universities that have chashitsu to learn Sado .

The floor of Chashitu is always Tatami . The chashitsu is my small space of about 10 square meters (there are even 4 square meters). Within a chashitsu , always " Tokonoma " (床の間 と この ま) is a very small (one square meter or less) and higher. In this space, is usually placed a flower arrangement called " Ikebana " (生 花 いけ ば な) or picture roll call " Kakejiku " (挂轴 かけじ く) .

There are a number of elements used in chaji , and generally called " Chadogu " (Yadougu Chi tea set) . Esta es una lista simple de Chadogu .

" Chawan " (Chawan bowl)

Chawan is a cup that is made of ceramic. With this tea cup is taken in chaji . Literally it means a bowl of tea. It has no handle.

" Chagama " (茶 釜 ちゃ が ま)

Chagama is a cauldron where it is heated water for tea. It is made of iron.

" Hishaku " (柄 杓 ひしゃく)

Hishaku is a bucket to get hot water to make tea. It is made of wood.

" Bon " (盆)

Bon is a tray that is made of wood.

" Chasen " (茶 筅 ちゃ せん)

Chasen is a mixer that is made of bamboo. Is used to mix and beat Matcha (powdered tea) and water hot tea.

" Chakin " (茶巾 ちゃ きん)

Chakin is a special cloth to clean Chawan (cup) during chaji (The ceremony of tea) .

" Chaire " (茶 入れ ちゃ いれ)

Chaire is capped a boat where he keeps Matcha (powdered tea) . There Chaire wood or ceramic.

" Mizusashi " (水差 し みず さし)

Mizusashi is a large bowl is made of ceramic. In preparing to throw cold water to Chagama (Caldera) , or clean used items.