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'REMAKES', FELLINI IN THE 50'S AND RAOUL WALSH

The Original Sound Version (OSV) Film Cycle is a project initiated by the UA Secretariat for Culture with the purpose of disseminating quality classic cinema and of making up for the scant presence of films in original version in Alicante. The activities under this initiative which began three years ago take place in Centro 14, with sessions on Tuesdays and Thursdays at 19.00 and 22.00 h respectively. In this project, the films are introduced by an expert and after the projection there are short debates similar to those in art cinemas.

According to Israel Gil, coordinator of the UA Cinema Club, ‘this initiative has always been well received because the average university audience has good reading speed and foreign language knowledge, for which reason they opt, though not always, for the original version. There’s an ever smaller anti-dubbing minority.’ As for the idea of projecting the films in their original language, Gil emphasizes that ‘it’s not a matter of respecting only the language, but the original soundtrack as a whole: noises, secondary voices, music...Moreover, I dislike the idea of a dubbing actor trying to adjust his voice so as to coincide with the lip movements of the film actor.’ In terms of the selection of the cycles, the coordinator states that ‘we have usually opted for classic cinema, with some exceptions, such as David Lynch or Michael Haneke, since the average audience is already aware of present-day developments in cinema.’

During the first quarter, the OSV Film Cycle has focused on Ernst Lubischt, the Scorsese-De Niro tandem, and Jacques Becker, while in January it will be Pier Paolo Passolini. Today and on January 24 you can see Il vangelo secondo Mateo (The Gospel According to Matthew) -1964, and on January 29 and 31 Saló o le 120 Giornate di Sodoma (Saló, or the 120 days of Sodom) – 1975.

The film cycle for the second quarter begins next month. ‘For February and March we have prepared a series of remakes, films with an echo in subsequent directions, which paid homage to (or plagiarized) the prior ones. The idea is to debate with the audience on both reference and subsequent films. For instance, Brian de Palma has always been very much influenced by Hitchcock, but in the case of Obsession, the similarities with Vertigo are more than obvious. The situation is different in the case of Coppola’s The conversation which follows Blow up only in the general plot line, though Coppola admits his indebtedness to Antonioni for the figure of the mime, also present in the latter’s film’, Gil points out.

‘In April we’ll have a cycle dedicated to Fellini in the 50’s. The films he made within the framework of the so-called New Realism are not his most well-known ones though they are, perhaps, his best. Finally, May will be dedicated to Raoul Walsh, one of the big names of Hollywood’s Golden Age, who created masterpieces in all the genres. It was very difficult to select three films out of so many, but those produced within the black film category were truly spectacular.

Check schedule in the attached document

Attached file: programa


VEU - Cultural Magazine of the University of Alicante


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