Chile+Art

...... ** __Chilean Art__ ** .............

**There are many forms of art. One form, and probably the most well known type of art, is paintings.**

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Painting has always been popular in Chile. Chilean art of the early days was heavily influenced by European culture. Paintings before the 1900s have a theme of battles and scenery. Usually, the theme of the paintings was something the artist din't know much about or have much experience with. However, during the 1900s, attempts to paint something artists were familiar with became more popular. It was then that artists started taking on themes like big city life.======

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What came after this revelation was Chilean artists discovering their own identity, motive, and gestures. The artists work moved away from someone else's life and more toward their own life. Some important Chilean artists of this era include Alfredo Helsby,======

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The art work of the early 1900s revealed the artists mental concepts. Chilean art started moving toward expressionism during this time. Facial features were deliberately distorted, reflecting reality. ======

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In the mid 1900s, the psychological and emotional state of the artist "came onto the canvas." Artists drifted away from the political and social environment of Chile at that time. Painters changed during this time. They abandoned embossments and wall paintings for a newer style. ======

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Artists started pursuing themes or concepts of futurism. Cubism was popular in Chilean art.

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Later, the artists seemed to enjoy making cubism paintings. Plastic art also became part of Chile's culture during the late 1900s. This time periods was related to how the painting looked instead of the concept. This let artists abandon reality and embrace the fantasy world in art.

Today, there are a wide range of artists. Pop art seems to be the most popular thing for artists. Abstract art is also very popular. Chile has some world class art museums that have Chilean art from way back to artwork from the artists of today.

To take learn more about visual Chilean art, click [|here].

To find places that display Chilean art, click [|here].

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==== **Another form of art is dancing. ** ==== The national dance of Chile is the Cueca. This is a dance involving a man and a woman. It tells the story of a man searching for a woman who is hiding from him behind her handkerchief. It is performed at every important Chilean event. Most important of these days is the Chilean National Day on September 18 th. Dancers dress in traditional costumes of Chilean countrymen waving their white handkerchiefs in the air as they dance. ====

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Depending upon the geographical location Dance of Chile is categorized in following variation:


 * ====**Cueca chilota** - In this dance form the, singer is more important than the music. The main difference is that the steps of the dance are light.====
 * ====**The Northern Cueca** - The dance is based on pure instrumental music consisting of tubas, drums, trumpets, etc... There is no singer for this. The dance and music are relatively slow.====

====The Cueca is largely influenced by African and Spanish dance forms. Cueca is believed to be originated from Zamacueca, a traditional dance of Peru. The Cueca is renowned as a courting dance where the performers enact the courting between a hen and a rooster. The character of the male performer is aggressive while the female performer tends to be elusive and shy.====

__Chilean Dance choreography__
====Basically, there is an imaginary circle with the male performer in one half and the female in the other. The dance always begins with the man extending his arm as an offer to the woman to join him. This action is conducted in sync with the background music. The dance partners stand face to face at a distance of about three meters from each other. Before the couple starts dancing, they begin by clapping their hands to the music.====

====The solo dance performances of Cueca are regarded as more interesting than those with a duet. In solo performances, the women pins a photograph of her men in the dress and habitually dances alone. The dance was developed to protest against the dictatorial regime of Pinochet as well as in the memory of beloved one.====

Here are two examples of the Cueca with a solo dance performer.
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**Even though you don't think of it as art, films are a work of art in themselves. ** The cinema of Chile began when the earliest films were made there in the 1900s. Although, film culture didn't develop until the 1960s. That is due to the foundation of a national cinema and a department of experimental film at the University of Chile, which taught the cinema of Joris Ivens. Not many films were produced until 1967, when the government of Eduardo Frei began to offer economic support for the industry. During this period, directors such as Raúl Ruiz and Patricio Guzmán appeared. The majority of the young directors were inspired by the Unidad Popular of Salvador Allende.

Political cinema in Chile followed a pattern similar to that st uff in Brazil and Argentina. In the 1960s, an energetic critical cinema emerged in a hostile political environment. It became associated with a government open to new ideas before being cast out by an oppressive military government in the 1970s. Chilean film culture grew during the 1960s, when the University of Chile organized a national film archive and a department of experimental cinema. Joris Ivens visited to teach. A film festival was founded at Vina del Mar in 1962, and in 1967 this event hosted the first continental meeting of Latin America filmmakers. Artists in other media, spearheaded by the Communist poet Pablo Neruda, began to become nervous for social change.





Here is a small list of some production companies in Chile:
 * Maria Films (film and television)
 * Roos Film (film and television)
 * Sobras (film and online magazine)
 * Risas & Risas (film and television)

Film was introduced in Chile in Santiago de Chile on August 25 1896. The first reels with the Cinématographe were shown to an astounded audience. In Chile, cinema history began with " Ejército general de bombas " ( Firefighters' Corps, 1902) a three-minute view of the city's firefighters on parade by Edmundo Urrutia. This film is claimed to be the first national "view" on record and was first shown in the Odeón Room of the Port of Valparaiso. Arturo Larraín filmed the first shots with some kind of technical creativity.
 * History of cinema in Chile from 1896-2000[[image:Cinématographe.jpg width="67" height="96" align="right" caption="Cinématographe"]] **

The film, " Alma chilena" ( Chilean soul, 1917), directed by Arturo Mario, was a major star of the early Argentine film. It was the first major screening accompanied by live music. In this period several foreigners became active in the Chilean cinematic landscape. Argentine actors Arturo Mario and María Padín became producer (Padin) and director (Mario) in Chile. Some of their films include " La avenida de las acacias " (1918), " Todo por la patria o jirón de la bandera " (1918) and " Manuel Rodríguez " (1920). Other directors from this period are Jose Bohr and Italian, Andrés Bartolotti. Salvador Giambastiani and Pedro Sienna were among these foreigners and are commonly viewed as the Godfathers of Chilean cinema (read more further down).

In 1924, the CCC, The Chile Censorship Council was established. The council was originally composed of five people: the director general of libraries, two people designated by the president of the republic, and two appointed by the municipality of Santiago. This council remains active up to the present day.

Film opened up new ways of communication throughout the dispersed people of Chile. At the end of the twenties, sound arrived, changing cinema forever. Like in the rest of the world, the introduction of sound cinema generated a noticeable dividing line in the history of national cinema//. //No longer just trying to understand the new art, film became a major contributor in influencing people and on the other hand, gave opportunity to the same people to learn more about the evolving foreign world. Jorge Délano, traveled abroad with the purpose of studying the new methods of cinematographic production. As a result, Délano is considered to be the "new pillar of the Chilean cinema" in that era. He produced films like " Escándalo " and " Norte y Sur ". Others began to make name for themselves, Adelqui Millar, Eugenio de Luigoro, with " El hechizo del trigal ", " Verdejo gasta un millón " (1940) and " Verdejo gobierna en Villaflor " (1940), films featuring a new brilliant star : Ana González. She was and is considered the most outstanding actress in Chilean history.

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In 1938, the Government created the CORFO, Corporación de Fomento de la Producción, as a first incentive to stimulate industrial activity in Chile. As a result of this initiative, Chile Films was founded to organize and manage local cinematographic productions. In those days, filmmakers in Chile had the most advanced studio's in latin America to their disposal. Chile Film Studio's debuted with " Un romance de medio siglo " (1944) and " Hollywood es así ", in the same year. Next to the local productions, the studio's produced several foreign financed features, like " La dama de la muerte ", shown in London, and " El diamante del maharajá ", shown in India. Allthough the studio was off to a good start in the first half of the decade, productions slowly came to a virtual stop (one film a year) in the second half, most likely due to the screen floodings of foreign (big budget) movies and the restrictive government rules.=====

At the beginning of the sixties the first changes to appear was the movement to stop the fastness of commercial cinema. With the founding, in 1961, of the Departamento de Cine Experimental at the University of Chile, new talent arose in Chile, producing and directing films like " Mimbre ", " Días de Organillo ", " Trilla " and " Imágenes Antárticas ". As with most good examples, others followed quickly. A year later, the " Instituto Fílmico " at the Pontificia Universidad Católica de Chile, produced films like " El cuerpo y la sangre " by Rafael Sanchez. Both Universities were involved in the establihment of the Cine Club de Viña del Mar. Meanwhile, in the mainstream, " Un chileno en España " and " Más allá de Pipilco " of Jose Bohr were published. But the artistic and personal renewing in the Chilean cinematographic atmosphere advanced in an unavoidable way. A new generation of ready film directors replaced the positions of the old establishment.

In 1967, Alvaro Covacevich(read below) and another person appeared in the scene, accompanied by great commotion. Patricio Kaulen, premiered "Largo Viaje", a film that dealt with the experiences around the death of a small boy. The film enjoyed a warm welcome on parts of the public. In addition to this period of renovation, in 1967 a new attempt of aid to the Chilean cinematographic production on behalf of the government toke place, a law was confirmed stipulated that part of the film earnings would be given back to its producers. This law, next to other similar measures, caused a Renaissance of the activity during the period of ten years the law stayed in use. Films like " Ayúdeme Usted Compadre " by German Becker, attracted 370 thousand spectators. On the other hand, some films like " Tres tristes tigres ", by film director Raul Ruiz, only 17 thousand people visited. The critics consider without any doubt this last production of better quality. This fact is even more remarkable, because Ruiz is considered to be the best Chilean film director today.

This fact closes the decade of the 60s, with a production of five films a year. Other direcors from this period are Aldo Francia, Chalres Elsesser, Hernán Correa, Humberto Rios and Diego Santillán. A good example of the social issues filmed during these years is Enough Praying ( Ya Basta Con Rezar, 1973) directed by Aldo Francia. The story dramatizes the moral dilemmas of a young priest, protrayed by Marcello Romo. His congregation contains wealthy, upper-class members, as well as some of the poorest Chileans. The disparity in their lives leads him to question the ethics of the status quo.

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Although film was firmly established in Chilean society during the twenties, no other film director received as much public praise as Pedro Sienna. Pedro was a man with a variety of artistic talents. He worked as an actor, a director and a producer. He is best remembered for his accomplishment by order of the Andes company Films, of " El Húsar de la muerte " ( // The Death Hussar // ), considered by many the best and the most important film of the period as it was a classic Chilean silent film. Pedro wrote, directed and starred in the film in 1925 and the film could easily be the first local biopic, describing the life of national hero Manuel Rodríguez. In 1926 in collaboration with Rafael Frontaura, he filmed "La última trasnochada". Pedro is commonly viewed as a Godfather of Chilean cinema along with Salvador Giambastiani. A native of San Fernando, Pedro Pérez Cordero used the professional nom de plume Pedro Sienna. He began his association with film by directing and starring in " El Hombre de acero // " // (1917) and " Los Payasos se van // " // (1921). On December 27, 1966, at the age of 73, Pedro Sienna was awarded the country's national art priz e, Premio Nacional de Arte de Chile. He di ed i n Santiago eight weeks before his 79th birthday and is remembered as one of his country's pioneering directors in the early years of silent film. =====

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Salvador Giambastiani, formely employed in Argentina, arrived in Chile in 1915. This native Italian filmed "Fiestas de los Estudiantes" as well as "Santiago Antiguo" in 1916 and "Recuer dos del Mineral El Teniente" in 1919. Salvador Giambastiani's "La agonía del Arauco" (1917) questioned social issues, comparing the lifes of urban and rural inhabitants. Salvador Giambastiani and his wife Gabriela von Bussenius, settled in the city of Santiago and established the first film studio. Gambastiani co-produced his work with Luis Larraín Lecaros and Guillermo Bidwell, they estbablished the "Chile Film Co". Giambastiani is commonly viewed as a Godfather of Chilean cinema along with Pedro Sienna.=====

__Alvaro Covacevich__
In 1967, a new name emerged, Alvaro Covacevich, an architect who brought stories to the screen previously discarded for any production. An example is "Morir un poco", about the life of those who survived in extreme poverty. This motion picture, in spite of its social and political challenging content attracted nearly two hundred thousand people to the exhibition screens. This film is considered a major landmark for many later works. Covacevich's most significant films are "La revolución de las flores", "El diálogo de América" and "El gran desafío".

__Miguel Litt í n__ ( August 9, 1942 - present)
Miguel Littí n is a Chilean film director, screenwriter and film producer. In 1969, Miguel directed one of the key films in national cinematographic production: El Chacal de Nahueltoro. The film made him become a figure in the New Latin America Cinema. El Chacal de Nahueltoro is a documentary-style recreation of a horrific event in Chilean history: A farm laborer murders his common-law wife and her four children while in a drunken stupor. Director Miguel Littin provides a moving portrayal of the lives of Chile's poorest citizens. Released during a time of intense debate over the poor, it became the most widely seen film in the history of Chilean cinema. Miguel was later exiled to México and made several films; Actas de Marusia, El Recurso del Método and La Viuda de Montiel. In 1984, Miguel decided to enter Chile secretly to do a documentary that showed the condition of the country under the Pinochet's order and also show the country that he loved. It was made the subject of Nobel Laureate Gabriel Garcia Marquez's book Clandestine in Chile: The Adventures of Miguel Litt í n. He had moved to Spain in 1984, but eventually returned to Chile where he continued to make films. Among them were Tierra del Fuego based on the adventures of Julius Popper an explorer and Dawson, Isla 10 about a group of political prisoners sent to Dawson's island during Pinochet's order. Littín was mayor of his home town in the center valley, Palmilla in 1992-94 and re-elected for the period 1996-2000. His films Actas de Marusia and Alsino y el Condor were nominated by the Academy of Motion Picture Arts and Sciences for Best Film in a Foreign Language. Alsino y el Condor won the Golden Medal at the Moscow International Film Festival.

Films
Here are some trailers I found for Miguel's movies. ..
 * ~ **Year** ||~ **Title** ||~  ||
 * 19 69 || El Chacal de Nahueltoro (Jackal of Nahueltoro) ||
 * 1971 || Compañero Presidente (Documentary) ||
 * 1973 || La Tierra Prometida (The Promised Land) ||
 * 1974 || Actas de Marusia (Letters from Marusia) ||
 * 1978 || El Recurso del método (Long Live the President) ||
 * 1980 || La Viuda de Montiel (The Widow of Montiel) ||
 * 1981 || Alsino y el Condor (Alsino and the Condor) ||
 * 1986 || Acta General de Chile (Documentary) ||
 * 1989 || Sandino ||
 * 1994 || Los náufragos ||
 * 2000 || Tierra del Fuego ||
 * 2002 || Los Caminos de la Ira; Cronicas Palestinas (Palestinian Chronicles)(Documentary) ||
 * 2002 || El Abanderado ||
 * 2005 || La Ultima Luna (The Last Moon) ||
 * 2009 || Dawson, Isla 10 ||

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media type="youtube" key="Z6CAKadNqDw" height="315" width="420" Created by Laura B. Last Edited June 2012