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A Historical Narration
Device Art in Japan and International Nano Art
Series: Image, 36
Grenzgänger des DDR-Theaters
Series: Theater, 111
Frauen als Opfer der argentinischen Staatsrepression (1975-1983)
Nationale Erinnerungsmuseen in Chile und Peru
USA - Deutschland. Ein historischer Vergleich
Series: Histoire, 86

the connection between New Mexican Cinema and rock mu­ sic that was prevailing during its inception (ELENA 2009). The other production line of Fábula, as stated earlier, is designed around Pablo Larraín’s filmography and specifically around his ‘Pi­ nochet/Dictatorship Trilogy’ which includes the films Tony Manero (2008), Post Mortem (2010) and No (2012). Other films that could be added to a more inclusive production line related to historical facts are: El año del tigre, about the earthquake that devastated a large part of the country in 2010; and Las niñas

between culture and education. We have opt­ ed for a time period that should be long enough for the unfavourable conditions at the end of the Franco dictatorship and the period of demo­ cratic transition to be overcome. It includes a series of eight democratic legislatures during which time, in theory, it is feasible that the Catalan Governments of Catalonia, of various ideological tendencies, will have been able to consolidate cultural politics in this regard. For a second analysis, we carried out 20 in­depth qualitative inter­ views (Barbosa A.M), (Celso S

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Sarah M. Schlachetzki Fusing Lab and Gallery Image | Volume 36 Sarah M. Schlachetzki (Dr. phil.) is an art historian and has taught contempo- rary art history at the University of Zurich. Her research interests include general questions in art sociology, media art, and art’s significance in post- dictatorship Argentina. Sarah M. Schlachetzki Fusing Lab and Gallery Device Art in Japan and International Nano Art Published with support of the Swiss National Science Foundation (SNSF) Bibliographic

, Castilian and Jewish roots. It is traditionally charac- terized by a strong passionate and emotional expression displayed on stage in different manifestations—singing (cante), musicianship (toque), and dancing (baile). The identification of flamenco as a semi-state music and theatrical genre dates back to the origins of the dictatorship of General Franco (1939-1975). Nevertheless, it took some time for flamenco to prevail over other styles and to become an instrument of Francoist public diplomacy, thus giving rise to the phenomenon of “National Flamencoism” (in