Film Audiences

Resumen
Esta experiencia, que tiene lugar, desde hace nueve (9) años, los fines de semana, en el colegio INEM Francisco de Paula Santander de la localidad de Kennedy; se desarrolla con estudiantes entre los 14 y los 19 años y con algunos egresados que son parte del cineclub desde su época de estudiantes. El contexto, tiene que ver con la experiencia de los productos audiovisuales en el aula-especialmente la cinematografía-, sus dificultades, retos y potencialidades para enriquecer el proceso de aprendizaje de los estudiantes, en un mundo que cada vez más, se ve, se observa y se aprende a través de pantallas, es decir, una sociedad Hipervisual-en palabras de Lipovetsky-que no ha sido suficientemente analizada desde la escuela. Por esto, se hace necesario pensar en el fenómeno audiovisual, como una actividad que atraviesa no solo lo educativo sino también lo social, y, es necesario hacerlo de una manera rigurosa, lo cual, pasa por la educación y autoeducación de docentes y estudiantes, en suma: públicos; pugnando por la formación estética y sensitiva de la mirada de los ciudadanos, lo que se constituye como un aporte de la escuela a la consolidación de una sociedad democrática.

The Cultura de la Pantalla network consists of an international group of film, media and communication researchers in (Latin) America (Mexico, Colombia, US) and Europe (Belgium, Spain) collaborating in a series of multi-method longitudinal studies on urban cinema cultures in the Spanish language world. The network is writing ‘new cinema histories’ with a focus on exhibition, programming and audience experiences. First we briefly look back at the development of the network and its roots in The Enlightened City project. Then the conceptual framework that inspires it, new cinema history,  is defined and the basic three part model is explained,  with its central research questions and methods. In a last part, preliminary results from one of the case studies are complemented with reflections on the overall goal of the network, i.e. to present local, national, regional and cross-continental comparative studies on historical cinema cultures.

El archivo personal de Concha Lagos es un fondo personal y reservado custodiado por la Biblioteca Nacional Nacional de España. Consta de más de 900 documentos diversos que la autora y Mario Lagos donaron en dos ocasiones diferentes a la institución. Este artículo describe y narra la historia de este archivo y lo interpreta a través de las teorías del «giro archivístico», que cuestionan su caracter meramente documental. Se propone, pues, que Concha Lagos dispuso su archivo como una prolongación autorial y autobiográfica, por lo que interpretamos el archivo como un espacio performativo que genera sentidos y narrativas. Se subraya la red afectiva y de sororidad que se traza a través de los epistolarios que componen un archivo en sí mismo. Se concluye que el cambio de noción con respecto al concepto de archivo nos permite trascender las paredes que lo delimitan y activar un espacio tradicionalmente considerado como neutral.

The emergence of new forms of leisure in Iraqi urban landscapes, such as cinemas, nightclubs, and theaters, unleashed debates about the dangers and potentials of leisure. The result of this process is a vast, albeit scattered, archive of texts that deal with practices and institutions of leisure. The archive of leisure, as it pertains to cinema, can be located across a variety of texts including memoirs, short stories, student essays, police records, official discourse, medical texts, and works by Iraqi historians. Given the limited access to Iraqi film and cinema archives, the archive of leisure can offer an important addendum and a supplementary history of Iraqi cinema and cinemagoing. This article offers a new way to retrieve and think about cinematic pasts by examining different archives of leisure. Using these archives, it provides examples of how cinemagoing became a battleground for competing visions of class, morality, gender relations, and politics in early and mid twentieth century Iraq.

La crisi del cinema contemporaneo è multiforme comprende questioni legate alla commercializzazione del film, al declino delle sale cinematografiche tradizionali, all'ascesa delle piattaforme di streaming e alla crescente influenza dei mercati globali.

If space is rather a simultaneity of stories-sofar, then places are collections of those stories, articulations within the wider powergeometries of space. Their character will be a product of these intersections within that wider setting, and of what is made of them. And, too, of the non-meetings-up, the disconnections and the relations not established, the exclusions. All this contributes to the specificity of place. Doreen Massey, For Space

En los años ochenta, en Saltillo, México, junto con las transformaciones económicas que vivió la ciudad, surgieron nuevas salas de cine más funcionales y comerciales que se alejaron de los lujosos recintos de décadas anteriores. A través de entrevistas en profundidad, se indagó sobre la percepción de estas salas y se encontró que la experiencia transitó de entusiasmo y nostalgia a decepción por la transformación económico-cultural de los recintos. Se puede concluir que los cambios en las políticas de exhibición y administración redujeron la agencia y libertad del público en la vivencia del cine.



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In the 1980s, in Saltillo, Mexico, amid the economic transformations experienced by the city, new cinema halls emerged. These new venues were more functional and commercial, unlike the luxurious palatial theaters of previous decades. Through in-depth interviews, we  explored  the  public’s  perception  of  these  cinemas.  Our  findings  revealed  that  this perception shifted from enthusiasm and nostalgia to disappointment due to the economic and  cultural  transformation  of  these  venues.  It  can  be  concluded  that  changes  in  exhibition and management policies led to a reduction in audience agency and freedom in the cinematic experience.

This article examines the celebratory reception of the many videos of Pathaan's 'dancing-fans' that circulated on social media during the film's release. It argues that an un-nuanced celebration of this vocal fan obscures the inaccessibility of the cinema theatre as a public space of leisure in neo-liberal India. Shot on mobile phone cameras inside cinemas, these videos were heralded as evidence of the 'return' of the Hindi film audience. The celebratory discourse around this new dancingfan is in sharp contrast to the anxieties that such vocal fandom has historically generated in cinema discourses in India, being associated instead with the 'rowdy' lower-class fan, pejoratively termed the 'frontbencher'. The article suggests that the desirability of the contemporary dancing-fan reflects a professionalization of Hindi film fandom. It reads this as a new stage in what Tejaswini Ganti identifies as a process of gentrification that began with the emergence of Bollywood in postliberalization India.

Home (1979) and Tusi Tamases's One Thousand Ropes (2017), and Tongan diaspora in Vea Mafile'o's Lea Tupu'anga/Mother Tongue (2023) to the struggles of Japanese-American migration in Hawai'i across Picture Bride (1995) and I Was A Simple Man (2021), stories by and about diasporic communities within the Pacific have played a key part in the region's cinema. In recent years, Pacific-focused film festivals and international funding organisations have forged fresh connections across the region, establishing dynamic new contact points between creators, audiences, and the industries. These collaborations and initiatives have catalysed vibrant voices, narratives and mobilities in ways previously unexplored.

Digital technologies have transformed and continue to transform the way culture is produced, that is, the way it is presented, transmitted and consumed by the (inter)active audience. We consider it particularly important to examine and identify the concepts, perspectives and examples of digital cultural engagement of elderly audiences within
academic research, given that the world population is aging and the elderly people are an important actor in socio-cultural processes, especially because younger generations are associated with new technologies by default. The main research question is: “What academic research has been done on the topic of digital cultural engagement of elderly audiences in the last ten years (2013-2023)?” As a research technique we used rapid literature review because our approach in this case is not analytical and critical as it comprises summarizing and synthesizing. The results show a noticeable solid presence of research papers that take into account the digital engagement of the elderly and
the cultural engagement of the elderly as separate processes. However, there are few research papers that elaborate the topic of digital cultural engagement of the elderly from a communicological point of view.

Suç, insanlığın var oluşundan günümüze kadar süregelmiş bir olgudur. Suç en genel anlamıyla, "yasanın cezalandırdığı hareket veya topluma zarar verdiği ya da tehlikeli olduğu, yasa koyucu tarafından kabul edilen eylem ve hareketler" olarak tanımlanmaktadır. Birçok alanda üzerine çalışmalar yapılan bir konu olarak karşımıza çıkan "suç" kavramı, son dönemlerde kitle iletişim araçları perspektifinde kendine yer bulmuştur. Bu araçlardan birisi olan sinema, salonların fiziksel özelliği, teknolojisi vb. gibi özelliklerinden dolayı diğer araçlardan ayrılmaktadır. Bu etkiler göz önünde bulundurulduğunda, tarihsel süreçte sinema, egemen ideolojinin yansıtılmasında ya da inşa edilmesinde önemli bir alan olarak görülmüştür. Böylesine politik bir mekanizmaya dönüşebilme potansiyeline sahip olan sinema, aynı zamanda toplumsal yapıda var olan birçok unsuru da yeniden üreterek meşrulaştırabilmektedir. Bu unsurlardan biri de "suç" tur. 2000 sonrası Türk sinemasında üretilen filmlerde suç unsuru, popüler filmlerde "komedi" öğesi üzerinden meşrulaştırıldığı çalışmanın temel savını oluşturmaktadır. Nitel bir araştırma tekniği olan İçerik Analizi yönteminin benimsendiği bu çalışmanın temel amacı, 2000 sonrası Türk sinemasında popüler komedi filmleri üzerinden suç unsurunun nasıl meşrulaştırıldığını Kolpaçino (2009) filmi örnekleminde saptamaktır. Çalışmanın sonucunda komedi öğesi kullanılarak meşrulaştırılmaya çalışılan suç unsurlarının izleyiciler üzerinde suça sempati ve yakınlık uyandırdığı tespit edilmiştir.

The objective of this research was to describe the performance of economic growth and its components in the South American region during the period 1950-2019. The research was descriptive in nature under a quantitative approach, with data from secondary sources covering the period in question. The behavior of the main variables associated with growth, such as Gross Domestic Product and the productive inputs capital and labor adjusted for human capital, were described for the period under study. The results obtained show that economic growth has been relatively modest since the early 1970s. However, in recent years, several countries in the region have made considerable progress in terms of growth of Gross Domestic Product per capita.

The objective of this research was to describe the performance of economic growth and its components in the South American region during the period 1950-2019. The research was descriptive in nature under a quantitative approach, with data from secondary sources covering the period in question. The behavior of the main variables associated with growth, such as Gross Domestic Product and the productive inputs capital and labor adjusted for human capital, were described for the period under study. The results obtained show that economic growth has been relatively modest since the early 1970s. However, in recent years, several countries in the region have made considerable progress in terms of growth of Gross Domestic Product per capita.

Desde la perspectiva histórica el conocimiento de los espectadores de cine se ha realizado a partir de fuentes indirectas que aluden a grupos amplios y amorfos. No obstante, se trataba de individuos con diversos rasgos sociales que, en algunos casos, se relacionaban de manera previa a la asistencia cinematográfica, a partir de vínculos como los vecinales, laborales, familiares o amicales.

Il numero speciale della rivista L’avventura che tenete tra le mani ha carattere monografico per contenuti non meno che per premesse epistemologiche. È difatti interamente dedicato ai lavori delle unità di ricerca dell’Università di Messina (capofila), dell’Università di Bari «Aldo Moro», dell’Università di Cagliari e dell’Università «Gabriele D’Annunzio» di Chieti-Pescara, relativi al Progetto di Rilevante Interesse Nazionale (PRIN) Il pollo ruspante. Il cinema e la nuova cultura dei consumi in Italia (1950-1973).

This article analyses the ways in which contemporary Francophone African film interrogates concepts of identity and representation through its inflections of elements of film genre, particularly genre-linked presentations of gender. The article examines in detail Jean-Pierre Bekolo's Les Saignantes (2005) and Abderrahmane Sissako's Bamako (2006) as case studies, focusing on how the films' reformulations of gender and genre reflects on the nature of representation in postcolonial cultural contexts. To explore how these inflections of genre and their reflection on representation may be politically resistant, the argument brings into dialogue theories of film genre as a relational concept (Stam, Neale, Bordwell and Thompson) and gender identity theory, drawn from the work of Spivak and Irigaray. In combination with detailed readings of the two films, this approach leads to two broader conclusion:firstly, that the strategic deployment of gender constructions within rearticulations of genre coordinates can constitute a form of aesthetic resistance; and secondly that insights from postcolonial theory and gender theory can inform the analysis of film genre in non-Western contexts and elucidate the signification of film genre in contexts defined by networks of cultural appropriation, adaptation and exchange.

Dieser Beitrag erschien zuerst in: Humberto Pérez-Blanco und Javier Campo (Hg.): A Trail of Fire for Political Cinema. The Hour of the Furnaces Fifty Years Later, Bristol: Intellect, 2019, 135–158. Der Autor und die Herausgeber danken dem Rechteinhaber (Intellect) für die Erlaubnis zum Nachdruck (mit wenigen Ergänzungen bzw. Modifikationen) in der deutschen Übersetzung.
Übersetzung aus dem Englischen von Martina Kopf.

El emprendimiento social agrupa actuaciones individuales o colectivas con una finalidad social. El objetivo de este artículo es analizar el concepto del emprendimiento social y su impacto científico en publicaciones y artículos de la base de datos Web of Science Core Collection, tanto a nivel mundial como en los países iberoamericanos. El emprendimiento que busca soluciones y cambios sociales, es una cuestión de actualidad a nivel mundial pero que en el caso de los países iberoamericanos es aún una materia incipiente. La metodología empleada se basa en un estudio bibliométrico descriptivo-retrospectivo de los documentos incluidos en la citada base de datos en el periodo 1994-2018, así como un análisis clúster de tendencias. Las variables estudiadas han sido: número de artículos, citas e índice de Hirsch, por año tanto a nivel global como por áreas de conocimiento y países; principales revistas, autores y centros de trabajo. A nivel mundial destacan las revistas y autores de Estados ...

En este trabajo se analiza la experiencia social histórica de asistencia al cine en Monterrey (Nuevo León, México) durante las décadas de 1930 a 1960, según entrevistas focalizadas con 28 informantes mayores de 65 años. En los resultados, se destaca la importancia histórica de las salas de cine, así como las películas y los actores estadounidense y mexicanos, en la vida personal, familiar y colectiva de Monterrey, dentro del contexto histórico de su transformación en una de las ciudades más grandes e industrializadas del país.

El 31 de agosto de 1927, la policía de Rio de Janeiro detuvo a un sospechoso que creía era responsable por el asesinato de dos menores en las afueras de la ciudad. El individuo detenido y luego encarcelado por los crímenes era Febrônio Índio do Brasil, un hombre de raza mixta de unas de las comarcas más marginales de Minas Gerais y que era, presuntamente, homosexual. La cobertura periodística del caso estableció a Febrônio como uno de los asesinos en serie más infames de la historia brasileña, un legado que conserva hasta hoy en día. Un elemento fundamental de la sensacionalización del caso era la misteriosa conexión entre los asesinatos y un texto místico que Febrônio publicó el año antes bajo el título, As Revelações do Principe do Fogo. Tildado como un libro incomprensible, los positivistas brasileños usaron las Revelações como evidencia de la locura de Febrônio y, además, para caracterizar la homosexualidad como una enfermedad mental. Este ensayo presenta una lectura contextual de As Revelações para demostrar la posibilidad de interpretar el libro como una reacción subalterna a los cambios de las geografías raciales y urbanas de Rio en los años veinte. En una ciudad transformada por una noción de la modernidad en la que cuerpos negros y queer no tenían lugar, Febrônio creó un mundo místico donde tales cuerpos podían seguir existiendo. Su libro es una reformulación radical del libro de Apocalipsis que revela los horizontes queer de un mundo por venir a través de la disolución de la trinidad sagrada y la articulación de una intimidad erótica que une al mesiánico Príncipe de Fuego con lo Divino. Así, As Revelações representa la creación textual de un mundo místico queer.

We define a tropicalization procedure for theta functions on abelian varieties over a non-Archimedean field. We show that the tropicalization of a non-Archimedean theta function is a tropical theta function, and that the tropicalization of a non-Archimedean Riemann theta function is a tropical Riemann theta function, up to scaling and an additive constant. We apply these results to the construction of rational functions with prescribed behavior on the skeleton of a principally polarized abelian variety. We work with the Raynaud-Bosch-Lütkebohmert theory of non-Archimedean theta functions for abelian varieties with semi-abelian reduction.

We study the space of generalized translation invariant valuations on a finite-dimensional vector space and construct a partial convolution which extends the convolution of smooth translation invariant valuations. Our main theorem is that McMullen's polytope algebra is a subalgebra of the (partial) convolution algebra of generalized translation invariant valuations. More precisely, we show that the polytope algebra embeds injectively into the space of generalized translation invariant valuations and that for polytopes in general position, the convolution is defined and corresponds to the product in the polytope algebra.

Este trabajo forma parte del proyecto internacional de investigación “Cultura de la pantalla: entre la ideología, la economía política y la experiencia, estudio sobre el rol social de la exhibición cinematográfica y su consumo y su interacción con la modernidad y la urbanización”. Inspirado en la perspectiva teórica de la Nueva Historia del Cine (New Cinema History), en él se analiza la exhibición y programación de películas de 1952 en el puerto de Tampico, México, situado en noreste del país. El propósito es presentar un estudio de caso fuera de Europa y los Estados Unidos que permita contrastar los factores que influyeron en la oferta cinematográfica y describir la ubicación de las salas de cine en la zona. Se investigó en archivos de Tampico, así como en las carteleras cinematográficas publicadas en el periódico El Sol de Tampico. El artículo discute tanto la presencia histórica de las películas de Hollywood en la ciudad como el auge de la exhibición de películas nacionales duran...

In this article, we discuss an innovative audience research methodology developed for the AHRC-funded ‘Beyond the Multiplex: Audiences for Specialised Film in English Regions’ project (BtM). The project combines a computational ontology with a mixed-methods approach drawn from both the social sciences and the humanities, enabling research to be conducted both at scale and in depth, producing complex relational analyses of audiences. BtM aims to understand how we might enable a wide range of audiences to participate in a more diverse film culture, and embrace the wealth of films beyond the mainstream in order to optimise the cultural value of engaging with less familiar films. BtM collects data through a three-wave survey of film audience members’ practices, semi-structured interviews and film-elicitation groups with audience members alongside interviews with policy and industry experts, and analyses of key policy and industry documents. Bringing each of these datasets together withi...

This paper discusses a methodology that seeks to address one of the challenges in working with a range of data in mixed-methods audience research, which is how to sort, order and categorise different data so that they can be systematically combined and interrogated. The methodology was developed as part of the "Beyond the Multiplex: audiences for specialised films in English regions" (BtM) project. This project required a mixed methods approach using surveys, interviews, focus groups and document analysis to explore the richness of audience experiences and trends in the context of regional film policy. This required a mixed methods approach using surveys, interviews, focus groups and document analysis. The project utilised a data model approach that uses the principles of a computational ontology in order to sort, order and categorise data for systematic interrogation. The paper discusses methods, data, coding, and the use of a data model to support data analysis. We argue that this approach enables the cross referencing of data that provides a rich, multilayered and relational understanding of film audiences but requires time and attention to data management and coding. Although, additionally it also forms the basis of an open access data resource for future research.

preface to her intercutting between the two women during the body of the narrative. 8. Ironically, some films I've heard used as examples of purely political, nonsensual film-making (e.g., Laura Mulvey and Peter Wollen's Riddles of the Sphinx, Jackie Reynal's Deux Fois, and Yvonne Rainer's Film About a Woman Who. .. , have always struck me as visually sensual, and in fact seem more and more visually pleasurable as time passes. MANTHIA DIAWARA AND ELIZABETH ROBINSON New Perspectives i n African Cinema: An Interview with Cheick Oumar Sissoko Sissoko is the director of Nyamanton (The Garbage Boys), made in Mali in 1986 and regarded by many as a significant turning point in African cinema. The text of the interview derives from a radio program directed by Elizabeth Robinson.

The renewal of theoretical and methodological tools, putting the spotlight of film historiography on movie audiences and their movie-going routines, has meant a significant shift for the study of national and regional cinemas. The New Cinema History movement has demonstrated the vital importance of introducing in-depth, data-based studies of exhibition, distribution and programming, considering both individual and collective experiences. One trend in this renewal of cinema history are studies that rely on oral testimonies of the elderly to reconstruct their movie-going practices. This article discusses the ways spatial and temporal perceptions appear in oral narratives of movie-going experiences in Buenos Aires during the 1940s and 1950s. Based on twenty qualitative interviews with elderly men and women who attended cinemas during that period, we explore how through their imaginaries they build a certain place in the past that shows sharp contrasts to the perceived present. We trace...

El sistema de producción de papa venezolano sufre de diversas deficiencias, las cuales pueden ser reducidas si se cuenta con buenas herramientas de modelado para estudiar el sistema y explorar configuraciones o escenarios alternativos que informen la toma de decisiones y la política pública. Esto puede ser realizado utilizando herramientas y teorías de Simulación Social como la plataforma SocLab. En el trabajo se realiza un análisis de escenarios de un modelo del sistema de producción de papa venezolano. Se estudia y modela la interacción entre los actores, la cual es mediada por sus recursos, siguiendo la Teoría de Sistemas de Acción Organizada, combinando la investigación cualitativa con la cuantitativa. Entre los actores se tiene al Estado Venezolano y entes comunitarios. Los resultados muestran disminución de las deficiencias del sistema en estos escenarios, pero sin un cambio sobresaliente hacia un sistema de papa justo, lo que indica la profundidad estructural de las deficiencias. El estudio, sin embargo, ha permitido identificar el compromiso de los actores con un sistema justo, lo que resulta importante para reorientar la política pública. Como parte de esta política, se sugiere sustituir en muchos de sus roles al Estado venezolano por actores comprometidos con un sistema justo.

A través de una larga entrevista conducida por Asier Aranzubía, el analista fílmico Santos Zunzunegui desgrana no solo los fundamentos de su actividad hermeneútica, sino también la genealogía que subyace a esta, los lazos de filiación y las deudas contraidas con otros pensadores que, desde el cine y otros ámbitos artísticos, han determinado su forma de enfrentarse al cuerpo a cuerpo de los objetos audiovisuales.

Within the new cinema history perspective, the call for more systematic comparative research has been high on the agenda for some time. The recent proliferation of studies on various aspects of film exhibition and cinemagoing creates an enormous potential for data to be integrated and compared, larger patterns to be discovered, and hypotheses to be tested. This article maintains that the work done so far is largely monocentric in the sense that most studies focus on very specific local practices and experiences, often concentrating on film exhibition and audience experiences in particular cities, neighbourhoods or venues. The contribution argues that, similarly to what happened in other disciplines, a comparative perspective might be helpful in trying to understand larger trends, factors or conditions explaining differences and similarities in cinema cultures. After a discussion on the (underdeveloped) comparative mode within film studies in general, this methodological and partly self-reflective essay will go into some of the challenges of doing comparative research on film exhibition and moviegoing. Concentrating on these issues, different levels and modes of comparative research are discussed and illustrated by using data and  insights from various historical studies on cinema cultures.

Resumen Dentro de la perspectiva teórica de la Nueva Historia del Cine, se pondera la exhibición y programación de películas en la ciudad y puerto de Veracruz en el año de 1952. El propósito del proyecto internacional Cultura de la Pantalla, ha sido presentar estudios fuera de Europa y Estados Unidos, como sucede en varias ciudades mexicanas, que permita contrastar factores sociales, culturales y económicos que influyen en la oferta cinematográfica y especificar la ubicación de las salas de cine, así como su programación en una determinada época, representando el objetivo del presente artículo. Se fundamenta en la investigación documental de archivos de la ciudad de Veracruz y revisión de carteleras cinematográficas publicadas los sábados de 1952 en el periódico El Dictamen. Entre los resultados destacan: Presencia histórica de películas de Estados Unidos, México y otras partes del mundo, así como auge de exhibición de filmes nacionales durante la época de oro del cine mexicano (194...

In March 2011 the romantic comedy feature, My wedding and other secrets, directed by Roseanne Liang-a New Zealand-born Chinese-reached number three in the New Zealand box office (Onfilm, March 11, 2011). This film was also selected for the Melbourne International Film Festival (2011), and the 20th Golden Rooster and Hundred Flowers Film Festival (2011) in China. Liang's success illustrates the public emergence of a new category in local cinema in which filmmakers from the various Asian immigrant communities living in New Zealand relate their own version of diasporic life and reality. Roseanne Liang started her career as a filmmaker with her documentary Banana in a nutshell (2005), in which she narrates the true story of her own life and a cross-cultural romance with her New Zealand boyfriend, Stephen. My wedding and other secrets is a 'rom com' extended version of this documentary. One of the themes that repeatedly emerges in the film is the ways that immigrant parents' views and beliefs clash with their children's contemporary aspirations in a new homeland. This becomes more evident in the case of girls' and women's lives, as the influence of parents and cultural traditions within Asian families is more overt and onerous for daughters than it is for sons. My wedding and other secrets centres on Emily Chu (Michelle Ang), a student of Film Studies at the University of Auckland, who believes she can do anything she puts her mind to. She falls in love with a Kiwi boy, James Harrison (Matt Whelan), and decides to secretly marry him, because getting married could qualify her for a student allowance and she needs that money to make her first documentary. The autobiographical mode of filmmaking reinforces Emily's character as a self-centred, ambitious, and somewhat clumsy nerd who struggles to find a balance between what makes her a Chinese girl, and what defines her as a New Zealand grown-up. Emily's immigrant parents, who came to New Zealand seeking a better future for their children, think that Emily is doing an IT degree, which they believe will most definitely guarantee their daughter's financial future. They also want her to marry a decent Chinese boy who meets their expectations in terms of affirming Chinese tradition, language, and culture. Though angling for comedy, My wedding Film review: My wedding and other secrets 117

En el presente artículo exploramos la experiencia cinematográfica en la Ciudad de México, teniendo como referente a la oferta fílmica pero no limitándose a ella. Ampliamos la mirada, entonces, a la histórica cultural y social del cine, anclada en los usos y apropiaciones. De esta manera, desde una perspectiva sociocultural, esta investigación constituye un particular estudio del público, centrado en la memoria (siempre selectiva) de los espectadores de cine. Aquí, puntualmente, retomamos las nociones de heterotopía y heterocronía que utiliza Annette Kuhn (2004) con base en las definiciones que hizo el filósofo francés Michel Foucault (1984). Al mismo tiempo, es necesario señalar que este artículo es fruto de una investigación más amplia, réplica para la Ciudad de México del proyecto “Cultura de pantalla: ideología, economía y experiencia”, desarrollado por Meers y Biltereyst en las ciudades de Gante y Amberes, Bélgica.

This is an expository article on the adic tropicalization of algebraic varieties. We outline joint work with Sam Payne in which we put a topology and structure sheaf of local topological rings on the exploded tropicalization. The resulting object, which blends polyhedral data of the tropicalization with algebraic data of the associated initial degenerations, is called the adic tropicalization. It satisfies a theorem of the form "Huber analytification is the limit of all adic tropicalizations." We explain this limit theorem in the present article, and illustrate connections between adic tropicalization and the curve complexes of O. Amini and M. Baker.

The historical social experience of cinema attendance in Monterrey (Nuevo Leon, Mexico) during the period from 1930 to1960 is analyzed in this article, based on interviews with 28 informants who were over 65 years old. The results highlight the historical importance of movie theaters, American and Mexican films and screen stars in the personal, family and collective life of Monterrey, within the historical context of its transformation into one of the largest and most industrialized cities in the country.

The digital turn has opened up new research opportunities for cinema historians on the three levels of data search, processing, and interpretation. Inspired by the New Cinema History (NCH), this article shows how online libraries and computer software (Excel, Citavi, QGIS) can be used for innovative interdisciplinary studies of cinema in early 1910s Warsaw. Drawing on a wide range of sources, including statistical data and daily newspapers in Russian, Polish, and Yiddish, this article discusses cinema topography and sheds new light on the biographies and business activities of two local film producers. It then traces the paths of their films, drawing conclusions about the potential audience in the city where Russians, Poles and Jews lived side by side rather than together.

In this paper we study the cones of higher codimension (pseudo)effective cycles on point blowups of projective space. We determine bounds on the number of points for which these cones are generated by the classes of linear cycles and for which these cones are finitely generated. Surprisingly, we discover that for (very) general points the higher codimension cones behave better than the cones of divisors. For example, for the blowup X n r of ‫ސ‬ n , n > 4 at r very general points, the cone of divisors is not finitely generated as soon as r > n + 3, whereas the cone of curves is generated by the classes of lines if r ≤ 2 n. In fact, if X n r is a Mori dream space then all the effective cones of cycles on X n r are finitely generated.