Pantallas de plata by Carlos Fuentes

By Carlos Fuentes

Cine y gran literatura en una obra inédita de Carlos Fuentes

Esta es l. a. historia de una relación own con el cine. Carlos Fuentes cuenta cómo fueron sus primeros acercamientos a las salas cinematográficas, de l. a. mano de su padre, su consecuente deslumbramiento ante las imágenes en movimiento en l. a. pantalla de plata, y su ulterior e incurable afición al cine.

El autor tuvo oportunidad de ver películas en un buen número de países a ambos lados del Atlántico, de conocer a grandes directores y célebres actores y actrices, de escribir guiones y ver llevadas al celuloide obras que él escribió, de ser jurado en festivales famosos e, incluso, de actuar.

De todo ello deriva una experiencia única que aquí narra en términos absolutamente confesionales y buena parte del tiempo en primera character. Sus preferencias y gustos, sus obsesiones, su interpretación de obras, actitudes, tendencias, estilos: todo eso y más se encuentra escrito de manera más narrativa que ensayística.

Esta obra, tal y como l. a. dejó escrita el autor, es un regalo para sus lectores, y en especial para aquellos que disfrutan del buen cine de todos los tiempos.
La crítica ha dicho...
«La vasta obra de Fuentes como novelista, ensayista y dramaturgo y enseñante en las principales universidades de Europa, Estados Unidos e Hispanoamérica, hacen de él, juntamente con el fallecido Juan Rulfo, los dos polos de los angeles narrativa mexicana e iberoamericana contemporánea.»
Augusto Roa Bastos

«Admiro esa incesante energía de invención que tiene para buscar cada vez un nuevo camino para decir lo que todo escritor tiene que decir, que son dos o tres cosas pero que constituyen su razón de existir.»
Álvaro Mutis

«A lo largo de toda su carrera literaria Carlos Fuentes llevó adelante l. a. vasta tarea de hacer de los angeles invención un instrumento aleccionador de l. a. historia, o al revés, en ese constante juego de espejos que fue su escritura.»
Sergio Ramírez, El País

«Carlos Fuentes ha abierto frentes, ha contribuido al progreso del arte de narrar y ha dado voz al compromiso con los semejantes.»
Santos Sanz Villanueva, El Mundo

«El magisterio de Fuentes es inagotable.»
Juan Gabriel Vásquez, El País

«El mejor autor del mundo. El más grande intérprete de Hispanoamérica.»
J. J. Armas Marcelo, ABC Cultural

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51-58. 48 THE POSTWAR PERIOD 44 Of the two types of films in vogue immediately after the war upon matters of sex life with an undeniable the first elaborated of this kind took penchant for pornographic excursions. Films in prewar sexual the of promoted officially enlightenment advantage Germany. In those days eighteen-year-old boys did not leave high school for a university without being initiated by some medical man dangers of venereal diseases and the use of prophylactics. a flair the war, Richard Oswald, a versatile film director with During for the needs of the market, divined that the hour had come to transfer this indoctrination to the screen.

PEACE AND WAR 23 war years, D. W. Griffith, Chaplin and Cecil B. De Mille develthe American film, and the Swedish industry took shape. oped But the German evolution was not similar. From October 1914 those on, Messter substituted for the prewar newsreels of Path Freres, Eclair weekly film reports which pictured diverse war Gaumont and events with the help of documentary shots. Disseminated among the neutrals as well as in the fatherland, these illustrated bulletins were supplemented by staged propaganda films in which extras put into German troops.

67; Bardfeche and Brasillach, History of Motion Pictures, pp. PEACE AND WAR 23 war years, D. W. Griffith, Chaplin and Cecil B. De Mille develthe American film, and the Swedish industry took shape. oped But the German evolution was not similar. From October 1914 those on, Messter substituted for the prewar newsreels of Path Freres, Eclair weekly film reports which pictured diverse war Gaumont and events with the help of documentary shots. Disseminated among the neutrals as well as in the fatherland, these illustrated bulletins were supplemented by staged propaganda films in which extras put into German troops.

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