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SOUND EFFECTS

SOUND EFFECT

radio is a sound that enhances the ambience of an action or description of a place, a feeling ... By its nature, facilitates the imagination physical phenomena such as rain, night, but also the description of sensations and feelings such as anxiety or fear.

Balsebre Definition: The sound effect is a sound set of shapes represented by inarticulate sounds or musical structure of natural sound sources and / or artificial, that restore both objectively and subjectively building an image of reality.

Two types: Ø

natural sound effects: sounds captured from referential reality in the narrative and represent their own sound source. Eg birdsong. Ø

artificial sound effects, are more common in radio production. Its features allow them to be produced live. Should be identified with what they represent. The artificial production of a sound effect rests on a dissociation between the sound source and the object represented eg use of small steel plates to simulate rain. (Has nothing to do with the originating source sound effect and sound object shown).
Production Process:


The sound object is the representation of sound produced by the sound source from radio language systems, and has its own entity. Importance of credibility and the striking association between source and object. In itself, the sound effect generated images in the listener and increases the credibility of the message index sound.




Objectives of the sound effects in radio:

mimetic or reconstruction of reality that involves the sender and the recipient.

or distortion of reality to overdo it, providing humorous or dramatic dyes.

Ø Enhancing the representation of feelings and exploiting their traditional association with the forces of nature.

Objectivity leads to mimetic reconstruction, while the subjective seeks to delve into the emotions. A single sound effect can have multiple meanings depending on the type of restitution (the context will give the semantic dimension one):

sound effects Features:

-environmental or descriptive: the effect is part of the environment in which action and has developed a natural character. Eg anyone expect a call and the phone rings / It is winter and the cold wind stresses the environment.

or descriptive expression: the effect reinforces the feelings, moods of the protagonists. Example: To indicate that someone has died can use the bells of the church / to highlight the hopes and anguish of it, you can use the ticking of a clock.

A single sound effect can play either or both functions simultaneously. The context that will ultimately determine the descriptive or expressive (or both at once) the same effect. The sound effect reaches its peak when it manages to semantic information (the sound of a door opening), and also highlights and accentuates a feeling (the door opens why you have to face the truth). Ø

Narrative:

a) marks the transition space / time between a sequence and another (ie, the cock crows to signal the arrival of the day)
b) Reconstruct an action that requires no word or music (eg the sound of the TV, dishes ... to indicate that this person eats alone.)
c) Represents a character or highlight an important feature of it. (Eg the sound of a wheelchair, his footsteps, etc.).

In all examples, the sound effects are essential to understanding history. Of them is apparent not only semantic information but also reinforcing environment, emotions, from a subjective point of view. Ø

Ornamental: It acts as a value accessory that can enhance the environment in which elapses action, but is not required in history. Emphasizes the aesthetic aspect of the message.

Using effects in the current radio time signals. The listener organizes real time and also the radio. Eg sound that precedes a newsletter. The effect shown in many cases a change of content.
The effects are mostly found in the commercials, in masks, in comedy shows, in magazines ... The effects have not been sufficiently exploited and valued in the radio information (credibility / dominance of the word / making the maximum use of the phrase / belief that the effects detract from the character information).

http://www.wikilearning.com/apuntes/teoria_y_tecnica_del_lenguaje_radiofonico-los_efectos_sonoros/11081-3

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Voice and Breathing Techniques

Voice

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First of all what Dr. Agustín Pérez mentioned as the definition of the voice, the voice says is the sound produced by vibration of the vocal cords closer together due to the passage of air through the larynx. Inside you the vocal cords (also called vocal folds), which are two bands of muscle tissue located in the larynx and inserting in their cartilage. By opening and closing breathe phonation occurs. These cords can tighten or relax, resulting in treble or bass sounds.
already having made clear what is the voice we will breathing techniques and reading skills, these are very important for us as future communicators, because with them we can remedy or detect some of the shortcomings we have in voice, the way we read or our way of breathing that most of the time is normal for us. In the search that do I found a website that said radio workshop, which was used by a teacher in the University of Westminster, her name is Maria Eugenia Hernández Martínez, In it I found several interesting topics and some breathing exercises, as also reading exercises, modulation, among others, cite a few years later.

BREATHING EXERCISES

L to correct breathing is called diaphragmatic deposit because the air in the abdomen is achieved that the diaphragm muscle is the support and air that will catapult your vocal cords vibrate.
deep breath and measure the time it can be read to require air again, or, alternatively, extend a vowel (eg Aaa ...) and times its length until it runs out of air. Likely to be 10, 15 or 20 seconds-long your air.
This means that not enough air entered because they have become accustomed to our reservoir (abdominal muscles and lungs) to accumulate. This lack of practice or exercise, is it that when we seek deeper into an open field have shortness of breath.
· Then, we train our chest to abdominal breathing:
through the nose, inhale slowly, ensuring that the air breathed into the abdominal thrust. Feel your stomach tends to rise. Not only did you fill your lungs but also the abdominal cavity.
Then, too slowly, take the air as if you were blowing gently. Sure, when you exhale, your stomach will deflate. This practice is recommended ten times in the morning and ten times a night for seven days.
Gradually you will notice that your rib cage or requests are more likely to receive more air. These
abdominal breaths should be deep and slow. Nothing will win during vigorous. Always practice
position standing, slightly raise the head, arms and without releasing muscular tension. To
breathing practices feel calm and relaxed. Special Care: When you breathe, do not lift your chest and shoulders.
In the second week, as indicated vacuum (feeling as it fills your abdominal) and, after a deep breath, stop the air for 10 seconds and then release it slowly blowing. This will make ten times in the morning to ten at night, for a week.
With these simple exercises, you will already know the technique of abdominal or diaphragmatic breathing.
In the third week we will take that breath to manage better air and transform it into sound.
To do this, to take the air, instead of blowing slowly, making the sound of the letter or in a continuous manner, without cutting off the air: uu ... The emission of sound should be soft, very weak, not to waste air. The letter u is recommended that the position of the lips to utter waste it prevents air.
thus begin to exercise better management of air and control of multiple muscles involved in speech. Do not worry if at first you leave the letter "U" a little shaky or with variations. Just
, that will indicate that still has not mastered the "air out" because, by exercising continuous, uniform and strong sound. So, our sound can come out strong or weak, depending on the amount of air that we use in the issuance and technology we use to strengthen the muscles involved.
From the fourth week, and the pace of practice, take deep breaths and sounds with different vowels but varying the intensity, ie, sometimes making them sound strong and others very weak. Obviously, if it produces loud sounds, the air is completed faster, but well learn to master their departure and meet changes in modulation.
In the fifth week, we went to the differentiation of sounds Nasal with the same air, instead of vowels, say the letters m and n. To that end, inhale deeply, ring mm ... nn .... and turn on each breath. Pay special attention to the impact of these sounds in all their head. Feel like all of it vibrates. You will notice that the air goes through the nose when he says mm ... or nn ... and that resonate in your head. Check a jiffy
covering her nose. Each time, try these sounds are heard louder.
Then, mix these consonants with vowels. For example: nnnaaa ... nnneee ... (Imitating a bellow) moo ..... etc.
Now you, thanks to your breathing, you can feel the difference between what is and what is screaming loud talking. When crying is irritating her throat and forcing her vocal cords. Instead, when spoken aloud, but are using better air and projecting the sound.
• Finally, another exercise to control or manage the output of air: Take a candle and her lips encircle some four or three inches of the flame (without burning yourself, please) and say hold the letter u. The sound (air) should come off very slowly. The practice is not to extinguish the flame. Of course, this will be achieved if dominates, regulates or manages the air, because if expelled very strong, turn off the flame.
Do this exercise as many times as necessary until saying: uuu ... very close to the flame, not turn it off. Again the comparison, and is learning to control the air wrench.

Sources:
AUTONOMOUS UNIVERSITY OF WEST CORPORATION

SOCIAL COMMUNICATION DIVISION SOCIAL COMMUNICATION-JOURNALISM PROGRAM
MARIA EUGENIA MARTINEZ HERNANDEZ
SUB-AREA RADIO, Time Teaching Chair

RADIO WORKSHOP I

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SLUMDOG MILLIONAIRE: the game of your life

far more fundamentalist faction of criticism Danny Boyle has been considered little more than a modern new toy, right at the time to instill self-confidence and visual effect of drifts contemporary stories, but short of that with which said pinch as an author. Armed and narrative aesthetic intuition, the child seems to take new steps to the podium crashed. The story of young winner 50x15 version airs Indian film making small, great-in the strict etymological sense, "complacent and confident that handles letters to shower praise. The funny thing is the packaging of a story that is quilted with such conventional elements: poor environment, teenage love, spirit of achievement, tests or obstacles to overcome to scratch the happiness and the sweetness of victory.

By that paradoxical balance of classic and visual modes such as Boyle's SLUMDOG MILLIONAIRE dominated seduce, its corners filled with organic matter of a film friendly, affectionate, optimistic, just social sooty look to areas where the scatter is enlarged to epic moments of great value in film. The look is Western ours, at this stage and its characters, well-off to seek connection with the audience. Coincides with the latest poster child Fincher, a fact to be considered by the claim that both make the engine fable as expressive of dreams and the life instinct. But if the curious (and overwhelming, and melancholy, and offender, and memorable) Case of Benjamin Button looked narrative trappings of orthodoxy to filter an unusual story, the director of Million (2004) gives a vibrant and contemporary approach to traditional drama, too obvious at times, strongly expected in the last mile. As predictable as the blanket award is covering it, and placing the film between this bunch of far-reaching works of humans after stunning façade hides are not always a solid material.

There is a Dickensian part of the story pulling the strings, shaking between the present-following interrogation of the suspect Jamal triumph and the prints of the past, each of the sections by giving depth to go to the schematic approach. Boyle, spirited and as iconoclastic as ever, manages to endorse a bright, naive reflection on the fate and the consequences of our actions : life, he says the television experience excellent protagonist-actor Dev Patel , is a collection of moments, such dramatic heights ranging printing our personality and becomes a clever script biographical background to understand the story. But it does not stop settling reflective rather yields to a more bittersweet tone of the tract. The postal life assail the viewer in all their color, alternate assembly rampant and displays the director's aesthetic arsenal. It is this irresistible force of the packaging which adds new nuances to the core (and typical) ingredients of misery by revealing the way that said, love without rhetoric or excuses, pure and clean. The film features a game of space and time, also by the forceful use of language, Boyle provides business tools for drawing the unsung hero is steeped in originality.

While there

shelves swell masterpieces, this way does filter that naive sentimentality between the combined generic poses. Of the plot jumps to drawing the massive sociological interest in the program deserves separate analysis ", hence changes to complaint-machismo cinema, child exploitation," then turns to romance and he decided to settle, even labeling them with a final bit subtle (musical tribute to Bollywood included), mining concessions to an audience at this point eventful. The pieces fit, Boyle spread about them right strokes of molasses that comes to getting stuck, we just drag in two hours nice Entertainment, clear message and emotional strength. The trouble is that the taste it leaves in the memory will soon fade.

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Functions

Before begin to describe the different functions of music is to make clear the meaning of the word "music" which is the art of sensible and logically organize a coherent mix of sounds and silences by using the fundamental principles of melody, harmony and rhythm, through the intervention of complex psycho-psychic processes.

The music, like any art form, is a cultural product. The purpose of this art is to provoke an aesthetic experience in the listener, and express feelings, circumstances, thoughts or ideas. The music is a stimulus that affects the individual's perceptual field, so the flow of sound can fulfill various functions (entertainment, communication, environment, etc.).

Source: http://es.wikipedia.org/wiki/M% C3% BAsica

FUNCTIONS OF MUSIC

grammatical function (is given the same use, like a punctuation mark). In

exhibition programs for example in a radio interview, put pieces of music to separate sections or blocks of text to jump from one subject to another. A long musical phrase has the same function or script that the line we draw between two passages of an article to indicate that we will consider one aspect of our theme and we have to move to another (so that in some countries such musical inserts are called "scripts"). Thus, while we take a short break or "break" the listener, he warned that "we will turn the page" to prepare mentally for a short musical phrase mutación.Otra will act as a point apart: separate two paragraphs of the same block or sección.En the radio dramas, too, the music between the scenes, make transfers of place and / or transitions of time. Therefore operates like the curtain on the stage between an act or box and the next. That is why, mistranslated the word curtain, which means shade but also curtain calls these gaps "musical curtains" (his most prized designation would be "musical backdrops). In short, the music is inserted to check off the various factions which make up the issue and to distinguish fractions of the others.

expressive function. At the same time between scenes or passages, the music says it heard, helps to generate an emotional climate. Is the main function of music in spoken programs: create a sound atmosphere: the curtain that ends with a scene can be happy or sad, agitated or peaceful, lyrical or epic, tense, lively, melancholy, mournful, suggesting hope or despondency; give a sense of lightness or be bleak. Much or more than the film, helps create musical commentary about the words, the peculiar environment required to cause the listener a certain emotional identification. Hence the need for our scripts not just to indicate only "music" or "theme song," but we also need what we want that the music expresses the character of musical commentary that is required, given that air curtain to create.


descriptive function. Music is not only expresses moods, but we often describe a landscape, gives the set of a place. If we want to locate the scene in a particular country, we can resort to a typical song is country, if we move to a bygone era, music of the period atmosphere and placed us. For a seaside scene, perhaps the descriptive music and poetry of Debussy's La mer make the listeners feel the marine atmosphere. The joy singing from a source with its water can be described with a well-chosen passage of sources Respighi Rome, the appearance of a warrior and martial marching army will be painted by the music of The Appian Way in The Pines of Rome the same author.
Sometimes, the music describes how well a sound sensation that even manages to advantageously replace the real sound and do not need.

reflective function. addition, we introduce these musical pauses as punctuation marks as comments yet emotional, they are also the listener has time to recap what we just heard and think about it, before you continue listening to the story or exposure . The same thing we do in radio interview after interview, the interviewee says something new and important. And maybe even in those cases we prefer songs that invite and encourage reflection.

environmental function. Sometimes we music because we're playing real scene containing it. For example, if our characters are at a party and they are dancing, we hear the music to which they dance beat, if in a concert, hear the music played on it, if they are in an amusement park, is natural to listen to the music of the carousel or circus band.
In these cases, music is an ambient sound.
The background music now takes on a meaning expression.

Source ... Http://comunicando-condor.blogspot.com/

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Radio Music ... More has to be one voice?

In fact when I sat down to do my homework listening to the radio for just 10 minutes, then decided to get to page mms: / / difusor.uson.mx / vozradio Gissel and hear in his "Straight to the Heart" as the program's name says this program is romantic.

While listening to the program because I love the announcer has a voice sweet, romantic, happy to invite you to continue listening to ... and has never lost the belief in love, in fact, was drawing and I'm from the people when in a atmosphere inspired me, and I have to thank Gissel because she inspired me to continue drawing. Then I wanted to experience how it would listen to the radio with my eyes closed, you experience it and what do you think? Touched my heart the words of the announcer, made me sigh ... Although you may not believe sigh.

It's where I grew little reflection:
Is there a more radio voice?; The purpose of this question is to know the opinion of all of you on this very interesting, at least for me it is because I am a student at the career of communication, ie a future communications expert, to which matter much these issues and clarify their views. To you has happened to them not found listening to a radio program of any kind, the person who is the announcer makes one feel more than their peers, ie it makes you feel attached, do not look like a single radio listener, may also sigh like to have me move to a world full of memories, so simple and simply made them feel happy and thank God for his life, or finally the have fun, I say last because uh there are thousands of inner feelings broadcasters transmit our friends, because they are friends who listen to us and advise us on our issues are difficult and especially those who accompany us daily in our daily activities, at least for my speakers are not only a voice behind a speaker, I clarify that I do not mean to be a future communicologist if not for the reason that I am at this stage in my life where I'm experiencing the life of broadcasters around and say that a speaker is a friend, not just a voice.

After this little reflection tell me your beloved companion reader to think about whether the radio is something more there than just a voice behind a speaker or console.

Thank you for reading my letter and I await your comments ...

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Let It Rain: The Discreet Charm of the Bourgeoisie

Agnès Jaoui's career seems absorbed in the X-ray of a certain French bourgeoisie from the stroke particular human group and from verbal incontinence. His films reveal family gatherings sample with which to structure an arsenal thoughtful: political, emotional maturity, collision between the conventional and intimate, between social norms and personal desires. And the best baking this "thinking" about people and life seems to be the dialogue, provided the engine Traditionalist schemes irony dresses, toned optical friendly, a point below the blackness and the poisoned dart of people like Chabrol.

not overdo the author AS A PICTURE (2004) of its usual path and leaning back to undress conflicts intelligent humor in free flight of another comedy rough dab national navel-gazing by those of Gaul, spread with unusual acceptance at the box office. Poetry and insight suggests a title like Let It Rain, although not finish offer both elements in large doses. By way of a tapestry of precise tailoring, Jaoui manages to cross threading and dialectical relations to give shape an entire emotional landscape, but also discrete cash. It does entangling light disguising what he intends to go further. There are claims of questioning certainties and miseries, to categorize sarcastically some of the features of social life. communication between men and women, between parents and children, sexism in key sectors of public life, racism, emotional knots with children and the environment where personal prism of the world is brewing. Background beat some big issues in this contemporary western individualism often rotten and full employment, then stereotypes when thinking, acting and feeling.

Without reaching the fearsome swamp discourse, the scenes are well conceived, irrigated cultural and intellectual references not drown the picture of this bunch of characters, their adult concerns and a reworking of everything they had as safe: the father whose authority is weakened, the politician who is challenged his fierce independence, Arab immigrants in his eternal quest for respect and identity. Some really nice moments alternate with dramatic sketches loosely defined, making the proposal, and soberly elegant shot, poorly. The solid work of actors on the development of this new approach masks behavior within a community. An acute study in charcoal to disarm the goodism of some relationships, and the connection between public authorities and individuals. It is at least curious the use of audiovisual resources with which to weave the material: for one reason or another, enter into the popular person to destroy prejudice is not only difficult but impossible.

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The Empty Nest: fear, silence and tubers vaginal

Behind the fireworks and the blockbuster movie springs a shy, billed to the minute, which modestly puts his head between the tomes of the season and if there are fortunately able to swim in unexpected praise . From Latin America appreciable land titles scratch anonymous lives and give them artistic voice. These stories almost always minimal, not so much on the strength of their human traits (in this sense tend to be great) and the paucity of his handwriting. The little suggestive title of The Empty Nest concealed an attempt to dive to that way of films "real", posted in a naturalistic aesthetic fair correspondence with the peculiar dramatic excuse behind it.

Claudia Llosa-family caste, says the name, "revisits the legendary universe of her native Peru and has charged serving customs, mythology and magical realism packed to search for that stamp of authenticity. Get get into an environment of rural fable trimmed with touches of cultural heritage but fails to delve into the emotions that a tragic story could inspire. airtight film is strewn with symbolic references completely alien to the average viewer in these parts that could value the film. The metaphorical wake open to the sad story of the sick girl leaves mark on both sides by those who face it: as the anecdotal story of a young woman staring laconic gesture that affirms itself against the world "protecting" the vagina against male harassment. O in its anthropological dimension, using starting point to look out the weight of traditions, the emotional memory, the slab of past terror fell on the shoulders and a certain look obscurantist, widely popular tradition, the world.

In this split between the ancestral and contemporary, between the intimate and familiar, between the earthy and the spiritual, whose fringes of contact are at least questionable, lies the interest and also the confusion of this little work. languid tone, almost suffocated, bloating dramatic and localities do not allow notes to extend the streak of lyricism with which the director is determined to undermine the narrative. Could function -At times-as an allegory about the fears converted into walls of silence and solitude. Maybe send a melancholic attachment to a company that is not this insane capitalist world, but one driven by visceral impulses, mysterious, so inexplicable in words that only one worldview García Márquez style could bring his alleged charm. But the whole seems insufficient. The narrative meanders naked and without fanfare fail to revive, it exhilarating and bright, palpable, soon.

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Rachel Getting Married, the family kills

The nest of affection and resentment has fueled great family films, some charged with an indisputable clarity. From ironic visions of reunions until drawing makeshift battlefields mounted between four walls, dirt air always gives game. Can serve to articulate these truths Templar confrontations about an institution far from exemplary archetype released by the American cinema in most of its history. If talent comes, make the diagnosis of multiple traumas as drivers of an earthquake is announced to challenging. But Jonathan Demme, career desnortada something that mirage that silenced after more than a lamb, can not enrich the list of great surgeons of domestic tensions, not Noah Baumbach's recent and dispensable Margot at the Wedding (2008) -. The prism with which to tear down takes many forms placidity masks a sharp drama, but also predictable in the swamp that seeks to explore.
Vertices of the conflict are two sisters, the marriageable title and the baby of the family, on probation for a drug abuse center. Needless to say, dialectical crosses between them and the rest of the clan channeled the analysis of these pillars eroded by the secrets, the cloudy shadow of a painful past to mark the days. Anne Hathaway-better than ever, which is not saying much, is reinserted to life through the wrong path. Da stop at nothing less than a den of cynicism and verbal fireworks, to a banquet farce and free thinking that will put on the wire and make you question the resilience of a false happiness. Nothing new under the roof of a story that is decorated with the same: tense dialogues, reflections canapés, and a lot of interracial love, second chances, of alleged catharsis skinned base each other.

Demme is seduced by the atmosphere Bergman's interior, including a verbose and neurotic Allen: A task sterile. The bet is lost in the aesthetic device, clearly inspired by the dogma that rules the European diluted soon as suddenly as it arose. La rígida obediencia al modo de rodar propia de von Trier, Vinterberg y pocas celebridades más busca hacer visible las tensiones íntimas de los personajes, la ebullición emocional, la sarta de reproches airados, de secretos soterrados bajo la estampa teatral del enlace. El uso del efecto se convierte en abuso, y acaba revelándose pretencioso, a ratos tedioso, en otros tramos innecesario si atendemos a un esquema de disfunciones acomodado en la ortodoxia. Ciertos genios de la disección lo hubieran moldeado a chorros de ácido sulfúrico. Lo natural discurriría ante nosotros por la fuerza misma del guión, no como fruto de ombliguistas acrobacias visuales.

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RAF Red Army Faction: speed, Utopias and dream worlds

La cuota anual de cine alemán en línea de salida hacia el orbe estrellado de Hollywood lleva el color de la revolución, un rojo sangre esparcido en un relato de viejas luchas que, hoy en día, puedan sonar hasta marcianas. Resulta cuando menos paradójico que un film combativo, decididamente escorado como éste opte al galardón más simbólico de esa misma maquinaria capitalista que denuncia su enérgico guión. El último trabajo de Uli Edel se adhiere a un cine europeo voluntarioso, intenso rozando lo abigarrado en su despliegue de grandes causas, de errores y triunfos con los que iluminar partes de nuestro presente muchas veces desatendidas.

Surge entonces la alternativa to embrace these works of authorship in its double value: as demonstration of a discourse, an ideology formulated and sustained dramatic pillars of varying firmness. Or in his strictly artistic contribution. It should be appreciated in this regard the railway grammar often articulate the thesis, the classical narrative paradigm undefiled: the pure pleasure of history, of rethinking, unpublished activating light sources and build as strong as necessary gear. There are times when the Red Army Faction RAF reminiscent of Spielberg's Munich (2005), if only in the physical context of those bloody Olympics, one of the winding sections for which antifascist riots ran through the group. Not go into the game of similarities or differences, it only serves to point your same instinct for digging in the wound, stubbornly taken the idea of \u200b\u200ba past that demands attention, they are blinded not to give up their place in the memory and insists the cinema-a creative, no-concessions rotten justice pays. If the Midas of the large U.S. factory could reinvented as an artist, was certainly vindictive after shooting his chronicle of a people humiliated, his best and most European-by cooking your own pace, and intriguing mechanics, for aroma-creation. Edel

shells turbulent times and scenarios and equip your film with the array of political cinema, politicized and militant. Play with us to make thriller, uses its spelling rules to thread a mosaic of actions and reactions that requires the continued attention of the viewer, their strict and-a tall order and emotional involvement. But Edel, unlike Spielberg, makes the stream draining informative and prevents its cold, punctilious, almost hit chronology of leftist rebellion that empathy actually occur. A film of his who is honored in describing a process of social fervor, but also hopelessly blackened bitumen discourse than could be expected.

truth is that scholars often look for the latest generation of this disenchantment springs to push the discussion, invite the evaluative space of the narrative material is not without talent. But just being discovered here bends to oxygenate the brain to absorb and process the wave data, the methodical design of idealism, the epic of a flock astray, if you want a heroism outdated figures, also fascinating. The film is dense and emphatic, more effective in the first part of presentations and psychological baggage, not so much when you lose track of the leaders of the revulsion, when the new generation takes to the streets, weapons, spirit incendiary. Dramatic climax that perpetual hampers a meritorious work, while always interesting mirror of ancient battles asphalted later fled to the territory of moral apathy, an era of mediocrity tricheras unable to give birth for many reasons that impregnate the day to day in this West diffuse.

would, under the cloak vehement and angry gesture, a sign of moderation in markedly Germanic ways. A film, and gives a good account Edel vigorously and without potholes, which calls the confusion: the claims of conscience scald covered with seals, hermetic, tiring final visual diagram. heat content is not accommodated in a continent piecewise quite cold.

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MEDITERRANEAN DIET: trio from fires

Oristrell According to Joaquin, a good time for the culinary arts made in Spain, so you can tell a rich list of available films hereafter. Comedy seems to be a versatile means to address the most fractious frames between plates and spices, perhaps because of his blatant lack of pretension. Although squeezed reach the bunch of clear topical patriotic overtones, the last boil was the histrionic NOT CHARTER (Nacho García Velilla, 2008) - are most effective in the face of the box office vaudeville mechanisms fresh, agile, adaptable to new energy a trade to the rank of its most iconic creative costumes, some as media that carry decades encouraging the midday television.

If you start to export level is therefore logical that writers and directors to use as much background clutter our juicy and Oristrell, Ph.D. in matters of humor injected another dose of gender stuck to the brown coals best dish: rhythm, picaresque and good actors. What cooking In his latest piece is just the classic pursuit of happiness, now and a special gourmet dressing sentimental three-way coupling. be that times change, adjustments to regulate legal ways of love before unthinkable and does not squeak the symbolic fusion of flavors, palate and other less worthy.

the script serves its share of humor mixed with love and chaos almost always works. The comedy hinges on the maturity to go, creative, emotional, family, the protagonist does not reach the quota of absurdity uncouth might be expected, either Oristrell covers the back with the office he is carrying. Do not forget that integrates the principal one of the assault teams to land a farce and most profitable outburst national show business (Gómez Pereira front), and in terms of writing where the film is his best peaks. The trio Graciet is well off, seasoned dialogue, no tone output is seen, everything is nice and digestive system without causing heartburn or jams in the esophagus. Speak your film love and cooking, and kitchen sex, desire, family and new codes are in the world. And he wants to address the creative identity of women in traditionally male environment, at least professionally, we know that not so much in the privacy of home coppers.

A mouthwatering delicious menu but not popular taste that prefers to hide behind the springs bittersweet to chart their mess, no bother, just covering the syrup a nice menu, politically correct, which does not transgress or its naive ménage à trois . Oristrell directs his actors (delicious Olivia Molina) nude gloss, even the stiff brushes in a foreword to sepia toning Tell style. But yours is an auteur of memorable lines, but reflects the skill, ingenuity, desacomplejada, how to tell the ingredients that nourish the emotional stew of art.

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Valkyrie: looking back without anger

A good harvest season allows for variations in the same genre to make parish and greedy figures. The delve into the horrors of Nazism back to the fore, as are demonstrating the latest and simultaneous pinching billboard 2009. Film Valkyrie is not a moral condemnation claim period of world order. No mood equips documentary delves into the wounds and to reveal the most infamous engine of the century (the past, he already has others.) Conjecture or the muzzle of a historical film revisionist sense of the past, which almost always means making balance less honorable Profile sad human being. Neither says a minimum lyrical breath in the drawing of ignominy in the artistic carving of cases in row reserved in memory.

Because the new Bryan Singer does not fool base trickery dressing of false gravity. Valkyrie offers each time it is willing to give, show majestic, powerful, so rocky and useless. I understand the impulse to humanize useful archetypes, to cement the story of martyrs worthy causes with true nobility. This return to the Hitler-factual environment, says the marketing-reveals example mechanical, impersonal, purely routine which means a huge commercial film studio. Singer is hiding behind a character who could change the course of liquidating the world's largest lunatic who has subjected his reins. There ends the pilgrim interesting your new piece of industrial furnace. It is unfortunate to see how even the plausible conjecture is used by the author of THE USUAL SUSPECTS (1995) to build a blockbuster instincts decontaminated work, in view of its past megaestelares blockbusters.

reflective discarded vocation, little can be scratched on a set firm but soulless, secure in deployment of resources that fails to seduce. Singer leads briskly on a paved seamless narrative, but also without juicy shades: not enough time nor is it intended to delve into characters. They, as stipulated in royalties action film, the story hook, intriguing design, the firmness of the sequences studied. And the face of Tom Cruise as lacking in nuance as usual, possibly less gifted actor of his generation and the greatest guarantee of success offered to producers. All the elements are assembled to the millimeter to operate the machinery of plots full of great names, making cooking offices, dates and figures essential to navigate the final frame to a predictable but effective. The film will stimulate the public's voracious popcorn more tolerant, that it does not question whether what you're getting new angle brings artistic or mediocrity is based on formulas, diagrams and other bras. The cinephile sector the audience will remember with nostalgia the sober pieces that European cinema, we usually give away SAG (Oliver Hirschbiegel, 2004), THE BLACK BOOK (Paul Verhoeven, 2005), THE LIVES OF OTHERS (Florian Henckel-Donnersmarck, 2006) - perhaps less swollen budgets, but clearly superior as biting into a time of moral defeat still raising blisters.