americano ( 2005 film )
el otro sueño americano. dir. enrique arroyo. conaculta / imcine, 2004. short film .
review by roger ward in notre dame philosophical reviews 2005. 07. 12 .
case in point: kevin noland’s film “americano, ” a hemingwayesque coming - of - age tale set in modern - day spain .
segoviano, rogelio. “el otro sueño mexicano. ” diario monitor 3 may 2005: 1c. print .
el otro sueño americano (the other american dream, enrique arroyo, mexico, 2004) .
‘yearning for the 1950s? nostalgia and escapism in contemporary italy’, conference on ‘where is italy going? problems and prospects of a resilient democracy 1994 - 2005’, st. anthony’s college, oxford 10 - 11 may 2005
leonard maltin classic movie guide, copyright 2005, 2010. used by arrangement with penguin group (usa) inc .
there are no featured audience reviews yet. click the link below to see what others say about americano !
film comment: the typewriter and the camera (on joseph l. mankiewicz )
, vol. 10, no. 3 & 4 (march 2005 – may 2007) (issue 32), pages 155–160 .
frank m. oppenheim. university of notre dame press, 2005 (amazon. com: feb. 28). hardcover. 520 pages
beautifully shot and filled with lovable characters you could watch for hours, americano is an amazing journey that makes one yearn for travel .
watching americano is like hearing a long story about someone else' s holiday, and while it seems everyone had a nice time, it' s too bad they didn' t shoot a better film while they were there .
the film follows fictional movie star gray evans through the disintegration of his marriage, his gradual mental breakdown, and his increasing obsession with a young film student who reminds... see full summary »
raíces de sangre. dir. jesús salvador treviño. conacine / azteca films, 1979. film .
the ring è un film americano del 2002, diretto da gore verbinski, su sceneggiatura di ehren kruger, interpretato da naomi watts e martin henderson, remake dell' horror giapponese ringu, del 1998. premi; * mtv movie awards 2003: miglior cattivo (daveigh chase) * 2 saturn awards: miglior film horror, migliore attrice (naomi watts )
frankenstein is my take on the 1931 film' s making and legacy, plus some old - school film criticism. from columbia university press' s
cultographies
series. click the image to order .
love this movie and it came on time and in perfect condition. this indie film has been overlooked .
bajo el tacaná. dir. isabel vericat. comisión nacional de los derechos humanos, 2007. film .
espaldas mojadas. dir. alejandro galindo. ata films / distribuidora mexicana de peliculas. 1955. film .
mussolini’s dream factory: film stardom in fascist italy berghahn books, oxford, 2013 (pp. 336 )
a recently published the book
scritti di charles sanders peirce scelti
( unione tipografico - editrice torinese, turin, 2005) that has led the prof editor. giovanni maddalena .
' hollywood, italy and the first world war: italian responses to three film versions of ernest hemingway’s a farewell to arms’, in guido bonsaver and robert gordon (eds .), state, culture and censorship in twentieth - century italy, legenda, oxford, 2005, pp. 98 - 108
while some films, like patricia riggen’s la misma luna / under the same moon (mexico / usa, 2007), hint at physical dangers to migrant bodies, [ 22 ] others, such as short film victoria para chino (cary fukunaga, mex / usa 2005), are more explicit. the film also follows a minor on his journey across the border, though his experience is far more harrowing than carlitos’s border crossing. like la misma luna, the film’s use of child protagonists helps to humanize the migrant experience, though as a 13 - minute short film it has less time to create an empathetic connection between spectators and characters .
americano certainly succeeds as a romanticized travelogue, and if this doesn' t make one want to grab a backpack and head for the hills of spain, nothing will .
since the days of silent film, movies have been influential in the public' s awareness on... more
film comment: a touch of noir (on jules dassin' s 10: 30 p. m. one summer )
you do the translation :
robert horton en un infatigable crítico residente en seattle y colaborador habitual de film comment. su espacio en la red está en the crop duster acaso el mejor blog de un cinecrítico profesional americano después del de roger ebert .
- - ernesto diezmartinez guzmán, editor of vértigo
[ 22 ] in fact, the film has been criticized by mexican audiences for making light of these dangers since we see no actual harm come to any migrants at any point in the film. i believe that the film wants to humanize the migrant experience for u. s. spectators and to that end has made choices to avoid alienating potential viewers through graphic images .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
we really struggled to get into it if i' m honest, a shame because the principle of the film sounded good .
[ 17 ] the most important fiction film from either side of the border to deal with the bracero program is undoubtedly alejandro galindo’s espaldas mojadas (méxico 1955). an analysis of this classic film is, unfortunately, outside the scope of this article .
which way home. dir. rebecca cammisa. documentress films, mr. mudd production / hbo documentary, 2009. film .
fregoso, rosa linda. the bronze screen: chicana and chicano film culture. minneapolis: u of minnesota p, 1993. print .
this entry was posted in volume 3. 2 and tagged alex rivera, body, border film, cary fukunaga, cyborg, dehumanization, enrique arroyo, humanization, immigrants, invisibility, mexican film, patricia riggen, rebecca cammisa, sergio arau, visibility. bookmark the permalink .
americano
centers around chris mckinley, a recent college graduate backpacking through europe who savors his last three days of freedom before boarding the career fast track back in the... see full summary »
he has also been president of the seattle film society, a film teacher, and an annual guest at the port townsend film festival. he was a mainstay of the original incarnation of urltoken and has written for many publications online and off, including newsday, the chicago reader, and the seattle times. he grew up in seattle, is married, and is now weary of saying all this in the third person .
you do see spain, and you see it a lot if you' re a film buff. you' re just probably not aware of it .
, he attempts to resurrect meaning by employing charles s. peirce' s theories on semiotics to debate the major contemporary film theories that have diluted it .
urltoken is an award - winning website for classic film buffs, students, moviegoers and anyone else interested in the great movies of the last century. detailed plot synopses, review commentary and film reference material are just some of the features available on the site. the site also contains film analysis, original content, information on the top films and most memorable movie scenes ,
best of ...
articles, and the most popular film quotes in all genres of film. its many resources include a comprehensive overview of film history, a complete survey of the academy awards (oscars), milestones and turning points in the industry, and background and descriptions for hundreds of classic hollywood / american and other english - language movies from the last one hundred years. in the mid - 1990s when it was first launched, urltoken was one of the first websites to initiate the trend to select 100 greatest films in the history of cinema .
where several of the films discussed in this article frame themselves within the context of u. s. policies and events, this short film overtly enters into discourses surrounding mexican policies and the handling of the feminicides in ciudad juárez by authorities by including a corrupt police officer who remains invisible for most of the film, echoing the invisibility of the perpetrators of these crimes since to date most remain unsolved. additionally, the film ends with the following text before the credits roll :
a day without a mexican / un día sin mexicanos. dir. sergio arau. perf. yarerli arizmendi. imcine / altavista films, 2004. film .
' dive sintetiche: lo star system americano degli anni quaranta e cinquanta' in gian luca farinelli and jean - loup passek (eds .), star al femminile, transeuropa, bologna, 2000, pp. 134 - 48 .
smith, claiborne. “q & a: sin nombre. ” sundance film festival. jan. 23, 2009. web. 25 may 2010 < urltoken > .
[ 11 ] the film addresses the common assumption that all latinos are mexican when senator abercrombie erroneously refers to the men his wife hired to paint the house as “illegal mexicans [ … ] from guatemala and honduras. ” the film uses text on the screen to correct the error, informing us that “guatemalans and hondurans are not mexicans. ”
[ 26 ] these two moments shocked the students in my film course. they were concerned that the age of the actress (though as it turned out, she was not a minor when she made the film) might make this film akin to child pornography and brought up questions of the tension between exposing violence to women’s bodies and the risk of repeating the violence to the woman’s body through the act of filming. this kind of tension is present to different degrees in many of the films discussed here .
loaeza, guadalupe. “traspatio” reforma: primera fila 31 march 2009: 11. print. fox searchlight and the weinstein company, 2007. film. 2008. dvd .
sin nombre. dir. cary fukunaga. perf. paulina gaiton, edgar flores, tenoch huerta, luis fernando peña. cananá / focus features, 2009. film .
' sophia loren, italian icon’ in lucy fischer and marcia landy (eds .) stars: the film reader, routledge, london, 2004, pp. 77 - 96
announcing the afi docs 2018 audience award winners the american film institute has announced the afi docs 2018 audience award winners, concluding the five - day festival supported... > >
[ 23 ] this film brings to mind similar scenes that open and close the film, raíces de sangre (jesús salvador treviño, mexico / usa 1979). both are based on actual events—this kind of transportation did not begin with nafta, though a principal difference is that “victoria” takes us inside the truck and raices does not. film scholars rosa linda fregoso and david maciel have signaled raices de sangre (with espaldas mojadas) as one of the most important mexican films to deal with immigration and the chicano experience in the u. s .
sleep dealer. dir. alex rivera. perf. luis fernando peña, leonor varela, jacob vargas. likely story and this is that productions / maya entertainment, 2008. film .
' miss italia in black and white: feminine beauty and ethnic identity in modern italy’, in sandra ponzanesi and daniela merolla (eds .), migrant cartographies: new cultural and literary spaces in post - colonial europe, lexington books / rowan & littlefield, lanham md, 2005, pp. 253 - 66
[ 24 ] the actual driver was a jamaican immigrant from new york that in this film was cast as a light - haired “gringo” with no indication that he might be a non - citizen .
backyard - el traspatio. dir. carlos carrera. screenplay sabina berman. perf. ana de la reguera, joaquín cosio, jimmy smits, asur zagada. paramount pictures, 2009. film .
' cultura di massa e modernizzazione: vie nuove e famiglia cristiana dalla guerra fredda alla società dei consumi', in pier paolo d' attorre (ed .), nemici per la pelle: sogno americano e mito sovietico nell' italia contemporanea, franco angeli, milan 1991, pp. 235 - 68
film critic and columnist roger ebert, author of the great movies (2002), the great movies ii (2005), and the great movies iii (2010) has made many detailed references to urltoken in his chicago sun - times
answer man
column and in his many writings about the great movies over the years. he has written that the site is
an invaluable repository of movie descriptions and dialogue
and that it is an
awesome website [ that ] contains detailed descriptions of 300 great american films, along with many other riches .
the authors also astutely problematize the passivity of the disappeared latinos (they are not active agents—and when they reappear, they don’t even know they were gone) in comparison with the active role of the anglos (484). i agree with this criticism, though it may come from targeting the film towards an anglo audience (that it was released in the us rather than mexico is telling) [ 14 ] with a goal to inspire consciousness in the public, as it does in the film. a day without a mexican is more about the non - latinos in the film coming to appreciate the contributions of latinos—coming to see these bodies through their absence—than about latinos recognizing their own contributions and agency. there is a sort of irony present in the suggestion that this visibility actually requires erasure, which then begs the question of whether the film is subverting notions of invisibility or reinforcing them .
[ 12 ] for an in - depth study of fake or “mock - documentaries” as a subgenre of documentary film, see f is for phony: fake documentary and truth’s undoing, edited by alexandra juhasz and jesse lerner .
[ … ] house organist jim riggs. i hadn’t seen it before and loved it. in introducing it film critic robert horton spoke of its poetic, lyric, expressionistic and sometimes dreamlike qualities. jim also highlighted [ … ]
noland, a spokane native, takes a short cut here and there (camping equipment shows up out of nowhere), but the strengths of “americano” are easy to see. noland’s camera ably captures pamplona street life. the young cast, especially varela and sharp, is refreshing. and hopper is always a pleasant kind of curiosity .
urltoken americano: joshua jackson, leonor varela, timm sharp, ruthanna hopper, dennis hopper, martin klebba, anna bocci, ashley eisenhauer, norberto morán, mighty mike murga, mark edward roberts, jenny starnes, kevin noland, alvaro ron, clark mccutchen, daniela de carlo, gustavo ron, kelly j. noland: movies & tv
' film stars and society in fascist italy' in piero garofalo and jacqueline reich (eds .), re - viewing fascism: italian cinema 1922 - 43, university of indiana press, bloomington, 2002, pp. 315 - 39
saragoza, alex. “cinematic orphans: mexican immigrants in the united states since the 1950s. ” chicanos and film: representation and resistance. ed. chon noriega. minneapolis: u of minnesota p, 1992. 114 - 126. print .
[ 15 ] marambio and tew make the relationship between the film and the march names explicit when they explain that the milwaukee march “was organized as ‘a day without a latino, ’ borrowing its name from the title of the movie” (477) .
this is undoubtedly the most pretentious and terrible film i have ever watched. it is ignorant, trying to be cultured but just comes across as embarrassingly cringe - worthy and wooden. the main female character who is supposed to be (i think) passionate and exciting is instead annoying and fake. its obviously an american portrayal of what they see as culture on this side of the ocean (european countries) but it does nothing but expose the ignorance of the american film industry. the only slightly redeeming fact about this movie is jackson' s character' s best friend who is pretty funny (but is not even on the screen very much). i have never written a review on anything before but feel like it would be selfish in this case not to warn the rest of the world not to waste 2 hours watching this film as i have done. (well actually it was so bad i switched it off before the end). basically if you ever think about watching this film... don' t .
wet hot american summer
follows a group of camp friends as they live life to the fullest on their last day of camp. that is literally the only plot to this film, notwithstanding a few character arcs along the way. it really just boils down to the comedy and whether or not you buy into it. for as dumb as this film is, i had a blast watching it. almost all of the jokes worked for me, even the ones that made no sense, because i felt like that was their plan all along. this cult classic has been really making the rounds ever since it' s initial release, and i must say, i completely see why. this film is certainly not for everyone, especially those who watch comedies for something profoundly clever in the writing. this film is exactly what it is. the cast was hired all just before the peak of their career, so it' s nice to see them interacting with each other before they became rich and famous. in the end ,
wet hot american summer
is the type of film to just sit back, relax and enjoy with friends. i had a blast, and even though the movie really isn' t all that great overall, i have no regrets recommending it .
il volume contiene un' ampia selezione di scritti del filosofo americano charles sanders peirce (1839 - 1914), fondatore del pragmatismo e della semiotica. chimico, fisico, astronomo, matematico e soprattutto logico di impostazione rigorosamente realistica, egli fu condotto dai suoi studi così variegati anche a un ripensamento della metafisica onde trovarvi una reale giustificazione dei passaggi logici su cui si fondano le nostre operazioni mentali .
questa antologia rende disponibili in lingua italiana alcuni testi fondamentali, alcuni inediti, del filosofo pragmatista americano intorno a mente, mondo e scrittura. susanna marietti, che collabora alle ricerche della cattedra di filosofia teoretica della università statale di milano, con la sua introduzione e la sua scelta conduce i lettori al centro del pragmatismo di peirce, del quale i celebri grafi esistenziali costituiscono il tratto più originale .
[ 19 ] the subaltern does, of course, talk back through technology in unexpected ways. i am considering, for example, the strategic use of technology by the zapatistas in mexico, “hactivism” performance interventions by artist and scholar ricardo dominguez, and alex rivera’s own use of technology to make, market and distribute his independent film through his webpages urltoken and urltoken, but also the use of technology to reach a broader audience by releasing the film on cable “on demand” networks the same day it opened in select theaters in the u. s .
' the communist party and the politics of cultural change in post‑war italy 1945 ‑ 1950', in nicholas hewitt (ed .), the culture of reconstruction: european literature, thought and film in the years 1945 ‑ 1950, macmillan, london 1989, pp. 12 - 36
most of all, though, noland doesn’t beat us over the head with the big message. the ending of his film is left open, just as life in your early 20s is. hemingway knew that, if not in spain then certainly out on the big two - hearted river .
maciel, david. “pochos and other extremes in mexican cinema; or, el cine mexicano se va de bracero, 1922 - 1963. ” chicanos and film: representation and resistance. ed. chon noriega. minneapolis: u of minnesota p, 1992. 94 - 113. print .
i also chose to restrict my corpus to recent films. however, there is a long history of films that take up immigration and the representation of mexican migrants that remains outside the scope of this essay. for a history of the representation of mexican migrants in border film, see for example, rosa linda fregoso’s the bronze screen: chicana and chicano film culture (1993); david maciel’s “visions of the other mexico: chicanos and undocumented workers in mexican cinema, 1954 - 1982” in gary keller’s edited volume, chicano cinema: research, reviews and resources (1985); david maciel’s “pochos and other extremes in mexican cinema; or, el cine mexicano se va de bracero, 1922 - 1963” and alex saragoza’s “cinematic orphans: mexican immigrants in the united states since the 1950s” in chon noriega’s chicanos and film: representation and resistance (1992); norma iglesias’s entre yerba, polvo y plomo: lo fronterizo visto por el cine mexicano, vol 1 (1991) .
dell' istinto razionale si studiano qui tanto i rapporti con mente, coscienza e ragione quanto l' effettiva dinamica all' interno della semiotica e delle scienze normative (estetica ed etica) che, secondo peirce, presiedono alla formazione del ragionamento. il rapporto che l' istinto razionale instaura tra la semiotica e la realtà getta nuova luce sul realismo metafisico estremo al quale peirce aderì, mostrandone sia la centralità all' interno del pensiero del filosofo americano sia i punti problematici o aporetici .
as has been recognized in many contexts, film can have a powerful impact on perceptions of the “other” (which, as we know, can have positive and negative effects). i personally had never considered why immigrants came to the u. s. illegally until, as a college student, i saw the film el norte (gregory nava, usa / uk, 1983). in class we had touched on debates regarding california’s proposition 187 (though from across the country in a liberal arts college on the east coast), and i wasn’t really sure how i stood on the issues. over sixteen years later, i still remember how that film brought tears to my eyes as it opened them to realities i had never imagined. witnessing the celluloid journey of the mayan brother and sister from guatemala to los angeles made me think less in terms of political rhetoric and more in terms of human rights. now that i am a professor, i can see similar reactions in my students after viewing and reflecting on many of the films in this essay .
americano
centers around chris mckinley, a recent college graduate backpacking through europe who savors his last three days of freedom before boarding the career fast track back in the united states. in pamplona with two friends, chris meets an australian thrill - seeker, a quintessential spanish beauty and an enigmatic provocateur, all of whom encourage him to rethink his life. as the minutes and seconds until his departure tick away, chris struggles with an age - old question: should he follow the beaten path or risk it all on the road less traveled ?
the crop duster has two goals. one is to organize links to my critical work: reviews written for the herald (everett, washington) and seattle weekly; and public appearances and tv jobs. selected past work for film comment and elsewhere is also linkified. you may also link to my website of 1980s reviews and learn more about my book on frankenstein and my graphic novel, rotten .
[ 14 ] the marketing in méxico actually excluded anglos through its tagline “nadie sabe lo que tiene un día sin mexicanos ¡los gringos van a llorar! ” (no one knows what a day without mexicans has in store, the gringos are going to cry !) which many “gringos” would feel as offensive if not outright aggressive as it suggests that the film (and mexicans) will inflict suffering on them, making them cry .
john deely is full professor of philosophy at the university of st. thomas, houston. his main research interest is the role of the action of signs in mediating objects and things, in particular the manner in which experience itself is a dynamic structure or web woven of triadic relations (signs in the strict sense) whose elements or terms (representamens, significates, and interpretants) interchange positions and roles over time in the spiral of semiosis. his most recent principal publications include four ages of understanding (2001), what distinguishes human understanding (2002), and the impact on philosophy of semiotics (2003). a third edition of basics of semiotics (1990) is forthcoming (2005) in bulgarian, italian, and estonian .
this month the second iteration of pacific standard time opens with a focus on latin american and latino art in los angeles. again, more than 50 institutions are mounting shows ranging from monographic dives into individual artists to surveying broader themes such as latino film culture (academy of motion picture arts and sciences), radical women (hammer museum), how mexico became california (laguna art museum), the spanish colonial revival (riverside art museum), and the photography of cuba (annenberg space for photography) .
questo libro presenta l' opera dell'
ultimo peirce
, che potrebbe essere sinteticamente definita come
la critica del pragmatismo
. negli ultimi anni della sua vita, infatti, il fondatore del pragmatismo americano charles sanders peirce (1839 - 1914) scrisse alcuni articoli dai contenuti piuttosto originali - innanzi tutto quello sulla realtà di dio - e lasciò migliaia di pagine di manoscritti sui temi più vari. l' attento esame di tutti questi scritti fa emergere una nuova concezione di semiotica (che per peirce coincide con la logica) all' interno della quale la massima pragmatica, secondo cui la comprensione di un significato coincide con la totalità dei suoi effetti concepibili, perde il suo ruolo centrale limitandosi a essere considerata una formula sintetica della metodologia della ricerca .
charles sanders peirce (1839 - 1914), the founder of pragmatism, was an american philosopher, logician, physicist, and mathematician. since the publication of his collected papers in 1931, interest in peirce has grown dramatically. his work has found audiences in such disciplines as philosophy, computer science, logic, film studies, semiotics, and literary criticism. while peirce scholarship has advanced considerably since its earliest days, many controversies of interpretation persist, and several of the more obscure aspects of his work remain poorly understood .
a passible movie on traveling to pamplona for the running of the bulls. clearly filmed during the festival on a budget, but not bad. dvd picture doesn’t look as good as when i watched it so many years ago. also, i don’t know if it has to do with the anti - theft device sticker with the metal strips on the back, but i did experience bricking in parts of the movie. i would probably like the film more in hd on blu - ray, but this is what is available for now .
unfortunately, once ‘under the same moon’ gets past the central mother - son relationship, it relies too heavily on coincidence and obvious plot devices. obstacles suddenly appear and then magically disappear, crises come and go, and nothing feels as real as we’d like it to. this problem is especially acute when it comes to the film’s few but pivotal english - speaking characters, who come across as evil or feeble or both. not only do the anglos tend toward caricature, none of them have the slightest idea of how to have fun. the mexicans, hard - working as well as fun - loving, come off much better .
under 17 requires accompanying parent or adult guardian 21 or older. the parent / guardian is required to stay with the child under 17 through the entire movie, even if the parent gives the child / teenager permission to see the film alone. these films may contain strong profanity, graphic sexuality, nudity, strong violence, horror, gore, and strong drug use. a movie rated r for profanity often has more severe or frequent language than the pg - 13 rating would permit. an r - rated movie may have more blood, gore, drug use, nudity, or graphic sexuality than a pg - 13 movie would admit .
this concluding text clearly situates the film in the discourse surrounding “las desaparecidas, ” the disappeared women of ciudad juárez, and interrupts the spectator’s potential voyeuristic positioning by confronting us with the reality of the violence (often sexual) enacted on the bodies of women [ 29 ] —many of them migrants from other parts of mexico and central america who travel to the us / mexico border with hopes of crossing into the u. s. (like sandra) or with the promise of economic opportunities represented by the global companies, often referred to as “maquiladoras” or “maquilas, ” that operate (or operated) on the border and exploit the cheap labor that comes from economic necessity. [ 30 ]
unlike la misma luna that seems to want to humanize the smugglers as well through martha and her brother, victoria para chino is an indictment of the cruelty of the smuggling system. the migrants are transported like goods—human merchandise—in the back of a tractor trailer with no ventilation and no consideration for their basic needs (such as water). for the coyotes, these are not human beings, but a product, something emphasized by their mode of transport. the film visually represents the commodification of migrant bodies that has been occurring along the border, at least in part, according to raymod michalowski, due to government policies that have increased border militarization, which in turn has fed the human smuggling business :
spain itself probably doesn' t feature directly in many us films because lots of us films are for english speaking audiences in the us first. it' s got sort of a default cultural assumption point of view. setting a film in spain or having characters go to spain requires a plot that does that. it can and does happen in action, adventure, spy drama movies where characters hop across the globe. it' s just easy to lose sight of where everyone goes and what they do. in general though, there is just little reason to feature things from a us studio perspective outside the usa as the major plot, so spain and other countries just do not get mentioned or featured using actual locations from those countries .
nonostante le difficoltà con le quali si scontra il tentativo di offrire una lettura organica del pensiero di charles sanders peirce vale la pena — e il presente volume ne è una prova — di continuare a impegnarsi in questa direzione. in particolare, come qui viene mostrato, le indagini di peirce sull' ontologia e sulla metodologia delle scienze matematiche sembrano perdere gran parte del loro interesse, e perfino della loro comprensibilità, se non vengono inserite nel contesto di quel sistema fenomenologico che scaturisce in peirce dal superamento del trascendentalismo kantiano. l' abbandono del dualismo fenomeno - noumeno a favore di una tavola categoriale di natura semiotica si ritrova a fondamento dell' approccio peirceano alla matematica, del carattere osservativo e sperimentale – e da qui informativo – attribuito dal filosofo americano a questa scienza. a partire da un' indagine dei concetti di astrazione ipostatica e di ragionamento teorematico, centrali nella trattazione peirceana delle scienze deduttive, questo lavoro si propone di interpretare le riflessioni di peirce sulla conoscenza a priori nel complesso della fondazione gnoseologica della filosofia pragmatista dell' autore. nozione centrale della ricerca è quella di diagramma, segno grafico peculiare del procedimento deduttivo, oggetto singolo e materiale, come tale passibile di osservazione. il segno diagrammatico, pur partecipando di aspetti indessicali e simbolici, si rivela nel proprio carattere essenziale di icona, quale unica modalità semiotica in grado di farsi portatrice di nuova conoscenza .
ernest hemingway has been dead for 44 years, and yet the nobel prize - winning novelist is still influencing the lives of young american men .
as jakes barnes and friends do in “the sun also rises, ” noland’s characters are in pamplona to, among other things, run with the bulls. those other things include falling in / out of love, watching bullfights, drinking wine, questioning where their lives are going, fly - fishing and skinny - dipping in cold spanish lakes, and listening to an american expatriate (dennis hopper in full “apocalypse now” mode) do a rap on what it means to live .
the trio of americanos that we follow consists of chris (joshua jackson of “dawson’s creek” fame), ryan (timm sharp) and michelle (ruthanna hopper). chris is enjoying his last days before he has to return home to a corporate job that will offer him a good salary and company car. ryan and michelle are the mismatched couple who can’t decide whether they have a mutual future .
in the midst of a fiesta, chris bumps into adela (leonor varela), and their shared attraction results in his buying bullfight tickets. once there, with ryan and the reluctant michelle in tow, chris finds himself sitting next to adela and a bit sickened by the sight of the bloody fight in the arena below .
but culture clash doesn’t necessarily dampen the chance for romance, and so the four end up at the club overseen by hopper’s eccentric expatriate. and later, after a night of drinking, the three americans follow adela on bicycles to her home. a bit of lip - locking follows, along with chris’ growing confusion, shown mostly through notes chris writes in his journal .
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photo credits: jojo whilden / netflix; giuseppe cacace / afp / getty images; anne marie fox / hbo; bill inoshita, cbs; paul hebert, abc; david giesbrecht / netflix; macall b. polay / hbo; cate cameron, cate cameron / a & e networks llc; dean buscher, dean buscher / the cw; ian west - pa images, pa images via getty images; bravo, charles sykes / bravo; hbo; cw; syfy, ben mark holzberg / syfy; courtesy netflix; patrick harbron / fx; mauricio handler, disney channel
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movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
neither the rambling plot nor the diffuse characterizations offer much of interest, but the young performers are highly attractive, and robb webb' s excellent cinematography offers a panorama of highly photogenic spanish locales .
writer - director kevin noland effectively utilizes his fine young cast and the natural beauty and rich culture of northern spain in amiably posing a timeless question of youth .
as jakes barnes and friends do in
the sun also rises ,
noland' s characters are in pamplona to, among other things, run with the bulls. those other things include falling in / out of love... [ and ] drinking wine .
it' s ultimately more than a little thin, and watching it feels like listening to a teenager rhapsodize about his summer vacation - - naively charming, but hard to take seriously .
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chris mckinley je čerstvý absolvent vysoké školy, který cestuje po evropě a vychutnává si poslední tři dny svobody před zahájením závratné kariéry ve spojených státech. on a dva jeho kamarádi se v pamploně setkají s dobrodruhem, španělskou kráskou a záhadným agentem, a ti chrise nutí, aby přehodnotil vlastní život. zbývají minuty a vteřiny do odjezdu a chris marně hledá odpověď na dávnou otázku: má se vydat po prošlapané cestě, nebo všechno riskovat v neprobádaných končinách ?
maybe the most romantic films i have ever seen. every time i watch it, i fall in love. why can' t i just abandon my life to find something new. dennis hooper on 10000 .
do what scares you
[ after his parents have left, thinking he is ill ]
they bought it. incredible! one of the worst performances of my…
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chris mckinley, a recent college graduate backpacking through europe, savors his last 3 days of freedom before boarding the career fast track back in the states. in pamplona for the running of the bulls, he meets a spanish beauty & questions whether he should risk everything to take the road less traveled
region: region 1 (u. s. and canada only. read more about dvd formats. )
this is a great movie, watch it at least once a year... whenever i need to place myself in jj’s character and say, “what if i made this choice instead? ”. hemingway fans will appreciate and relate, others might not get it. very relaxing and pretty funny in some spots; you’ll feel like you’re along for the trip. wish it was on blu - ray, but the overlooked indies never seem to make it. btw, if you’re easily offended say by, the traditional running of the bulls recreated with pit bulls and midgets, you should probably still watch it !
one of my favorite meandering movies. music is amazing and it really tapped the culture of spain with actual bullfighting. technically one would not rate this wandering plot line as poor but that' s what the plot line is trying to get across and does with the wandering path the main characters take. a great movie to put on if things are too hectic in ones life. it always soothes .
bought this because joshua jackson was in it. the spanish countryside was beautiful, but the story was just so - so .
satisfies, for a moment or two, my wanderlust. i' ve liked joshua jackson ever since mighty ducks. fun look at spain, even if cliche as hell .
this is a movie that to some might not think is very well written but if you start watching this movie as if you are watching a documentary of a college student' s last trip before ...
you know when something is greater than the sum of its parts? well this movie is. the acting is so good that it' s hard to separate the actor from the character sometimes .
great movie! first time i watched it in tv and i knew some day have to get it. simple story, great soundtrack. 5 on 5
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the big one that comes to mind is spaghetti westerns. cowboys and indians. all that stuff from the 1960s? lots and lots of these films were made in spain, and they air continually on spanish television. there are also a whole set of classic american films from the 1950s and 1960s starring some of hollywood' s biggest names that were shot in spain. i' ve gotten running commentary from spaniards when watching them as to exactly where these were filmed .
i know game of thrones is not a movie but is a television show, but it is also filmed in spain. i' ve been to where it was filmed, and have pictures from where daenerys targaryen stood. unless you' re familiar with the filming locations though, you' re probably unaware that the backdrop is spain .
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americano is a 2005 american film . the film stars joshua jackson , leonor varela , timm sharp , ruthanna hopper , and dennis hopper . it was written and directed by kevin noland . 
americano is a 2005 american film. the film stars joshua jackson, leonor varela, timm sharp, ruthanna hopper, and dennis hopper. it was written and directed by kevin noland.
americano is a 2005 american film. the film stars joshua jackson, leonor varela, timm sharp, ruthanna hopper, and dennis hopper. it was written and directed by kevin noland.