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FARETTA – Things I promised not to tell
FARETTA – Prolegomena to “The Concept of Cinema”
QUINTÍN – The quest for lost cinephilia
NORIEGA – The recovered childhood
FRIEDLANDER – The canon of cinema
PORTA FOUZ – What can be seen in Qubit?
SORIA – Fantástico inoxidable
PEIROTTI – The stainless party
VILLEGAS – Notebook
MARCELO ZAPATA – On the road with Pauline Kael
BERNADES – The navigator
Bad movies we love
Festivals
CANNES
CANNES by Ganzo
Cannibalisms
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Editorial
Reviews
Theatrical
Series.
Streaming.
Books
Dossier
ASL Star Wars
ASL Tarantino.
ASL Rocky
ASL sharks
ASL Mission: Impossible
ASL viralized
Others
Columns
FARETTA – Things I promised not to tell
FARETTA – Prolegomena to “The Concept of Cinema”
QUINTÍN – The quest for lost cinephilia
NORIEGA – The recovered childhood
FRIEDLANDER – The canon of cinema
PORTA FOUZ – What can be seen in Qubit?
SORIA – Fantástico inoxidable
PEIROTTI – The stainless party
VILLEGAS – Notebook
MARCELO ZAPATA – On the road with Pauline Kael
BERNADES – The navigator
Bad movies we love
Festivals
CANNES
CANNES by Ganzo
Cannibalisms
NEW YORK
BAFICI
MAR DEL PLATA
BERLINALE
TORONTO
VENICE
SAN SEBASTIÁN
SHEFFIELD
Other festivals
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Stanley Kubrick: inclination towards (lack of) control, by Hernán Schell
CONTENIDO DEL CURSO
Curso Content
Introduction
Utopias and Dystopias
Calm and Rage
Final Dreams: Full Metal Jacket and Eyes Wide Shut
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Online course
Four Lessons of One Hour each.
CURRICULUM
Curso Content
Introduction
Utopias and Dystopias
Calm and Rage
Final Dreams: Full Metal Jacket and Eyes Wide Shut
COURSE MODALITY
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About Mary Shelley and Frankenstein: versions and perversions, by Ángel Faretta
Almodóvar: offender or conservative?, by Gustavo Castagna
Andrei Tarkovsky: tiempo de los espíritus | By Hernán Schell
Bernardo Bertolucci: cinephilia and politics, by Gustavo Castagna
Bioy Casares, between the myth and the history, by Ángel Faretta
Cameron’s avatars: the films of James Cameron, by Ángel Faretta
De Palma x4, by Hernán Schell
Die Hard, by Ángel Faretta
Edgar Poe: the fantastic and cinema, by Ángel Faretta
Fassbinder, the authentic genious, by Gustavo Castagna
Film language, by Hernán Schell
History of horror cinema: Part 2, by hernán schell
History of horror cinema: Part I, by Hernán Schell
Hitchcock at work, by Ángel Faretta
Hitchcock by Faretta: 1. Lifeboat
How do you shoot music?, by Gustavo Noriega
In an intense world: the films of Paul Thomas Anderson, by Hernán Shell
Italian neorealism: Part I, by Gustavo Castagna
John Cassavetes, the authentic independent creator, by Gustavo Castagna
Long live Spain! Four spanish directors, by Gustavo Castagna
Lynch universe, by Hernán Schell
New Hollywood, by Hernán Schell
Nouvelle Vague, by Hernán Schell
Post-neorealism and italian cinema: Part 2, by Gustavo Castagna
Renaissance and baroque, by Ángel Faretta
Rob Reiner: The wonder years, by Daniel Alaniz
Stanley Kubrick: inclination towards (lack of) control, by Hernán Schell
Terror of the 70s: Roots and development. Hollywood and Italy, by Hernán Schell
Terror of the 80s: from slasher and other excesses, by Hernán Schell
The abolished tower: the cinema of John Carpenter, by Ángel Faretta
The concept of cinema. Part 1, by Ángel Faretta
The concept of cinema. Part 2, by Ángel Faretta
The Exorcist: Fifty years, by Ángel Faretta
The Godfather Part II, by Ángel Faretta
The Godfather, by Ángel Faretta
Titanic, by Ángel Faretta
Truffaut, Chabrol, Godard and Rohmer: Beyond Nouvelle Vague, by Gustavo Castagna
Why don’t we like cinema anymore?, by Javier Porta Fouz
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Curso por el cual consultas:
About Mary Shelley and Frankenstein: versions and perversions, by Ángel Faretta
Almodóvar: offender or conservative?, by Gustavo Castagna
Andrei Tarkovsky: tiempo de los espíritus | By Hernán Schell
Bernardo Bertolucci: cinephilia and politics, by Gustavo Castagna
Bioy Casares, between the myth and the history, by Ángel Faretta
Cameron’s avatars: the films of James Cameron, by Ángel Faretta
De Palma x4, by Hernán Schell
Die Hard, by Ángel Faretta
Edgar Poe: the fantastic and cinema, by Ángel Faretta
Fassbinder, the authentic genious, by Gustavo Castagna
Film language, by Hernán Schell
History of horror cinema: Part 2, by hernán schell
History of horror cinema: Part I, by Hernán Schell
Hitchcock at work, by Ángel Faretta
Hitchcock by Faretta: 1. Lifeboat
How do you shoot music?, by Gustavo Noriega
In an intense world: the films of Paul Thomas Anderson, by Hernán Shell
Italian neorealism: Part I, by Gustavo Castagna
John Cassavetes, the authentic independent creator, by Gustavo Castagna
Long live Spain! Four spanish directors, by Gustavo Castagna
Lynch universe, by Hernán Schell
New Hollywood, by Hernán Schell
Nouvelle Vague, by Hernán Schell
Post-neorealism and italian cinema: Part 2, by Gustavo Castagna
Renaissance and baroque, by Ángel Faretta
Rob Reiner: The wonder years, by Daniel Alaniz
Stanley Kubrick: inclination towards (lack of) control, by Hernán Schell
Terror of the 70s: Roots and development. Hollywood and Italy, by Hernán Schell
Terror of the 80s: from slasher and other excesses, by Hernán Schell
The abolished tower: the cinema of John Carpenter, by Ángel Faretta
The concept of cinema. Part 1, by Ángel Faretta
The concept of cinema. Part 2, by Ángel Faretta
The Exorcist: Fifty years, by Ángel Faretta
The Godfather Part II, by Ángel Faretta
The Godfather, by Ángel Faretta
Titanic, by Ángel Faretta
Truffaut, Chabrol, Godard and Rohmer: Beyond Nouvelle Vague, by Gustavo Castagna
Why don’t we like cinema anymore?, by Javier Porta Fouz
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