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Rumberas Film
The Rumberas film (in Spanish, Cine de rumberas) was a film genre that flourished in Mexico, in the so-called Golden Age of Mexican cinema in the 1940s and 1950s. Its main stars were the so-called '' rumberas'', dancers of Afro-Caribbean musical rhythms. The genre is a film curiosity, one of the most fascinating hybrids of the international cinema. Today, thanks to their unique characteristics, they are considered cult films. The Rumberas film is one of the contributions of Mexican cinema to international cinema. The Rumberas film represented a social view of the Mexico of the 1940s and 1950s, specifically of those women considered as sinners and prostitutes, who confronted the moral and social conventions of their time. The genre was a more realistic approach to the Mexican society of that time. It was melodramas about the lives of these women, who were redeemed through exotic dances. Etymology The ''rumberas'' were the dancers and actresses that swayed to Afro-Caribbean rhythms i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Golden Age Of Mexican Cinema
The Golden Age of Mexican cinema ( es, Época de Oro del Cine Mexicano) is a period in the history of the Cinema of Mexico between 1930 and 1969 when the Mexican film industry reached high levels of production, quality and economic success of its films, besides having gained recognition internationally. It began with the film ''Allá en el Rancho Grande'' (1936), directed by Fernando de Fuentes. In 1939, during World War II, the film industry in the US and Europe declined, because the materials previously destined for film production now were for the new arms industry. Many countries began to focus on making films about war, leaving an opportunity for Mexico to produce commercial films for the Mexican and Latin American markets. This cultural environment favored the emergence of a new generation of directors and actors considered to date, icons in Mexico and in Hispanic countries and Spanish-speaking audiences. Mexican cinema of the Golden Age is also credited with propelling Mex ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vaudeville
Vaudeville (; ) is a theatrical genre of variety entertainment born in France at the end of the 19th century. A vaudeville was originally a comedy without psychological or moral intentions, based on a comical situation: a dramatic composition or light poetry, interspersed with songs or ballets. It became popular in the United States and Canada from the early 1880s until the early 1930s, but the idea of vaudeville's theatre changed radically from its French antecedent. In some ways analogous to music hall from Victorian Britain, a typical North American vaudeville performance was made up of a series of separate, unrelated acts grouped together on a common bill. Types of acts have included popular and classical musicians, singers, dancers, comedians, trained animals, magicians, ventriloquists, strongmen, female and male impersonators, acrobats, clowns, illustrated songs, jugglers, one-act plays or scenes from plays, athletes, lecturing celebrities, minstrels, and movies. A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
María Antonieta Pons
Maria Antonieta Pons (November 6, 1922 in Havana, Cuba – August 20, 2004 in Mexico City) was a Cuban-born Mexican film actress and dancer. She was the first actress in the ''Rumberas films'' in the 1940s and 1950s, in the Golden Age of Mexican cinema. Career María Antonieta Pons began her career as a dancer in Cuba in numerous theaters and night clubs. When she was 16, she met Spanish actor and film director Juan Orol, who became her partner in various dance competitions on the island. After becoming Orol's wife, he took her to Mexico so she could act in films. María Antonieta Pons debuted in the Cinema of Mexico in the film '' Siboney'' (1938). After her debut in this film, Maria Antonieta performed with Orol in international dance tours in the United States, particularly in New York and Chicago. Towards the end of 1943, Pons returned to film, invited by the producer Guillermo Calderon to act in the film ''Noches de ronda'', along with the actors Susana Guizar and Ramon Arme ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Juan Orol
Juan Rogelio García García, better known as Juan Orol (August 4, 1897 in Lalín, Pontevedra, Spain – May 26, 1988 in Mexico City, Mexico) was a Mexican-Spanish actor, producer, screenwriter and film director. He was known as ''The King of the Mexican Film noir''. He was also known as ''The Involuntary Surrealist''. He was a pioneer of the Mexican cinema's first talkies and one of the main promoters of the Rumberas film in the ''Golden Age of Mexican cinema''. His films have been described as cult films. Biography Early life Juan Rogelio García García was born on August 4, 1897 in the parish of Santiso, in the town of Lalin in Pontevedra, Spain. His father was a commander of the Spanish armed forces. His mother, a woman of peasant origin, was a single mother. Later, she married a man who didn't want to take care of another man's son, so she sent Orol to Cuba to live with a friend. In Cuba, Orol lived in the low neighborhoods, known in Cuba as "solares". There, he had ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Conga (music)
The term conga refers to the music groups within Cuban comparsas and the music they play. Comparsas are large ensembles of musicians, singers and dancers with a specific costume and choreography which perform in the street carnivals of Santiago de Cuba and Havana.Millet, José and Brea Rafael 1989. Del carnival santiaguero: congas y paseos. In Oscar Ruiz Miyares (ed) ''Guía cultural de Santiago de Cuba''. The instrumentation differs between ''congas santiagueras'' and ''congas habaneras''. ''Congas santiagueras'' include the ''corneta china'' (Chinese cornet), which is an adaptation of the Cantonese suona introduced in Oriente in 1915, and its percussion section comprises bocúes (similar to African ashiko drums), the quinto (highest pitched conga drum), galletas and the pilón, as well as brakes which are struck with metal sticks. ''Congas habaneras'' lack the ''corneta china'' but include trumpets, trombones and saxophones, and they have a different set of percussion instrume ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mapy Cortés
Maria del Pilar Cordero, better known as Mapy Cortés (Santurce, San Juan, Puerto Rico March 1, 1910Isla Verde, Puerto Rico August 2, 1998) was a Puerto Rican stage, film and television actress and dancer who participated in many films during the Golden Age of Mexican cinema, where she became one of the industry's most beloved and bankable stars of the 1940s. Biography Mapy Cortés began experimenting as an actress since an early age, working in Puerto Rican amateur theater. In 1932 Mapy traveled to New York City and married childhood friend Fernando "Papi" Cortés. Under contract to a theatrical troupe headlined by Dominican baritone Eduardo Brito, the couple traveled to Spain. After the company disbanded, the couple began performing in different ''teatro de revista'' companies, primarily in Barcelona. Mapy Cortés made her film debut as one of the two female leads in the comedy ''Dos Mujeres y un Don Juan'' (''Two Women and a Don Juan'', 1933). By that time Cortés had a nephew ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rita Montaner
Rita Aurelia Fulcida Montaner y Facenda (20 August 1900 – 17 April 1958), known as Rita Montaner, was a Cuban singer, pianist and actress. In Cuban parlance, she was a '' vedette'' (a star), and was well known in Mexico City, Paris, Miami and New York, where she performed, filmed and recorded on numerous occasions. She was one of Cuba's most popular artists between the late 1920s and 1950s, renowned as ''Rita de Cuba''. Though classically trained as a soprano for zarzuelas, her mark was made as a singer of Afro-Cuban salon songs including "The Peanut Vendor" and " Siboney". Throughout her career, Montaner kept a close personal and professional relationship with two famous musicians from her hometown of Guanabacoa: pianist-singer Bola de Nieve and composer Ernesto Lecuona.Fajardo, Ramón (1997). ''Rita Montaner: testimonio de una época''. La Habana. Life Montaner was born on 20 August 1900 in Guanabacoa, Havana, into a middle-class family. Her father, Domingo Montaner Pulga ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sergei Eisenstein
Sergei Mikhailovich Eisenstein (russian: Сергей Михайлович Эйзенштейн, p=sʲɪrˈɡʲej mʲɪˈxajləvʲɪtɕ ɪjzʲɪnˈʂtʲejn, 2=Sergey Mikhaylovich Eyzenshteyn; 11 February 1948) was a Soviet film director, screenwriter, film editor and film theorist. He was a pioneer in the theory and practice of montage. He is noted in particular for his silent films ''Strike'' (1925), ''Battleship Potemkin'' (1925) and ''October'' (1928), as well as the historical epics ''Alexander Nevsky'' (1938) and ''Ivan the Terrible'' (1944, 1958). In its 2012 decennial poll, the magazine ''Sight & Sound'' named his ''Battleship Potemkin'' the 11th greatest film of all time. Early life Sergei Eisenstein was born on 22 January 1898 in Riga, Latvia (then part of the Russian Empire in the Governorate of Livonia), to a middle-class family. His family moved frequently in his early years, as Eisenstein continued to do throughout his life. His father, the architect Mikhail Osipov ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
¡Que Viva México!
''¡Que viva México!'' (, ; russian: Да здравствует Мексика!, Da zdravstvuyet Meksika!) is a film project begun in 1930 by the Russian avant-garde director Sergei Eisenstein (1898–1948) under contract to socialist author Upton Sinclair and other supporters in the United States. It would have been an episodic portrayal of Mexican culture and politics from pre-Conquest civilization to the Mexican Revolution. Production was beset by difficulties and was eventually abandoned. Jay Leyda and Zina Voynow call it Eisentein's "greatest film plan and his greatest personal tragedy". Overview Eisenstein had come to the United States to work on a film for Paramount Pictures, but, after various projects proposed by Charlie Chaplin and Paramount executives fell through, Paramount released him from his contract. Eisenstein would thereupon have been obliged to return to the USSR, but Upton Sinclair and a small group of financiers recruited by him and his wife Mary Craig K ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lupe Vélez
María Guadalupe Villalobos Vélez (July 18, 1908 – December 13, 1944), known professionally as Lupe Vélez, was a Mexican actress, singer and dancer during the Golden Age of Hollywood cinema. Vélez began her career as a performer in Mexican vaudeville in the early 1920s. After moving to the United States, she made her first film appearance in a short in 1927. By the end of the decade, she was acting in full-length silent films and had progressed to leading roles in ''The Gaucho'' (1927), ''Lady of the Pavements'' (1928) and ''Wolf Song'' (1929), among others. Vélez made the transition to sound films without difficulty. She was one of the first successful Latin-American actresses in Hollywood. During the 1930s, her explosive screen persona was exploited in successful comedic films like ''Hot Pepper'' (1933), '' Strictly Dynamite'' (1934) and '' Hollywood Party'' (1934). In the 1940s, Vélez's popularity peaked while appearing as Carmelita Fuentes in eight ''Mexican Spitfire'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
María Conesa
María Conesa, also known as ''La Gatita Blanca'' (The White Kitten) (December 12, 1892 – September 9, 1978), was a Spanish-born Mexican stage, television, film actress and '' vedette''. She was one of the principal stars of the Revue and Vaudeville in México and Latin America in the early 20th century. Biography She began her career in Spain in the stage company named ''Aurora Infantil'' with her sister Teresita. Both highlighted in many plays. This caused that the actress ''La Zarina'', jealous of the success of the girls ordered her murder. Teresita died stabbed on the spot, and María was saved by a miracle. Overcome the tragedy, María's father did everything possible to make her a big star. She arrived to Mexico in 1901 with a company of children actors who played zarzuelas at the Teatro Principal. Later she doing a small role in ''La verbena de la Paloma''. In, 1907 she was presented at the Teatro Albisu of Havana (Cuba), with ''La Gatita Blanca (The White Kitten)'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
