Academic literature on the topic 'Hernández (Firm)'

Teo Hernández (Ciudad Hidalgo 1939‐Paris 1992) began a prolific career as an experimental filmmaker after entering a self-imposed exile in Paris in 1966. With no formal training, he completed dozens of films on the amateur format of Super 8 before his untimely death at the height of the AIDS epidemic in France. Hernández’s cinema cannot be separated from his postcolonial experience as an undocumented immigrant in Europe. Based on his audio-visual and written work, this article examines how the filmmaker elaborated a unique film theory grounded in an auto-ethnographic appropriation of primitivist tropes. Through this queer exilic cinema, Hernández crafted an authorial persona around the figure of a shamanic filmmaker. I take the films Nuestra senõra de París/Our Lady of Paris (Hernández 1981‐82) and Pas de ciel/No Sky (Hernández 1987) as a point of departure to examine the construction of a cinematic ritual capable of inducing trance in the body of the spectator and the filmmaker.

This article addresses the poetry of the Mexican writer Francisco Hernández (Veracruz, 1946) based on the analogical hermeneutics of the philosopher Mauricio Beuchot. The analysis is centered on the poem “Act followed”, which is part of the book Screaming is a Dumb’s thing (1974), in which the topics of nothingness and faith are identified in the Biblical Apocalypse, linked from Hernández’s reinterpretation of the film The Seventh Seal (1957), by Ingmar Bergman. I study the meaning of these topics and the way in which the writer adopts them in his poetics.

Resumen: Este trabajo analiza la dimensión ideológica del largometraje Con uñas y dientes, una reflexión sobre la Transición española (1975-1982) desde una perspectiva marxista. Para ello, se considerará el abandono por parte del autor de sus anteriores posiciones estéticas y la asunción de códigos genéricos convencionales, analizando su construcción narrativa y considerando el contexto cinematográfico y político del momento, así como la relación del filme con la labor del Nuevo Frente Crítico, principalmente con la visión del colectivo Marta Hernández sobre los últimos años del franquismo y de la revista Contracampo sobre la Transición.Abstract: This paper studies the ideological dimension of the film Con uñas y dientes, a critical view on the Spanish Transition (1975-1982) from a marxist perspective. For that purpose, the author’s abandonment of his previous aesthetic positions in favor of more conventional generic codes will be considered, analyzing the film’s narrative construction. For this purpose, the cinematographic and political context of the period will be taken on account, as well as the film’s connection with the work of the Nuevo Frente Crítico (New Critical Front), mainly the colective Marta Hernández’s view on the last years of francoism and that of the review Contracampo on Transition.

<abstract><p>In this paper, advertising competition among $ m $ firms is studied in a discrete-time dynamic game framework. Firms maximize the present value of their profits which depends on their advertising strategy and their market share. The evolution of market shares is determined by the firms' advertising activities. By employing the concept of the discrete-time potential games of González-Sánchez and Hernández-Lerma (2013), we derived an explicit formula for the Nash equilibrium (NE) of the game and obtained conditions for which the NE is an overtaking optimal. Moreover, we analyze the asymptotic behavior of the overtaking NE where the convergence towards a unique steady state (turnpike) is established.</p></abstract>

This article contextualizes and characterizes the Venezuelan feminist film collective Grupo Feminista Miércoles. Founded by Venezuelan Josefina Acevedo and Italians Franca Donda and Ambretta Marrosu, among others, Grupo Feminista Miércoles (1979‐88) produced the documentary Yo, tú, Ismaelina (‘I, you, Ismaelina’) (1981) and the videos Argelia Laya, por ejemplo (‘Argelia Laya, for example’) (1987), Eumelia Hernández, calle arriba, calle abajo (‘Eumelia Hernández, up and down the street’) (1988) and Una del montón (‘One of the bunch’) (1988), and participated in several activities organized by the Venezuelan women’s movement. On the one hand, this article pays attention to both the cinematic and political contexts that allowed the emergence of this collective, with a focus on the influence that Italian cinematic and feminist ideas had in these contexts. On the other hand, it also provides formal analysis of the collective’s filmography and explores how feminist ideas and praxis are deployed in its films. The overall aim of this article is to restore the contributions of Grupo Feminista Miércoles to both Latin American political cinema and transnational feminist cinema.

The four contributions included in this dossier engage with theoretical approaches that have challenged the suitability of the national as the organizing principle in the study of cultures. Thomas Matusiak and Eduardo Tormos Bigles revisit the trans-national and intra-national dimension of independent and experimental cinema during the 1960s and 1970s through the case studies of Teo Hernández and Alfredo Joskowicz. Olivia Cosentino explores the affective role of the critic spectator by analysing a Mexican non-fiction film. Carolyn Fornoff challenges the idea of national cinema for the case of Mexico through a radical engagement with ecocriticism and energy studies.

In 1923, after producing the adaptation of his brother Josué’s best-selling novel La vendedora de Harrods (1919), Alfredo Quesada made his directorial debut with the film Martín Fierro. It was based on the poem by José Hernández (1872 and 1879), which had been canonized shortly before. Although the film is now lost, this essay aims to examine its reception through different publications of the time and to place it within the framework of a film field that in the beginning of the 1920’s was already autonomously constituted. In particular, this work focuses on the interdependence of two fundamental demands of the field: the requests for movement and projection, defined according to Gilles Deleuze and Jean-Michel Frodon, respectively. Considering this link, the goal is to understand the reasons why Quesada’s movie was considered a failure and to infer the conditions that could determine the fate of Argentine films both locally and in the global market of culture.

The paper deals with the reflection of verbal thinking of the characters in the novel The Rocking Chair by Anna Hernández, a contemporary author of Spanish detective novels. It outlines the main thematic directions and features of journalistic and literary activities of Anna Hernández. It is noted that the text of the novel “The Rocking Chair” reflects the thinking of only the main characters, which gives their personalities a special status within the narrative. The verbal thinking of Elena Rius, Nils Åkerman and Mykola Solonenko is singled out. The functions performed by the verbal thinking of the characters portrayed in the novel are determined as follows: artistic reproduction of the characters with their most essential features, psychological focus on the motives that guide the characters, creation and depiction of vivid title images, and a balanced storyline of the novel. The research touches upon some ways of representing verbal thinking: a monologue, an internal dialogue, and an epistolary monologue. The psychological nature of verbal thinking is analysed in all situations where it is illustrated. In some cases, verbal thinking reflects the search for solutions in a life situation, while in others it is a search for a better model of oneself and is close to a psychotherapeutic technique with which characters try to help themselves. The vivid visual and auditory effects, which are present in the narrative of “The Rocking Chair”, reveal certain features of cinematography bringing the novel closer to a film script. In view of the above, it is appropriate to study the novel through the prism of cinema semiotics. As a prospect for further research, it is proposed to study the functioning of the protagonists' verbal thinking depicted in other contemporary detective novels, in particular in “The Moon over the Windmills” by Anna Hernández, a recently published novel, which continues the storyline of “The Rocking Chair” and deals with the same characters set in new circumstances.

Nous partons du constat de l’importance de l’image dans le processus d’anthropogénèse, car la fixité de l’image se dévoile comme une médiation temporelle, c’est-à-dire, comme la création d’un temps rapporté médiatisant notre rapport au réel et transgressant par là notre champ perceptif. À ce titre, l’histoire de l’image apparaît comme le développement de divers modèles eidétiques statiques qui vont être en négociation et relation permanente avec les modèles eidétiques dynamiques : le langage, les gestes, l’outillage, la musique, la danse, l’habitat ; modèles qui en contrepartie sont des médiations nous permettant d’investir l’espace et de le délimiter. L’interpénétration des deux types de modèles, dynamiques et statiques, constituerait, dans la pléthore et la diversité d’éléments composant chaque culture, le caractère définissant l’homme comme animal politique. C’est ainsi que l’on a pu discerner une différence ontologique lors de l’apparition de la trace photographique, trace résultant, non d’une idéalisation formelle et symbolique, mais de l’idéalisation d’une distance, à partir de laquelle se matérialise l’écran en articulant le regard depuis une nouvelle échelle opératoire. L’apport essentiel de l’image serait entré donc dans une nouvelle phase qui, au bout de presque deux siècles, aurait transformé l’homme en animal médiatique. C’est là que l’histoire de la nouvelle trace, sous l’essor de la technologie numérique, centre tout enjeu politique dans sa manifestation la plus conséquente, celle de l’expression cinématographique.Dans ce cadre nous avons abordé et privilégié une histoire du cinéma à des moments où celle-ci développe des enjeux spécifiques dans son rapport au réel, comme notamment dans l’exemple de l’œuvre du cinéaste mexicain Téo Hernández, réalisée pour l’essentiel en Europe entre 1968 et 1992. Sa forte dimension phénoménologique, l’importance du corps dans l’acte de filmer, tout autant que sa fine réflexion sur le médium et son rapport au réel, nous ont fournit une clé de voûte nous permettant de comprendre les grands changements médiatiques qui sont survenus dans les années 80, et qui ont déterminé le regard politique du monde actuel
We begin by observing the importance of the image in the anthropogenesis’ process because the fixed image reveals temporal mediation, namely, the creation of reported time, mediatizing our relation to the real and thus, transgressing our fields of the perceptual. On this basis, the image’s history appears as a development of various static eidetic models that are going to be in a negotiation and permanent relationship with dynamic eidetic models: language, gestures, equipment, music, dance, the habitat; models that, in return, are mediations enabling us to invest the space and divide it up. The intermingling of the dynamic and static models would constitute the character defining man as a political animal, in the myriad and diversity of the elements that are components for each culture. That is how we are able to detect an ontological difference at the time when the photographic trace appears, a trace not resulting from a formal, symbolic idealization but from an idealization of distance, from which the screen materializes by articulating the eye from a new operative scale. The image’s essential contribution would thus have entered a new phase that would have transformed man into a media animal after almost two centuries. That is where the history of the new trace becomes the core of all political issues in its most consistent manifestation, under the surge of digital technology, that of cinematographic expression.In doing so, we have addressed and favoured one of cinema’s histories at a time when there was a development of specific issues in relation to the real, notably using the work of a Mexican filmmaker, Téo Hernández, mainly done in Europe between 1968 and 1992 as an example. Its powerful phenomenological dimensions — the importance of the body while filming — and also the deep reflexion on the medium and its relation to the real, have provided us with a keystone that enables us to understand the major changes in media that happened during the 1980s and determined the political outlook of the world today

With this book, Rachel Afi Quinn makes the case for a transnational feminist cultural studies lens of analysis and an ethnographic approach to the study of race, gender, and visual culture in the Dominican Republic. This book provides a new window into contemporary life in Santo Domingo through which surrealist cultural productions reflect the social climate. Quinn theorizes the ways that the racial meaning of Dominican women’s mixed-race bodies “see/saw” in the viewing moment, as they are read visually in relation to others and informed by particular narratives of identity. Drawing on some forty interviews conducted by the author, this text centers these voices as it reveals the ways that the mixed-race bodies of Dominican women and girls signify within a racial schema tied to an economy in which they are commodified. Queer identities and fluid sexualities intersect with racial ambiguity and Dominican whiteness, Quinn argues, while incorporating public art, digital images, and Dominican film and music videos that are circulated transnationally, including performances by Rita Indiana Hernández and Michelle Rodriguez. Numerous other works by Dominican women artists and activists including print and online publications, documented live performances, photographic images, and social media discourse compose this text. Transnational political organizing is also considered here as part of a legacy of Dominican feminist activism against patriarchal oppression

Tanaka’s fourth film, The Wandering Princess (Ruten no ōhi, 1960), is the subject of Alejandra Armendáriz-Hernández’s chapter. Based on the autobiography of Saga Hiro (1914-1987), a Japanese aristocrat who married the younger brother of the emperor of Manchukuo, The Wandering Princess was marketed as a ‘women’s film’ by highlighting the three women who occupied key positions in the production: scriptwriter Wada Natto, star Kyō Machiko and director Tanaka Kinuyo. With this in mind, Armendáriz-Hernández examines Tanaka’s work against more prevalent representations of women and national history in postwar Japanese cinema in order to argue that the film and, crucially, Tanaka herself occupied a liminal gendered position within early 1960s Japanese cinema.

Manuel Medina reveals a long-standing tradition of social criticism in Ecuadorian cultural productions, including art, literature, and film. This study highlights, in particular, the recent film Vengo volviendo [Here and There] (2015, dir. Gabriel Páez Hernández and Isabel Rodas León), within a national dialogue that questions the place of ancestral knowledges-based medicine within a Western biomedicine-based healthcare system. Additionally, this analysis explores issues of colonialism and discrimination as a barrier to public health access for indigenous peoples of Ecuador.

Abstract This chapter explores the use and meanings of glitter in underground performance and film of the 1960s and 1970s. It reconstructs the elusive history of glitter from its invention in the mid-1930s to its growing popularity in early and mid-1960s fashion. This popularity responded to a contemporary fascination with sheen and sparkle, the immersive, and the ephemeral—interests that also drove light-based art, multimedia events, and discotheque design. In underground film and performance, glitter produced bodies and interiors of uncertain outline and surface, blurred conventional gender morphology, and triggered queer affect. It was used to transfigure the ordinary, evoke spirituality and transcendence, and articulate a “dark” type of camp allied to scenarios of cruelty and aggression. The chapter studies this range of significations in the films of Jack Smith, Steven Arnold, Katharina Sieverding, Carles Comas, and of the members of the French cinema corporel school, Stéphane Marti and Teo Hernández.

The fourth chapter, “Multi-Tentacled Time: Contemporaneity, Heterochrony, Anachronism for Pre-posterous History” analyses time in its multiplicity. This is also a central concern both in narrative theory and in film. After publishing Reading “Rembrandt” (1991) the author was blamed for being ahistorical, which, although not true, was a stimulating incentive to think harder about the issue of historical time. That led to her book Quoting Caravaggio (1999), in which she addressed that critique, and developed a new sense of history in relation to time. But it was when, already immersed in filmmaking, she was working with Hernández Navarro on a large collective video exhibition devoted to the connections between the movement of images and the movement of people, in other words, video and migration (not on migration), that her thinking about temporality took another turn. The last concept in the chapter's title is presented through a theoretical interlude, and is also probed through the author's latest, 2020 short “essay film” It's About Time! This film, the title of which is as ambiguous as the concept of “pre-posterous history”, addresses the world's self-destructive impulse, through the voice of Christa Wolf's character Cassandra, the prophet of doom who will never be believed.