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'Little Spain' de Manhattan chega em grande tela, documentando a imigração latino-americano na cidade de Nova York: diferenças entre revisões

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(rm section headings (we don't usually use those) ; rm unverified material that seems to have been added later through misunderstanding (?))
to Spanish-speakers from countries other than Spain — such as Puerto Ricans in New York.
 
In the film, the Spanish-American director and journalist Artur Balder trace the journey of those who left Spain and {{w|South America}} in search of a better life in the United States, describing the story of its most important entrance port, New York City, and the formation of the Little Spain community.
== Film content ==
 
In the film, the Spanish-American director and journalist Artur Balder trace the journey of those who left Spain and {{w|South America}} in search of a better life in the United States, describing the story of its most important entrance port, New York City, and the formation of the Little Spain community. After a preliminary exposition, the interviewees, including director of {{w|La Nacional}}, Robert Sanfiz, who is also the leading voice of the film, start describing the area as they remember it. Citations referenced by date from the {{w|New York Times}}, pronounced by a voice-over credited as Bob Smith that sounds like Sanfiz's, settle the transitions between the different episodes: immigration in the XIXth century, Spanish Civil War, the 50s and 60s, personal memories. There is a musical interlude with a {{w|flamenco}} performance filmed at La Nacional. Pictures of {{w|Al Paccino}} at a flamenco party, NYC mayor {{w|David Dinkins}} and {{w|Ed Koch}} visiting the street festival of Santiago Apóstol, follow the animated expositions of old pictures. Marine merchant Francisco Santamaría describes his arrival to Little Spain in the 50s. Thereafter José Pérez tells the story of {{w|El Faro Restaurant}}, opened in 1932, and the relevance of basque immigrant Valentín Aguirre. A new interlude, this time displaying footage of the last Santiago Apóstol street festival is edited in contrast with actual footage of San Gennaro festival at Mulberry St, {{w|Little Italy}}. New old pictures and descriptions of more personal memories compose a kind of visual coda at the end of the film, as a final homage to the now disappeared neighborhood.
 
The result is a sixty minute, feature-length, documentary looking back at the founding of La Nacional in 1868 and the uptick in migration from Spain following its loss of Cuba in 1898; continuing through to the Hispanic apex in the area, after the {{w|Spanish Civil War}} of 1936–1939, finally charting the community’s sharp decline in the 1970s and 1980s.
 
Well into the 1960s, with Spanish still commonly spoken on 14th Street, the film also displays footage of the Santiago Apóstol, or St. James Day, festival, which "died out" in the early 1990s as a consequence of the steady exodus of the remnants of the Hispanic community from that part of the city.
 
== Upcoming screenings in the United States ==
 
Artur Balder worked closely with New York's {{w|Museum of Modern Art}} (MoMA), and with the {{w|Film Society of the Lincoln Center}} in order to show the film in NYC. He is currently preparing two new projects: ''The Reality of the Imaginary'', with Nobel prize-winner {{w|Mario Vargas Llosa}}, {{w|Miguel de Cervantes Prize|Cervantes literature award}} recipient {{w|José Manuel Caballero Bonald}}, and artist {{w|Joan Castejón}}, expected to premier at the MoMA in 2015. The second project being with {{w|Armenia|Armenian}}–American painter {{w|Tigran Tsitoghdzyan}} and renowned art critic {{w|Donald Kuspit}}.
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