lunes, 31 de mayo de 2021

JORGE VILLACORTA AT IMDb.PRO: Week visible from May 31 until June 6, 2021.

IMDb StarMeter: Week: Sunday, Mayo 23, 2021 - Sunday, May 30, 2021. Visible: Monday, May 31, 2021 - Sunday, June 06, 2021.    

Índice de Popularidad Estelar de IMDb: Semana del domingo 23 de mayo de 2021 al domingo 30 de junio de 2021. Visible: Lunes 31 de Mayo, 2021 - Domingo 06 de junio, 2021.

1. Q'orianka Kilcher: 2,693.


2. Stephanie Cayo: 8,138.


3. Jason Day: 34,905


4. Francisca Aronsson: 43,237.


5. Luis Llosa: 43,393.


6. Magaly Solier: 43,965.


7. Christian Meier: 48,352.


8. Jorge Luis Villacorta Santamato: 69,378




9. Claudia Llosa: 85,146.


10. Susy Diaz:98,039.



11. Francisco J. Lombardi: 119,714.


12. Melina León: 131,616.


13. Andrea Montenegro: 136,574.


14. Ricardo de Montreuil: 140,005.


15. Salvador del Solar: 149,473.


16. Vanessa Saba: 158,453.


17. Mario Vargas Llosa: 172,291.


18. Gianella Neyra: 174,145.


19. Carlos Alcántara: 175,356.


20. Silvana Aguirre: 179,424.


21. Javier Fuentes-León: 199,261.


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22. Leonidas Zegarra: 8'146,682. Let's assume that no one paid attention to Mr. Zegarra. Supongamos que nadie prestó atención a Leonidas Zegarra.



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viernes, 28 de mayo de 2021

ACADEMY FILM SCHOLARS GRANTS PROGRAM 2021


Academy Film Scholars Grants Program

Inbox

sguthrie@oscars.org

May 28, 2021, 2:04 PM (5 days ago)
to JORGEVILLACORTA1grants
Dear Jorge:

Recently, the Academy’s Grants Committee met to select the recipients of the 2021 Academy Film Scholars Grants.  Out of 49 applications received, the Committee members were pleased and excited to discover a number of exceptional proposals.  After a great deal of discussion including praise for a number of the proposals, the committee ultimately selected two.  Regrettably, your proposal was not selected.

A press release announcing the two newest Academy Film Scholars will be distributed in the near future and I will make sure a copy is e-mailed to you.

The committee asked me to inform the applicants how much they enjoyed reading the proposals and how worthy many of them seemed.  They anticipate that a number of the proposals will come to fruition. 

Thank you for submitting to the Academy Film Scholars program and best of luck in all your future endeavors.

Sincerely,
Shawn Guthrie
Director, Grants and Student Academy Awards
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Program/Project Title
The Film Field.
Applicants Name
Jorge Villacorta
School Affiliation (if applicable)
Project Type
Book.
Projected Project Completion Date
12/01/2023
Anticipated Use of Grants Funds
Materials, books, traveling, field research. interviews, publishing.
Brief Project Description
Minorities can be constituted by large numbers of people, even the majority of a population, when their economic, cultural, symbolic, and social capitals are considered. Through these indices, the scientific description of the social positions allow us to notice how the bigger percentage of film consumers are a minority (subordinated group) that depends on those social agents whose amounts of capitals give them the power to decide what is produced, how it is promoted and consumed, and what are the legitimate discourses in relation to motion pictures. This project intends to detail theoretically how this power asymmetry is currently reproduced in the film industry.
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The Film Field.

Project Statement

By Jorge Villacorta.

 

a. Description of the project.

This project intends to describe the film field and its reproduction strategies considering the economic, cultural, social, and symbolic capitals of its agents.

 

b. Definitions: Objectives and methodology.

The objective of the project is a scientific description of the film field guided by sociological theory. To achieve this objective the object of study will be the American film field with a focus on its motion picture industry. As a method, we will describe the social positions of the agents according to the composition of their global capital (economic, cultural, social, and symbolic capitals), considering their trajectory in the field, and the group trajectory of similar positions. The pertinent information will be gathered from previous studies, field research, and interviews.

 

c. The project in the academic context.

Even though the academic research produces extensive information related to the film field, the scholars from many áreas of study don’t guide their work with a coherent social model, demanding the data they obtain a systematization from a sociological perspective in order to have a simple and efficient descriptive model. A scholar like David Bordwell (Poetics of Cinema, On the History of Film Style, Making Meaning: Inference and Rhetoric in the Interpretation of Cinema, Narration in the Fiction Film, Ozu and the Poetics of Cinema, etc.) doesn’t have a coherent social model or methodology to study art (or film) in the society. The same happens with authors like Nöel Burch (Praxis of Cinema) or Janet Staiger and Kristin Thompson when writing with David Bordwell (The Classical Hollywood Cinema: Film Style and Mode of Production to 1960.) These and other scholars have the tendency to write about filmmaking isolating their subjects from the social whole, privileging the visions that correspond to their social positions. In the case of my project, the procedure considers all the habitus (social positions) as a whole because they constitute the film field. With this approach the existence of large minority groups (subordinated groups) becomes evident.

 

d. Subjects or ideas underrepresented in the canon of film scholarship to date.

In the canon of film scholarship the description of the positions of the agents in the film field based on the composition of their global capitals (economic, cultural, social, symbolic) is underrepresented even though this approach respects the individuals and minority groups because it determines their social particularities using pertinent general indices. The existence of large minority groups (subordinated groups) that may even be numeric majorities, produced and reproduced in the film field, stays unrecognized when the social agents are described with notions taken from empirical perceptions. The use of scientifically built concepts applicable to all the field members is an advancement that has not found its place in the canon of film scholarship yet.

 

e. Significance in its field of study.

Sociological knowledge allows us to understand how society works but, it has to compete with the empirical notions generated by daily life and the interests that don’t want a clear comprehension of social phenomena. A scientific description of the film field would show the existence of large minorities (subordinated groups) due to the processes of production and reproduction of the film field. It would explain clearly how the structure of the field is designed to keep and increase the differences in capitals between the dominant agents and the subordinated ones, even pointing out how a Grants program intended to support projects that “bridge he opportunity divide”, functions more like a publicity tool for the Academy than as a serious endeavor, due to the fact that the way it is organized, it cannot compete with the immense differences in capitals that the motion picture industry creates every day. The Academy programs only in appearance attempt to go against the logic of the production and reproduction of capitals but it reinforces the process. Thus, the scientific significance of a sociological study of the film field is enormous because by explaining what happens provides a theoretical foundation to design social actions that eliminate unwanted outcomes.

 

f. How my professional experience is relevant to the project.

As an actor, filmmaker, scholar, and curator interested in all the aspects of film production, I have theorized my own experiences in my doctoral thesis on History of Art, a task that demanded paying attention to the sociological theory in order to explain the phenomena at hand. Therefore, I’m prepared to tackle a more generic project.

 

g. The project’s significance to my own professional development.

I behave as an idealist but think as a realist. This project will allow me to clarify my thinking and understand better what is achievable and what is not in the áreas of my professional development. When published, the book will be equally useful o a variety of scholars and readers.

 

h. Timetable for completing the project.

2021: Reception of funds.

January – December 2022. Analysis of the information available. Traveling, interviews, field research.

January – May 2023. Elaboration of the text.

June-July 2023: Final draft.

December 2023: Publication.

 

i. Additional resources and how I intend to use the grant.

I already have the basic bibliography that will provide the theory to develop this book. Right now, I don’t have grants, residencies or additional resources available to me. The grant will be used for traveling, field research, interviews, acquiring additional materials needed to complete the text, and publishing the book.

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The Film Field.

Select Bibliography

By Jorge Villacorta.

 

Austin, Gay (ed.) (2018). New uses of Bourdieu on film and media studies. New York: Berghahn Books.

Bourdieu, Pierre; Champagne, Patrick; Duval, Julien; Popeau, Franck; Rivière, Marie-Christine, Collier, Peter (2020). Habitus and field: general sociology. Volumen 2. Lectures at the Collège de France, 1981-1982. Cambridge, UK; Medfort, MA: Polity Press.

Bourdieu, Pierre; Champagne, Patrick; Lenoir, Rémi; Popeau, Franck; Rivière, Marie-Christine, Fernbach, David (2020). On the state: lectures at the Collège de France, 1989-1992. Cambridge: Polity Press. 

Bourdieu, Pierre; Champagne, Patrick; Duval, Julien; Popeau, Franck; Rivière, Marie-Christine, Collier, Peter (2020). Classification struggles: general sociology. Volumen 1. Lectures at the Collège de France, 1981-1982. Cambridge, UK; Medfort, MA, USA: Polity Press.

Bourdieu, Pierre; Thompson, John B. (2018). Language and symbolic power. Cambridge, UK: Malden Polity Press.

Bourdieu, Pierre; Coilier, Peter; Rigaud-Dreyton, Margaret (2017). Manet: a symbolic revolution. Cambridge: Polity Press.

Bourdieu, Pierre (2016). The rules of art: génesis and structure of the literary field. Cambridge: Polity Press

Bourdieu; Pierre; Turner, Christ (2016). The social estructures of the economy. Cambridge; Malden: Polity Press.

Bourdieu, Pierre; Passeron, Jean-Claude (2016). The héritiers: les éstudiants et la culture. Paris: Les Éditions du Minuit.

Bourdieu, Pierre; Randall, Johnson (2016). The field of cultural production: essays on art and literature. Cambridge: Polity Press.

Bourdieu, Pierre (2015). Questions de sociologie. Paris: Les Éditions du Minuit.

Bourdieu, Pierre; Nice, Richard; Benntt, Tony (2015). Distinction: A social critique of the judgement of taste. London; New York: Routledge, Taylor & Francis Group.

Bourdieu, Pierre; Passeron, Jean Claude; Nice, Richards; Bottomore, Thomas Burton (2014). Reproduction in education, society and culture. Los Angeles: Sage.

Bourdieu, Pierre; Gutiérrez, Alicia (2013). El sentido social del gusto: elementos para una sociología de la cultura. Buenos Aires: Siglo XXI Editores.

Bourdieu, Pierre; Gutierrez, Alicia B. (2012). Las estrategias de la reproducción social. Buenos Aires: Siglo XXI.

Bourdieu, Pierre (2008). Homo Academicus. Stanford, CA: Stanford University Press.

Bourdieu, Pierre (2008). Practical reason: on the theory of action. Cambridge: Polity Press.

Bourdie, Pierre; Darbel, Alain, Schnapper, Dominique (2008). The love of art: European art museums and their public. Cambridge: Polity Press.

Bourdieu, Pierre; Boltanski, Luc (2005). Photography: a middle brow art. Stanford, CA: Stanford University Press.

Bourdieu, Pierre; De Saint Martin, Monique (1998). The estate nobility: elite schools in the field of power. Sanford: Stanford University Press.

Bourdieu, Pierre; Chamboredom, Jean-Claude; Passeron, Jean-Claude; Krais, Beate (1991). The craft of sociology: epistemological preliminaries. New York: Walter de Gruyter.

Bourdieu, Pierre (1986). The forms of capital. In Richardson, J., Handbook of Theory and Research for the Sociology of Education (1986), Westport, CT: Greenwood, pp. 241–58.

Coulangeon, Philipe; Duval, Julien (2015). The Routledge companion to Bourdieu’s Distinction. London: Routledge, Taylor and Francis Group.

Decherney, Peter (2005). Hollywood and the culture elite: How the movies became American. New York: Columbia University Press.

Duval, Julien (June 2019). The restricted autonomy of journalism and cinema. Symbolic Goods, a Social Science Journal on Art, Cutlure and Ideas. Dossier: Autonomies of Art and Culture. 4. Vincennes: Presses Universitaries de Vincennes. https://www.biens-symboliques.net/337

Duval, Julien (2012) Critique d’une analyse économique de cinéma. Revue Française de Socio-Économie. (10)2, 137-153. https://doi.org/10.3917/rfse.010.0137 URL: https://www.cairn.info/revue-francaise-de-socio-economie-2012-2-page-137.htm

Duval, Julien. (2006). L'art du réalisme: Le champ du cinéma français au début des années 2000. Actes de la recherche en sciences sociales, 161-162(1-2), 96-115. https://doi.org/10.3917/arss.161.0096 URL: https://www.cairn.info/revue-actes-de-la-recherche-en-sciences-sociales-2006-1-page-96.htm

Esquire, Jason E. (2017). The movie business book. New York: Routledge.

Epstein, Edward Jay (2012). The Hollywood economist, release 2.0: the hidden financial reality behind the movies. Brooklyn, NY: Melville.

Epstein, Edward Jay (2006). The big picture: money and power in Hollywood. New York: Random House.

Ferber, Bruce (ed.) (2019). The way we work. on the job in Hollywood. Los Angeles, CA: Rare Bird Books.

Gomery, Douglas (2005). The Hollywood studio system: a history. London: British Film Institute.

Gray, Lois S.; Seeber, Ronald Leroy (1996). Under the stars: essays on labor relations in arts and entertainment. Ithaca, NY: ILR Press.

Handel, Jonathan (2014). Entertainment residuals: a full color guide. Los Angeles, CA: Hollywood Analytics.

Handel, Jonathan; Pip Bulbeck (2013). The New Zealand Hobbit crisis: how Warner Bros. bent a government to its will and crushed an attempt to unionize The Hobbit. Los Angeles, CA: Hollywood Analytics.

Handel, Jonathan (2013). Entertainment labor: an interdisciplinary bibliography. Los Angeles, CA: Hollywood Analytics

Handel, Jonathan (2011). Hollywood on strike! An industry at war in the internet age. Los Angeles, CA: Hollywood Analytics.

Jarvie, Ian C. (2014). Philosophy of the film: Epistemology, ontology, aesthetics. New York: Routledge.

Jarvie, Ian C. (2001). Towards a sociology of the cinema: a comparative essay on the structure and functioning of a major entertainment industry. London: Routledge.

Jarvie, Ian C. (1989-90). Audrey Hepburn: the performer and the star. Unpublished paper. http://www.yorku.ca/jarvie/online_publications/HepburnAudrey.pdf

Jarvie, Ian C. (1978). Controlling the international film industry. Unpublished paper. http://www.yorku.ca/jarvie/online_publications/Honolulu.pdf

Khitrov, Arseni (02 july 2020). Hollywood experts: a field analysis of knowledge production in American entertainment television. Published online: https://doi.org/10.111/1468-4446.12775

Klinger, Barbara (1994). Melodrama and meaning: history, culture, and the films of Douglas Sirk. Bloomington: Indiana University Press Press.

Nielsen, Mike; Gene Mailes (1995). Hollywood’s other black list: unión struggles in the studio system. London: British Film Institute.

Powdermaker, Hortense (2013). Hollywood, the dream factory: an anthropologist looks at the movie-makers. Mansfield Center, CT: Martino Fine Books.

Vogel, Harold L (2015). Entertainment industry economics: a guide for financial analysis. New York, N.Y.: Cambridge University Press.

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María y los niños pobres (2010). Full movie.

lunes, 24 de mayo de 2021

LEONIDAS ZEGARRA AT IMDb.PRO: Week visible from May 24 until May 30, 2021.

IMDb StarMeter: Week: Sunday, Mayo 16, 2021 - Sunday, May 23, 2021. Visible: Monday, May 24, 2021 - Sunday, May 30, 2021.    

Índice de Popularidad Estelar de IMDb: Semana del domingo 16 de mayo de 2021 al domingo 23 de mayo de 2021. Visible: Lunes 24 de Mayo, 2021 - Domingo 30 de mayo, 2021.

1. Q'orianka Kilcher: 2,839.


2. Stephanie Cayo: 10,697.


3. Christian Meier: 34,174.


4. Magaly Solier: 34,469.


5. Luis Llosa: 34,937.


6. Francisca Aronsson: 57,067.


7. Claudia Llosa: 69,198.


8. Jason Day: 72,425.


9. Ricardo de Montreuil: 89,351.


10. Jorge Luis Villacorta Santamato: 92,959.




11. Leonidas Zegarra: 117,525,




12. Salvador del Solar: 126,305.


13. Francisco J. Lombardi: 142,222.


14. Vanessa Saba: 155,317.


15. Susy Díaz: 158,389.



16. Mariano García-Rosell: 167,588.


17. Gianella Neyra: 171,736.


18. Melina León: 189,332.


19. Javier Fuentes-León: 190,304.


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