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TRANSCRIPT
Realidades-6B
El 8 de ABRIL 2016!!!Examen 6B Realidades 2
Homework Homework Homework Homework
TAREA
Was due
Realidades 2
página 324 Actividad 5
página 331 Actividad 17
página 333 Actividad 20
All work on looseleaf-
Complete heading!!! Thank you
6B Vocabulario
Alquilarse
Arrestar
capturar
el crítico
el detective
enamorarse
enamorarse de…
estrella del cine
estrella del cine
fascinar
fracaso
Recomendar
tener éxito
robar Search Results
Tratarse de…….
la actuación
el arumento
el papel
hacer el papel de=
to play the role of…
PERSONAJES
personajes
el personaje principal
la escena
Víctima
THE ALMA AWARDSTaken from Realidades 2 página 330
Los Premios ALMA
En 1995 se establecieron los premios ALMA
From April 8 to 21, the 32nd Chicago Latino Film Festival showcases 74 features and 42 short films from the Americas — South, Central and North — plus the Caribbean, Portugal and Spain. Many lands, several languages at Chicago Latino Film Festival
From April 8 to 21, the 32nd Chicago Latino Film Festival showcases 74 features and 42 short films from the Americas — South, Central and North —
The American Latino Media Arts Award, or ALMA Award is an award highlighting the best American Latino contributions to music, television, and film. The awards promote fair and accurate portrayals of Latinos. In Spanish the word alma means soul.
The HistoryThe awards were created by the National Council of La Raza. The first ceremonies were held in 1987 under the name "BRAVO Awards" and broadcast on Univision.[1] In 1995, they were televised on Fox. The name was changed to the "American Latino Media Arts Awards" in 1997 and ABC became the network venue. However, ABC faced a boycott which forced the award ceremonies to be postponed until 1998.
From the years 2003 to 2005, the ceremonies were not held for undisclosed reasons. In 2008 the NCLR and New York firm Society Awards redesigned the trophy statuette. ABC stopped airing the ceremonies in 2009.
The ceremonies were cancelled in 2010, to "focus on a bigger and better show in 2011."
The awards started up again in 2011, on a new network, NBC.They were cancelled for 2015.
La Época de oro del cine mexicano1930-1950
La Época de Oro De página 325 del libro REALIDADES 2.
La Época de Oro es un período en la historia del cine mexicano comprendido entre 1936 y 1959.1 Comenzó simbólicamente con la película Vámonos con Pancho Villa (1935), dirigida por Fernando de Fuentes. Después, de Fuentes, realizó el éxito taquillero Allá en el Rancho Grande (1936), considerado un parteaguas que aseguró el éxito taquillero del Cine mexicano. La calidad con el éxito de las películas mexicanas continuó después de la Segunda Guerra Mundial, cuando el Cine mexicano se convirtió en el centro de las películas comerciales de Latinoamérica y Habla hispana.
History of Mexican Cinema
The history of Mexican cinema goes back to the ending of the 19th century and the beginning of the 20th, when several enthusiasts of the new medium documented historical events – most particularly the Mexican Revolution – and produced some movies that have only recently been rediscovered. During the Golden Age of Mexican cinema, Mexico all but dominated the Latin American film industry.
The Guadalajara International Film Festival is the most prestigious Latin American film festival and is held annually In Guadalajara, Mexico. Mexico has twice won the highest honor at the Cannes Film Festival, having won the Grand Prix du Festival International du Film for Maria Candelaria in 1946 and the Palme d'Or in 1961 for Viridiana, more
than any other Latin American nation.Mexico City is the fourth largest film and television production center in North America, behind Los Angeles, New York City and Vancouver, as well as the largest in Latin America.
Silent films (1896–1929)
Salvador Toscano Mexico's first filmmaker.The first "moving picture", according to sources by film historian Jim Mora, was viewed in 1895 using Thomas Edison's kinetoscope. A year later, the cinematographe projector was introduced by Auguste Lumière. Mexico's first queues appeared in cinemas in the capital to see international one-minute films such as The Card Players, Arrival of a Train, and The Magic Hat.[5] The "silent film" industry in Mexico produced several movies; however, many of the films up to the 1920s have been lost and were not well documented.
The origins of early filmmaking is generally associated with Salvador Toscano Barragán. In 1898 Toscano made the country's first film with a plot, titled Don Juan Tenorio. During the Mexican Revolution, Toscano recorded several clips of the battles, which would become a full-
length documentary in 1950, assembled by his daughter. Other short films were either created or influenced from French film-makers.
By 1906, 16 movie salons opened their doors to accommodate the popularity of cinema in Mexico City. Carpas, or tent shows, were popular beginning in 1911 where lower-class citizens would perform picaresque humor and theatrical plays, a place for training for aspiring actors. Politically affiliated films appearing in 1908, often deemed propagandistic by today's terms. Significant battles were filmed and broadcast during the Revolution which fueled Mexicans' excitement in cinema.[6]
Scene from El aniversario del fallecimiento de la suegra
The popularity that cinema had experienced in the early 20th century continued to grow and by 1911 fourteen movie houses were erected from the year prior. It was during this period that the documentary techniques were mastered as is evident in the Alva brother's production entitled Revolución orozquista (1912). The film was shot in the camps of the rebel and federal forces
during the battle between General Huerta and the leader Pascual Orozco.
However, despite the relative advancement of cinema during this period, the moralistic and paternalist ideology of Madero led to his campaign to save the lower classes from immorality through censorship. Hence, in late September and early October 1911, city council members appointed additional movie house inspectors, whose wages would be paid by the exhibitioners.
Furthermore, the head of the Entertainment Commission, proposed the implementation of censorship; however, Victoriano Huerta's coup d'état in February 1913, prevented the move to legislate censorship.
Although Huerta's reign was brief, the cinema experienced significant changes within this period such as the further establishment of censorship and a shift
away from documentary films to entertainment films. The Alva brothers' production of Aniversario del fallecimineto de la suegra de Enhart is indicative of the change in the aim of Mexican cinematographers.
Lupe Vélez Mexican silent film actress.In regards to censorship, the Huerta government imposed a moral and political decree of censorship in approximately June 1913. This decree was imposed a few days after convencionista soldiers shot at the screen during a viewing of El aguila y la serpiente. The decree stated that films that showed the following were prohibited: "views representing crimes, if they do not include punishment of the guilty parties, views which directly or indirectly insult an authority or person, morality or good manners, provoke a crime or offence, or in
any way disturb the public order (Mora 70)."As a result of the limitations placed on film content as well as the radicalization of the parties involved in the armed conflicts, cameramen and producers began to display their opinion through the films they produced.
For instance, favoritism towards the Zapatistas was illustrated in the film Sangre Hermana (Sister Blood, 1914). Due to the sensational content of this film, it is evident that the producers had no interest in displaying the events in such a way that the audience could come to their own conclusions.
The cinematic productions of this period were reflective of the Italians style film d'art, which were fiction-based melodramas. The film La Luz (film) (The Light, Ezequiel Carrasco, 1917, starring Emma Padilla) was the first film that attempted to adopt
this style, even though it was viewed as a plagiarism of Piero Fosco's Il Fuoco.
Paranaguá attributes the influence that the Italian had on the Mexican cinema with the similarities between the situations of both countries. Both countries were in a state of chaos and disorder- there was a war in Italy and a revolution in Mexico (Paranaguá 70). Once again censorship was re-established on October 1, 1919. Films, which illustrated acts of immortality or induced sympathy for the criminal, were prohibited.
In 1917, the former vaudeville star Mimí Derba, founded the Azteca Studios, that realized notable films among 1917 and 1923. The most successful of these films was En defensa Propia (1921).Government budget had to be trimmed as a result of the rebellion and cinematographic departments of the Ministry of Education and Agriculture were cut. By 1924, narrative
films were at an all-time low since 1917.During the 1920s very few movies were produced, given the political climate that was still very unsettled and the resurgence of the American film industry.
Notable Mexican movie stars moved to the United States. Stars like Ramón Novarro, Dolores del Río and Lupe Vélez, became principal stars of notable Hollywood films in the 1920s and 1930s. Other Mexican stars realized numerous movies in the Spanish versions of Hollywood movies.
Cantinflas!
"Mario Moreno" redirects here. For other people, see Mario Moreno (disambiguation). For the 2014 film, see Cantinflas (film).
This name uses Spanish naming customs: the first or paternal family name is Moreno and the second or maternal family name is Reyes.
Cantinflas
Disembarking from an aircraft at Madrid's Barajas
Airport in 1964Born Mario Fortino
Alfonso Moreno ReyesAugust 12, 1911Mexico City, Mexico
Died April 20, 1993 (aged 81)Mexico City, Mexico
Cause of death
Lung Cancer
Occupation
Comic film actor
Years active
1937–1982
Height 5 ft (152 cm) 6:1,68
Spouse(s)
Valentina Ivanova (1936–66; her death)
Awards
Golden Globe (1956)Hollywood Walk of Fame
Mario Fortino Alfonso Moreno Reyes, known casually as Mario Moreno, and known professionally as Cantinflas (August 12, 1911 – April 20, 1993), was a Mexican comic film actor, producer, and screenwriter and an iconic figure in Mexico and Latin America. He often portrayed impoverished campesinos or a peasant of pelado origin.[1] The character came to be associated with the national identity of Mexico, and allowed Cantinflas to establish a long, successful film career that included a foray into Hollywood. Charlie Chaplin once commented that he was the best comedian alive,[2][3] and Moreno has been referred to as the "Charlie Chaplin of Mexico".[4]
To audiences in the United States, he is best remembered as co-starring with David Niven in the Academy Award winner for Best Picture film Around the World in 80 Days, for which Moreno won a Golden Globe Award for Best Actor – Motion Picture
Musical or Comedy.
As a pioneer of the cinema of Mexico, Moreno helped usher in its golden era. In addition to being a business leader, he also became involved in Mexico's tangled and often dangerous labor politics. Although he was a political conservative,[ his reputation as a spokesperson for the downtrodden gave his actions authenticity and became important in the early struggle against charrismo, the one-party government's practice of co-opting and controlling unions.
Moreover, his character Cantinflas, whose identity became enmeshed with his own, was examined by media critics, philosophers, and linguists, who saw him variably as a danger to Mexican society, a bourgeois puppet, a kind philanthropist, a transgressor of gender roles, a pious Catholic, a verbal innovator, and a picaresque underdog.[citation
needed]
Contents
Personal lifeCantinflas Mario Fortino Alfonso Moreno Reyes was
born in the Santa María la Ribera neighbourhood of Mexico City, and grew up in the tough neighbourhood of Tepito. He was one of the children born to Pedro Moreno Esquivel, an impoverished mail carrier, and María de la Soledad Reyes Guízar (from Cotija, Michoacan). They had eight children: Pedro, José ("Pepe"), Eduardo, Fortino, Esperanza, Catalina, Enrique, and Roberto.
He made it through difficult situations with the quick wit and street smarts that he would later apply in his films. His comic personality led him to a circus tent show, and from there to legitimate theatre and film.He married Valentina Ivanova Zubareff, of Russian ethnicity, on October 27, 1936, and remained with her until her death in January 1966. A son was born to Moreno in 1961 by another woman;[6] the child was adopted by Valentina Ivanova and was named Mario Arturo Moreno Ivanova, causing some references to e
He served as president of one of the Mexican actors' guild known as Asociación Nacional de Actores (ANDA, "National Association of Actors") and as first secretary general of the independent filmworkers' union Sindicato de Trabajadores de la Producción
Cinematográfica (STPC). Following his retirement, Moreno devoted his life to helping others through charity and humanitarian organizations, especially those dedicated to helping children. His contributions to the Roman Catholic Church and orphanages made him a folk hero in Mexico.Death[
A lifelong smoker, he died of lung cancer on April 20, 1993 in Mexico City. Thousands appeared on a rainy day for his funeral. The ceremony was a national event, lasting three days. His body lay in state in the Rotonda de Las Personas Ilustres (The Rotunda of Illustrious Persons, formerly known as Rotunda of Illustrious men)[8] and he was honored by many heads of state and the United States Senate, which held a moment of silence for him.
A 20-year legal battle followed between Mario Moreno Ivanova, Cantinflas' son and heir to his estate, and the actor's blood nephew Eduardo Moreno Laparade over the control of 34 films made by Cantinflas. The nephew claimed his uncle gave him a written notice to the rights for movies on his deathbed. Moreno Ivanova argued that he was the direct heir of Cantinflas and that the rights belonged to him. Moreno Laparade won the lawsuit twice,[9]
but Moreno Ivanova eventually triumphed after two appeals.[10] In 2005, Mario Moreno Ivanova, Jr. won the rights to 39 films and name.
At the same time, there was another legal battle between Columbia Pictures and Moreno Ivanova over control of these films. Columbia claimed that it had bought the rights to the 34 films four decades earlier, although the court noted several discrepancies in the papers. Moreno Ivanova wanted the rights to the films to remain his, and more generally Mexico's, as a national treasure. On June 2, 2001 the eight-year battle was resolved with Columbia retaining ownership over the 34 disputed films.
Origin of name:
As a young man, Cantinflas performed a variety of acts in travelling tents, and it was here that he acquired the nickname "Cantinflas". According to one obituary, "Cantinflas" is a meaningless name invented to prevent his parents from knowing he was in the entertainment business, which they considered a shameful occupation. Cantinflas confirmed this version in 1992, in his last television
interview.
Entertainment career
Before starting his professional life in entertainment, he explored a number of possible careers, such as medicine and professional boxing, before joining the entertainment world as a dancer. By 1930 he was involved in Mexico City's carpa (travelling tent) circuit, performing in succession with the Ofelia, Sotelo of Azcapotzalco, and finally the Valentina carpa, where he met his future wife. At first he tried to imitate Al Jolson by smearing his face with black paint, but later separated himself to form his own identity as an impoverished slum dweller with baggy pants, a rope for a belt, and a distinctive mustache.[13] In the tents, he danced, performed acrobatics, and performed roles related to several different professions.
Film career
In the mid-1930s, Cantinflas met publicist and producer Santiago Reachi and subsequently partnered with him to form their own film production venture. Reachi produced, directed, and distributed,
while Cantinflas acted. Cantinflas made his film debut in 1936 with No te engañes corazón (Don't Fool Yourself Dear) before meeting Reachi, but the film received little attention. Reachi established Posa Films in 1939 with two partners: Cantinflas and Fernandez. Before this, Reachi produced short films that allowed him to develop the Cantinflas character, but it was in 1940 that he finally became a movie star, after shooting Ahí está el detalle ("There's the rub", literally "There lies the detail"), with Sofía Álvarez, Joaquín Pardavé, Sara García, and Dolores Camarillo. The phrase that gave that movie its name became a "Cantinflas" (or catchphrase) for the remainder of his career. The film was a breakthrough in Latin America and was later recognized by Somos magazine as the 10th greatest film produced largely in Mexico.
In 1941, Moreno first played the role of a police officer on film in El gendarme desconocido ("The Unknown Police Officer" a play on words on "The Unknown Soldier). By this time, he had sufficiently distinguished the peladito character from the 1920s-era pelado, and his character flowed comfortably from the disenfranchised, marginalized, underclassman to the empowered public servant.
The rhetoric of cantinflismo facilitated this fluidity.He would reprise the role of Agent 777 and be honored by police forces throughout Latin America for his positive portrayal of law enforcement.Ni sangre, ni arena ("Neither Blood, nor Sand" a play on words on the bullfighter/gladiator phrase Blood and Sand), the 1941 bullfighting film, broke box-office records for Mexican-made films throughout Spanish-speaking countries. In 1942, Moreno teamed up with Reachi, Miguel M. Delgado, and Jaime Salvador to produce a series of low-quality parodies, including an interpretation of Chaplin's The Circus.[
The 1940s and 1950s were Cantinflas' heyday. In 1941, Reachi, the Producer rejected Mexican Studios companies and instead paid Columbia Pictures to produce the films in its Studios in Hollywood. By this time, Cantinflas' popularity was such that he was able to lend his prestige to the cause of Mexican labor, representing the National Association of Actors in talks with President Manuel Ávila Camacho. The talks did not go well, however, and, in the resulting scandal, Moreno took his act back to the theatre.[
Theatre
On August 30, 1953, Cantinflas began performing his theatrical work Yo Colón ("I, Columbus") in the Teatro de los Insurgentes, the same theatre that had earlier been embroiled in a controversy over a Diego Rivera mural incorporating Cantinflas and the Virgin of Guadalupe. Critics, including the PAN and archbishop Luis María Martínez, called the mural blasphemous, and it was eventually painted without the image of the Virgin.
Yo Colón placed Cantinflas in the character of Christopher Columbus, who, while continually "discovering America", made comedic historical and contemporary observations from fresh perspectives. For the first few months, he persuaded the King and Queen of Spain to fund his voyage so that he could let his wife `drive' so she could make a wrong turn and discover Mexico instead, allowing him to also discover Jorge Negrete so that the Queen - an ardent fan - could meet him. When Negrete died just before Christmas of 1953, he changed it first to Pedro Infante until his death four years later, and then finally to Javier Solis until his death in 1966.
Hollywood and beyond
In 1956, Around the World in 80 Days, Cantinflas' American debut, earned him a Golden Globe for Best Actor in a musical or comedy.[15] Variety magazine said in 1956 that his Chaplinesque quality made a big contribution to the success of the film.[16] The film ultimately made an unadjusted $42 million at the box office[17] (over $355 million in 2013 dollars). While David Niven was billed as the lead in English-speaking nations, Cantinflas was billed as the lead elsewhere. As a result of the film, Cantinflas became the world's best paid actor.
Moreno's second Hollywood feature, Pepe, attempted to replicate the success of his first. The film had cameo appearances by Frank Sinatra, Judy Garland and other stars. His humor, deeply rooted in the Spanish language, did not translate well for the American audience and the movie was a notorious box office disappointment. He still earned a Golden Globe nomination for his part. Later in a 1992 American interview, Moreno cited the language barrier as the biggest impediment to his making it big in the United States.
After returning to Mexico, Cantinflas starred in the
comic drama El bolero de Raquel (1957), the first Cantinflas film to be distributed to the United States by Columbia Pictures. The film was followed by more Cantinflas-Reachi-Columbia productions: El analfabeto (1961), El padrecito (1963), and Su excelencia (1967). After Su excelencia, Cantinflas began to appear in a series of low-budget comedies (also directed by Miguel M. Delgado), which were produced by his own company "Cantinflas Films". These films lasted until El Barrendero, in 1982.Like Charlie Chaplin, Cantinflas was a social satirist. He played el pelado, an impoverished Everyman, with hopes to succeed. With mutual admiration, Cantinflas was influenced by Chaplin's earlier films and ideology. El Circo (the circus) was a "shadow" of Chaplin's silent film, The Circus and Si yo fuera diputado ("If I Were a Congressman") had many similarities with the 1940 film, The Great Dictator. Cantinflas' films, to this day, still generate revenue for Columbia Pictures. In 2000, Columbia reported in an estimated US$4 million in foreign distribution from the films.
Cultural impact
Cantinflas' star on the Hollywood Walk of Fame in Los Angeles
Among the things that endeared him to his public was his comic use of language in his films; his characters (all of which were really variations of the main "Cantinflas" persona but cast in different social roles and circumstances) would strike up a normal conversation and then complicate it to the point where no one understood what they were talking about. The Cantinflas character was particularly adept at obfuscating the conversation when he owed somebody money, was courting an attractive young woman, or was trying to talk his way out of trouble with authorities, whom he managed to humiliate without their even being able to tell.
This manner of talking became known as
Cantinflear, and it became common parlance for Spanish speakers to say "¡estás cantinfleando!" (loosely translated as you're pulling a "Cantinflas!" or you're "Cantinflassing!") whenever someone became hard to understand in conversation. The Real Academia Española officially included the verb, cantinflear, cantinflas and cantinflada[20] in its dictionary in 1992.
In the visual arts, Mexican artists such as Rufino Tamayo and Diego Rivera painted Cantinflas as a symbol of the Mexican everyman. The American electronic dance music band Mindless Self Indulgence released a song about Cantinflas called "Whipstickagostop".
Cantinflas' style and the content of his films have led scholars to conclude that he influenced the many teatros that spread the message of the Chicano Movement during the 1960s-1970s in the United States, the most important of which was El Teatro Campesino. The teatro movement was an important part of the cultural renaissance that was the social counterpart of the political movement for the civil rights of Mexican Americans. Cantinflas' use of social themes and style is seen as a precursor to
Chicano theater.[
A cartoon series, the Cantinflas Show, was made in 1972 starring an animated Cantinflas. The show was targeted for children and was intended to be educational.[22] The first animated version animated by Santiago Moro and his brother Jose Luis Moro for Televisa in the early 1970s (Cantinflas Show) which educated children by meeting such notable people such as Chopin, Louis Pasteur, Albert Einstein and William Shakespeare's Romeo and Juliet as well learning how important water and oil is and educational parodies of some of his famous movies like Su Excelencia [La Carta with incidental music from Aaron Copland's El Salón México] In the second version his character was known as "Little Amigo" and concentrated on a wide range of subjects intended to educate children, from the origin of soccer to the reasons behind the International Date Line. The second animated series animated in 1979 and dubbed in English in 1982 was a joint venture between Televisa and Hanna-Barbera and Mario Morenos voiced "Little Amigo"/Cantinflas in the Spanish version and Don Messick voiced "Little Amigo" and John Stephenson as the narrator in the English version. Both The Cantinflas Show and Amigos and Friends aired in
the mid 1990s on Univision and Televisa re aired The Cantinflas Show in the mid 1990s.Although Cantinflas never achieved the same success in the United States as in Mexico, he was honored with a star in the Hollywood Walk of Fame. He earned two Golden Globe nominations (winning one) for best actor and the Mexican Academy of Film Lifetime Achievement Award.
His handprints have been imbedded onto the Paseo de las Luminarias for his work in motion pictures.The Mario Moreno "Cantinflas" Award is handed out annually for entertainers who "represent the Latino community with the same humor and distinction as the legendary Mario Moreno "Cantinflas" and who, like Cantinflas, utilizes his power to help those most in need".[24] Cantinflas films are distributed in North America by Laguna Films.
Characterisations
Moreno's life is the subject of the biographical film Cantinflas (2014, directed by Sebastian del
Amo). It stars Óscar Jaenada, who portrays a young Mario Moreno attempting to gain respect and make a living as an actor, and award winning actor Michael Imperioli as Mike Todd, an American film-producer struggling to film his masterpiece. The film is centered in Moreno's personal life, and in the development of Todd's Golden Globe Award-winning 1956 film Around the World in 80 Days.
References in pop culture
In the season 9 episode of the animated sitcom King of the Hill, "Death Buys a Timeshare," Hank's father Cotton is lured into buying a timeshare that includes access to an exclusive yacht whose private chef once worked for Cantinflas. In the episode, Cotton pronounces Cantinflas, /ˈkɛntɪnˌflæs/.The Mindless Self Indulgence song Whipstickagostop has the lyrics "Cantinflas was a body rocker" in it. In season 5 of Archer, Sterling is referencing mononyms when Ray pipes up with an example, Cantinflas!
Critical response
Cantinflas is sometimes seen as a Mexican Groucho Marx character, one who uses his skill with words to puncture the pretensions of the wealthy and powerful, the police and the government. Historian and author of Cantinflas and the Chaos of Mexican Modernity, writes, "Cantinflas symbolized the underdog who triumphed through trickery over more powerful opponents" and presents Cantinflas as a self-image of a transitional Mexico. Gregorio Luke, executive director of the Museum of Latin American Art said, "To understand Cantinflas is to understand what happened in Mexico during the last century".
Monsiváis interprets Moreno's portrayals in terms of the importance of the spoken word in the context of Mexico's "reigning illiteracy" (70% in 1930). Particularly in the film El analfabeto, (The Illiterate), "Cantinflas is the illiterate who takes control of the language by whatever means he can".[27]
The journalist Salvador Novo interprets the role of Moreno's character entirely in terms of Cantinflismo: "En condensarlos: en entregar a la saludable carcajada del pueblo la esencia demagógica de su vacuo confusionismo, estriba el mérito y se asegura la gloria de este hijo cazurro de la ciudad ladina y burlona de México, que es 'Cantinflas'". ("In
condensing them [the leaders of the world and of Mexico], in returning to the healthy laughter of the people the demagogic essence of their empty confusion, merit is sustained and glory is ensured for the self-contained son of the Spanish-speaking mocker of Mexico, who Cantinflas portrays.")[28]
In his biography of the comic, scholar of Mexican culture Jeffrey M. Pilcher views Cantinflas as a metaphor for "the chaos of Mexican modernity", a modernity that was just out of reach for the majority of Mexicans: "His nonsense language eloquently expressed the contradictions of modernity as 'the palpitating moment of everything that wants to be that which it cannot be'."[29] Likewise, "Social hierarchies, speech patterns, ethnic identities, and masculine forms of behavior all crumbled before his chaotic humor, to be reformulated in revolutionary new ways."
The Golden Age (1930-1960)
The Golden Age began symbolically with
the film Vamonos con Pancho Villa.
In the 1930s, once peace and a degree of political stability were achieved, the film industry took off in Mexico and several movies still experimenting with the new medium were made. Hollywood's attempt at creating Spanish language films for Latin America failed mainly due to the combination of Hispanic actors from different ethnicities exhibiting various accents unfamiliar to the Mexican people. It should be noted how early Mexican cinematographers were influenced and encouraged by Soviet director Sergei Eisenstein's visit to the country in 1930.In 1931 the first Mexican talkie movie, an adaptation of the Federico Gamboa's novel Santa, directed by Antonio Moreno and starred by the Mexican-Hollywood star Lupita Tovar, was realized. Until Sergei Eisenstein's Que Viva Mexico (1931), Mexican audiences were exposed
to popular melodramas, crude comedies, as well as Spanish-language versions of Hollywood movies.
Eisenstein's visit to Mexico inspired directors like Emilio Fernandez and cameraman Gabriel Figueroa, and the number of Mexican-made films increased and improved. During the 1930s the Mexican film industry achieved considerable success with movies like La Mujer del Puerto (1934), Fred Zinnemann's Redes (1934), Janitzio (1934), Dos Monjes (1934), Allá en el Rancho Grande (1936), Vámonos con Pancho Villa (1936) from De Fuentes' Revolution Trilogy and La Zandunga.
1944's Maria Candelaria won the top prize at the 1946 Cannes Festival, French film
poster.
During the 1940s the full potential of the industry developed. Actors and directors became popular icons and even figures with political influence on diverse spheres of Mexican life. The industry received a boost as a consequence of Hollywood redirecting its efforts towards propagandistic films and European countries focusing on World War II, which left an open field for other industries.
Mexico dominated the film market in Latin America for most of the 1940s without competition from the United States film industry. During World War II movie production in Mexico tripled. The fact that Argentina and Spain had fascist governments made the Mexican movie industry the world's largest producer of Spanish-language films in the 1940. Although the Mexican government was reactionary, it encouraged the production of
films that would help articulate a true Mexican identity, in contrast to the view often seen in Hollywood movies.
The Golden Age of Mexican cinema took place during the 1940s and beyond. The most prominent actor during this period was Mario Moreno, better known as Cantinflas.
The film Ahí está el detalle in 1940 made Cantinflas a household name and he became known as the "Mexican Charlie Chaplin" . His films were ubiquitous in Spain and Latin America and influenced many contemporary actors. Not until the appearance of "Tin-Tan" in the late 1940s did his popularity wane.
Mexican actresses also were a focus in Mexican cinema. Sara García was the "grandmother of Mexico". Her career began with silent films in 1910, moved to theatre, and ultimately the film that made her
famous, No basta ser madre (It's Not Enough to be a Mother) in 1937. Dolores del Río, another dramatic actress, became well known after her Hollywood career in the 1930s and for her roles in a couple of films directed by Emilio Fernández.[9]
María Félix (well known as "La Doña", was a big star after her role in the movie Doña Barbara in 1943. She gained a higher popularity in European countries.
In 1943, the Mexican industry produced seventy films, the most for a Spanish speaking country. Two notable films released in 1943 by director Emilio Fernández were Flor silvestre (1942) and Maria Candelaria (1944), both films starring prestigious Hollywood actress Dolores del Río. The movies were triumphs for the director and for internationally acclaimed cinematographer, Gabriel Figueroa especially with Maria Candelaria winning the top prize at the Cannes Festival.
Other celebrated Fernández films were La perla (1945), Enamorada (1946), the American-Mexican production The Fugitive (1947, directed with John Ford), Río Escondido (1947), La Malquerida (1949) and Pueblerina (1949).
Viridiana was the second Mexican film winner of the Palme d'Or at the 1961 Cannes Film Festival.
In 1948 there was another "first" for Mexican cinema: The trilogy of Nosotros los pobres, Ustedes los ricos and Pepe el Toro, starring Mexican icons Pedro Infante and Evita Muñoz "Chachita" and directed by Ismael Rodríguez.The only other comedian with the same level of popularity as Cantinflas was German Valdez "Tin-Tan". Tin-Tan played a pachuco character appearing with a zoot suit in his films. Unlike Cantinflas, Tin-Tan never played as a pelado, but as a Mexican-American. He employed pachuco slang in many of his movies and frequently used Spanglish, a dialect that many Mexican residents disdained.
In the middle of the 1940s, the Spanish director Juan Orol started the production of films with Cuban and Mexican dancers. This cinematographic genre was named "Rumberas film", and was very popular with the Latin America audiences. The stars of
this exotic genre were Maria Antonieta Pons, Meche Barba, Ninón Sevilla, Amalia Aguilar and Rosa Carmina.
Other relevant films during these years include Espaldas mojadas (Wetbacks) by Alejandro Galindo, Aventurera a melodrama starred by Ninón Sevilla, Dos tipos de cuidado (1951), El Rebozo de Soledad (1952) and Los olvidados (The Young and the Damned) (1950), a story about impoverished children in Mexico City directed by the Mexican of Spanish ascendent director Luis Buñuel, a very important figure in the course of the Mexican Cinema of the 1940s and 1950s. Some of the most important Buñuel's films in his Mexican period are Subida al cielo (1952), Él (1953), Ensayo de un crimen (1955) and Nazarín (1958).The themes during those years, although mostly conventional comedies or dramas,
touched all aspects of Mexican society, from the 19th century dictator Porfirio Díaz and his court, to love stories always tainted by drama.1960s through 1980s
During the 1960s and 1970s many cult horror and action movies were produced with professional wrestler El Santo among others. Luis Buñuel released his last Mexican films: El ángel exterminador (1962) and Simón del desierto (1965).
A poster for El Ángel Exterminador (1962), by Luis Buñuel.
In the late 1960s and early 1970s flourished the work of notable Mexican young directors: Arturo Ripstein (El castillo de la pureza-1972; El lugar sin límites-1977), Luis Alcoriza (Tarahumara-1965; Fé, Esperanza y Caridad-1973), Felipe Cazals (Las poquianchis-1976-; El Apando -1976-), Jorge Fons (los cachorros -1973-; Rojo Amanecer -1989-), Paul Leduc ( Reed, Mexico insurgente -1972-; Frida, Naturaleza Viva ), Alejandro Jodorowski ( El topo -1972- ; Santa Sangre -1989-), the Chilean Miguel Littin (Letters from Marusia -1976-), Jaime Humberto Hermosillo (La pasión según Berenice-1972-; Doña Herlinda y su hijo -1984-) and many others. His films represented to Mexico in notable international film festivals. American directors as John Huston realized some Mexican-English language films (Under the Volcano -1984-).
What is now Videocine was established in
1979 as Televicine by Emilio Azcarraga Milmo, whose family founded Televisa, with which Videocine is co-owned. The company became the largest producer and distributor of theatrical movies in Mexico and remains as such today. By the time of Videocine's establishment, it had become the norm for a Mexican movie to reach its largest post-theatrical audience through television carriage rights with any of the Televisa networks.
The 1961 film The Important Man original title (Animas Trujano) film was nominated for the Academy Award for Best Foreign Language Film and a Golden Globe Award for Best Foreign Language Film in 1962. The 1965 film Always Further On won the FIPRESCI Prize at the 1965 Cannes Film Festival.[11] The film was also selected as the Mexican entry for the Best Foreign Language Film at the 38th Academy Awards, but was not accepted as a
nominee.[13] Some films nominated for the Academy Award for Best Foreign Language Films of the time are the 1960 Macario, 1962 The Pearl of Tlayucan original title (Tlayucan), 1975 Letters from Marusia original title (Actas de Marusia).
Fin aquí
El Centenario del cine en mexicano From REALIDADES 2 page 318
To celebrate two events in 2015: the 50th anniversary of the independence of Singapore and the 40th anniversary of Mexico and Singapore bilateral relations, the Embassy of Mexico presents a selection of 12 Mexican films.
The films are selected from various genres, ranging from history, and drama, to thriller and comedy. 100 Years of Mexican Cinema will let filmgoers reacquaint themselves with celebrities such as Salma Hayek in Midaq Alley, Gael Garcia
Bernal in Love’s a B*tch, Karla Souza in The Noble Family, as well as artists and directors from the Golden Age of Mexican Cinema, like Maria Felix, Dolores del Rio and Pedro Armendariz in Emilio Fernandez’s productions A Woman In Love and Maria Candelaria.
The screenings are free on a first come first served basis.
Lesson plans for
Mr. J Capaldo-Masi
Block I and Block II
SPANISH III honors
What is the Home JournalHOME JOURNAL:
Every night -at least five (5) minutes
(0r more …..if needed) to create you own lesson using the
Lesson of the day in class as your guide (grammar verbs….)
Must be professional, clean and neat. Easy to read
La Gramática 6B
Direct Object Pronouns: Part I
What is the Home Journal?La Carta de Hoy:
1.LAS OBRAS fecha, tiempo, verbos, frases....2.Vocabulario de 6B3.La Leccíon4.Video 6B5. Gramactiva del libro
Verbos que toman - cumplimentos indirectes6.Present Perfect Tense7.VIDEO El Mosquito8. Comprendiste Realidades 2 Página 3239. Manos a la obra página 324 Actividad 4
¿En qué película ...........? (usen pàgines 320-321)
The object that directly receives the action of the verb is called the direct object.Bill hit the ball."Ball" receives the action of the verb "hit."Sherry reads the book."Book" receives the action of the verb "reads."
The direct object can also be a person.Sherry hit Bill.(DO=Bill)
The direct object answers the question "what?" or "whom?" with regard to what the subject of the sentence is doing.Bill hit the ball.Bill hit what?Bill hit the ball.Sherry hit Bill.Sherry hit whom?Sherry hit Bill.
Often, it is desirable to replace the name of the direct object with a pronoun.Example 1Paul bought the flowers. He took the flowers home and gave the flowers to his wife.Example 2Paul bought the flowers. He took them home and gave them to his wife.
When the pronoun replaces the name of the direct object, use the following pronouns:me (me)te (you-familiar)lo, la (him, her, it, you-formal)nos (us)os (you-all-familiar)los, las (them, you-all-formal)
In an affirmative statement with one verb, the direct object pronoun comes immediately before the conjugated verb.Tengo = I haveTengo la pluma. = I have the pen.La tengo. = I have it.The pronoun (la) comes immediately before the verb (tengo).
Notice that if the subject of the sentence changes, this does not affect the direct object pronoun.Juan la tiene.Juan tiene = John hasJuan tiene la pluma. = John has the pen.Juan la tiene. = John has it.andMaría la tiene.María tiene = Mary hasMaría tiene la pluma. = Mary has the pen.María la tiene. = Mary has it.
However, if the direct object of the sentence changes to a masculine noun, the masculine pronoun must be used.Juan lo tiene.Juan tiene = John hasJuan tiene el libro. = John has the book.Juan lo tiene. = John has it.butJuan la tiene.Juan tiene = John hasJuan tiene la pluma. = John has the pen.Juan la tiene. = John has it.
Likewise, if the direct object of the sentence changes from singular to plural, the plural pronoun must be used.Juan lo tiene.Juan tiene = John hasJuan tiene el libro. = John has the book.Juan lo tiene. = John has it.butMaría los tiene.María tiene = Mary hasMaría tiene los libros. = Mary has the books.María los tiene. = Mary has them.
Look at how Spanish and English are different."Lo tengo" and "La tengo" BOTH mean "I have it."Differences:1 "It" has two forms in Spanish: lo, la2 "Tengo" one word in Spanish = two words in English (I have)3 The word order is different. In Spanish, the pronoun (lo, la) comes before the verb; in
English, the pronoun (it) comes after the verb.
When you try to translate literally from English to Spanish, sometimes it works very well:John eats the soup.John = JuanJohn eats = Juan comeJohn eats the = Juan come laJohn eats the soup = Juan come la sopa.
Other times, direct translation doesn't work so well:I eat the soup.I = YoI eat = Yo comoI eat the = Yo como laI eat the soup = Yo como la sopa.Because "como" means "I eat," the word "yo" is redundant. A better translation might be:I eat the soup.Como la sopa.
Sometimes, when you try to translate literally, you run into much bigger problems:I eat it. (the soup - la sopa)I = YoI eat = Yo comoI eat it. = Yo como la.This is completely incorrect!The correct translation would be:I eat it. (the soup)La como.
As you can see, directly translating sentences with direct object pronouns doesn't work, so ... don't do it! There is a better, easier way.
Learn to translate groups of words, rather than individual words. The first step is to learn to view two Spanish words as a single phrase.Try to think of each line as a single phrase, not two separate words:la como
lo comola leo lo leola veolo veola tengolo tengola comprolo compro
Read each line again. Before you do, glance at the translation beneath it. Then, read each line thinking of it as a phrase that has the same meaning as the English phrase below it.la comoI eat it (feminine DO - la sopa, la comida, etc.)lo comoI eat it (masculine DO - el pollo, el arroz, etc.)la leoI read itlo leoI read itla veoI see itlo veoI see itla tengoI have itlo tengoI have itla comproI buy itlo comproI buy it
In the previous examples, it is clear that the subject of the sentence is "I" because the verbs are all conjugated in the "yo" form. With other verb forms, it is often desirable to add a word to clarify the subject.Juan la come. (la comida)Juan eats it.María lo tiene. (el libro)María has it.El chico la compra. (la pluma)The boy buys it.La chica lo ve. (el edificio)The girl sees it.
Ustedes lo leen. (el periódico)You-all read it.
Now, some examples of plural direct objects.Juan come dos sándwiches.Los come. or Juan los come.María tiene tres libros.Los tiene. or María los tiene.El chico compra dos revistas.Las compra. or El chico las compra.La chica ve dos coches.Los ve. or La chica los ve.Ella compra dos televisores.Los compra. or Ella los compra.Tenemos dos mesas.Las tenemos. or Nosotros las tenemos.
Now, some examples where the direct object is a person.I know you.Te conozco.She loves him.Ella lo ama.She loves me.Ella me ama.Juan sees her.Juan la ve.They call us.Ellos nos llaman.We call them.Los llamamos.
Indirect Object Pronouns: Part I
The indirect object (IO) tells us where the direct object (DO) is going.He gives the book to María.DO=BookWhere is the book going?To María.IO=María
He gives María the book.DO=BookWhere is the book going?To María.IO=María
The indirect object answers the question "To whom?" or "For whom?" the action of the verb is performed.He gives María the book.To whom does he give the book?To María.IO=MaríaHe buys me flowers.For whom does he buy the flowers?For me.IO=me
Sentences that have an indirect object usually also have a direct object. Remember, the IO tells us where the DO is going. Notice how the sentences below just wouldn't work without a direct object.He gives María . . .the book, the pen, the diamond, etc.He buys me . . .flowers, candy, an ironing board, etc.
Sometimes the direct object is not stated; rather it is implied, or understood.My mother writes me every week.DO=letter (understood)IO=me(My mother writes me a letter every week.)She told him.DO=it (understood)IO=him(She told it to him.)
To identify the indirect object use our two guidelines:
4 The IO tells us where the DO is going.5 The IO answers the question "to whom?" or "for whom" the action of the verb is
performed.
When a pronoun takes the place of the name of the indirect object, use the following pronouns:me (me)te (you-familiar)le (him, her, you-formal)nos (us)os (you-all-familiar)les (them, you-all-formal)
In an affirmative statement with one verb, the indirect object pronoun comes immediately before the conjugated verb.Juan me compra un regalo.John buys me a gift.John buys a gift for me.Juan te compra un regalo.John buys you a gift.John buys a gift for you.Juan le compra un regalo.John buys her a gift.John buys a gift for her.Juan nos compra un regalo.John buys us a gift.John buys a gift for us.Juan os compra un regalo.John buys you-all (familiar) a gift.John buys a gift for you-all.Juan les compra un regalo.John buys them a gift.John buys a gift for them.
Now, focus in on one part of each of the previous examples:Juan me compra un regalo.John buys (for) me a gift.Juan te compra un regalo.John buys (for) you a gift.Juan le compra un regalo.John buys (for) her a gift.Juan nos compra un regalo.John buys (for) us a gift.Juan os compra un regalo.
John buys (for) you-all (familiar) a gift.Juan les compra un regalo.John buys (for) them a gift.
Let's extract the IO phrase and its English equivalent:me comprabuys (for) mete comprabuys (for) youle comprabuys (for) hernos comprabuys (for) usos comprabuys (for) you-allles comprabuys (for) them
Just like with the direct object, the indirect object presents a problem if one tries to translate word-for-word:Juan me compra un regalo.John for me he buys a gift.
The key to learning to use the indirect object pronouns is the same as the key for direct object pronouns. You must learn to think in phrases, not words. The phrases consist of a pronoun and a conjugated verb. In the following examples, note that the IO remains the same, while the subject of the phrase changes.me comprahe buys meme compranthey buy meme comprasyou buy me
The IO pronouns le and les present a special problem because they are ambiguous. That is, they can stand for different things.leto (for) himto (for) herto (for) you-formallesto (for) themto (for) you-all-formal
The following sentences, while grammatically correct, are ambiguous:Ella le escribe una carta.Ella les escribe una carta.Out of context, there is no way we can know the meaning.Ella le escribe una carta.She writes him a letter.She writes her a letter.She writes you (formal) a letter.Ella les escribe una carta.She writes them a letter.She writes you-all (formal) a letter.
Since le and les can mean more than one thing, a prepositional phrase is often added to remove the ambiguity.Ella le escribe a Juan una carta.Ella le escribe a su hermana una carta.Ella le escribe a usted una carta.Ella les escribe a sus padres una carta.Ella les escribe a ustedes una carta.
Sometimes a prepositional phrase is added not for clarity, but rather for emphasis.Juan me da a mí el dinero.John gives me the money.(emphasizing that the money is given to me and not to someone else)Juan te da a ti el dinero.John gives you the money. (emphasis on you)
There is no ambiguity in the following sentence. It can only mean one thing.Juan me da el dinero.John gives me the money.The addition of a prepositional phrase merely adds emphasis.Juan me da a mí el dinero.John gives me the money.
Let's sum up the important points of this lesson:• The IO tells us where the DO is going.• The IO answers the question "to whom" or "for whom."• Sentences that have an IO usually also have a DO• Sometimes the DO is not stated, but rather is implied, or understood.• The IO pronouns are: me, te, le, nos, os, les.• Place the pronoun before the conjugated verb.• Think in phrases, do not translate word-for-word.• Le and les are ambiguous.
• Prepositional phrases are often used for clarity and for emphasis.
Direct and Indirect Object Pronouns Used Together
Here are the direct object pronouns and the indirect object pronouns side by side:
DO Pronouns
IO Pronouns English Equivalent
me me me
te te you (familiar)
lo, la le him, her, it, you (formal)
nos nos us
os os you-all (familiar)
los, las les them, you-all (formal)
When you have both a direct object pronoun and an indirect object pronoun in the same sentence, the indirect object pronoun comes first.Ellos me los dan.They give them to me.IO pronoun: me
DO pronoun: losElla te la vende.She sells it to you.IO pronoun: teDO pronoun: la
Whenever both pronouns begin with the letter "l" change the first pronoun to "se."le lo = se lole la = se lale los = se losle las = se lasles lo = se loles la = se lales los = se losles las = se las
The reason for changing "le lo" to "se lo" is merely to avoid the tongue-twisting effect of two short consecutive words that begin with the letter "l". To demonstrate this, first quickly say "les las" and then quickly say "se las." See how much easier it is to say "se las?"
In negative sentences, the negative word comes directly before the first pronoun.No se lo tengo.I don't have it for you.Nunca se los compro.I never buy them for her.
Because the pronoun se can have so many meanings, it is often helpful to clarify it by using a prepositional phrase.Él se lo dice.Ambiguous. He tells it to (whom?).Él se lo dice a Juan.He tells it to him. (to Juan)Él se lo dice a María.He tells it to her. (to María)Él se lo dice a ella.He tells it to her.
In sentences with two verbs, there are two options regarding the placement of the pronouns. Place them immediately before the conjugated verb or attach them directly to the infinitive.She should explain it to me.Ella me lo debe explicar.
Ella debe explicármelo.I want to tell it to you.Te lo quiero decir.Quiero decírtelo.You need to send it to them.Se la necesitas enviar a ellos.Necesitas enviársela a ellos.Note that when attaching the pronouns to the infinitive, a written accent is also added to the final syllable of the infinitive. This preserves the sound of the infinitive.
When the pronouns are attached to the infinitive, make the sentence negative by placing the negative word directly before the conjugated verb.Ella debe explicármelo.Ella no debe explicármelo.Quiero decírtelo.No quiero decírtelo.Necesitas enviársela a ellos.No necesitas enviársela a ellos.
When the pronouns come before the conjugated verb, make the sentence negative by placing the negative word directly before the pronouns.Ella me lo debe explicar.Ella no me lo debe explicar.Te lo quiero decir.No te lo quiero decir.Se la necesitas enviar a ellos.No se la necesitas enviar a ellos.
More on double object pronouns
When both the direct object pronoun and the indirect pronoun appear in the same sentence
Spanish direct & indirect object pronouns
Now that you’ve learned about direct and indirect object pronouns, what happens if you want to use them together?
The sentences that follow are examples of both object pronouns being used together. The direct object is in bold, while the indirect object is underlined.
• Does Hector give them to you? - ¿Te los da Héctor?• They ask us for it. - Ellos nos lo piden.• I need to give it to him tomorrow. - Necesito dárselo mañana.
To refresh your memory, the direct and indirect object pronouns that you will use in combination are as follows:Indirect object pronouns Direct object pronouns
me
te
se (this is le normally) lo, la
nos
os
se (this is les normally) los, las
When you combine the direct and indirect object pronouns in a sentence, you have two options.
• You can put the indirect object pronoun, followed by the direct object pronoun, as two separate words before the verb.
- such as, “Te lo voy a dar.” I’m going to give it to you.
• You can attach the indirect object pronoun and the direct object pronoun onto the end of an infinitive.
- such as, “Voy a dártelo.” I’m going to give it to you.
(Note that you must add an accent on the infinitive ending to preserve the correct pronunciation.)
Which Object Comes First?
In English, you can switch the order of the direct and indirect objects. For example:
• I will give it to him. or I will give him it.• Hector gave them to you. or Hector gave you them.
In Spanish, on the other hand, the indirect object pronoun will ALWAYS come before the direct object pronoun.
Por ejemplo:
Mi profesor me enseña hablar español.
Why Does ‘Le’ Change to ‘Se’?As with so many irregularities in the Spanish language, the change of the indirect object pronoun in the third person makes pronunciation easier.
• Try saying, “Le lo voy a dar.”
• Now, try saying, “Se lo voy a dar.” I’m going to give it to him.
• Can you hear why le changes to se?
To Whom? Clarifying “Se”
The word “se” can refer to any number of indirect pronouns: him, her, it, them, you…. Just as it is recommended to add a clarification after “le,” if your audience does not know to whom you are referring, it is also recommended to add a clarification after the use of “se” if the indirect object is not clear.
Objects of the preposition…
To do so, use “se” as you normally would, then append one of the following to the end
of your sentence:
• a Ud.• a él• a ella• a Uds.• a ellos• a ellas
Por ejemplo:
To whom do we serve the food?
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To whom does he show the house?
He shows it to them.To whom do we explain the jokes?
We explain them to you.
The Present Perfect TenseThe present perfect is formed by combining the auxiliary verb "has" or "have" with the past participle.I have studied.
He has written a letter to María.
We have been stranded for six days.
Because the present perfect is a compound tense, two verbs are required: the main verb and the auxiliary verb.
I have studied.(main verb: studied ; auxiliary verb: have)
He has written a letter to María.
(main verb: written ; auxiliary verb: has)
We have been stranded for six days.(main verb: been ; auxiliary verb: have)
In Spanish, the present perfect tense is formed by using the present tense of the auxiliary verb "haber" with the past participle. Haber is conjugated as follows:
hehashahemoshabéishan
You have already learned in a previous lesson that the past participle is formed by dropping the infinitive ending and adding either -ado or -ido. Remember, some past participles are irregular.
The following examples all use the past participle for the verb "comer."
(yo) He comido.I have eaten.
(tú) Has comido.You have eaten.
(él) Ha comido.He has eaten.
(nosotros) Hemos comido.We have eaten.(vosotros) Habéis comido.You-all have eaten.
(ellos) Han comido.They have eaten.
For a review of the formation of the past participle [click here].
When you studied the past participle, you practiced using it as an adjective. When used as an adjective, the past participle changes to agree with the noun it modifies. However, when used in the perfect tenses, the past participle never changes.
Past participle used as an adjective:
La cuenta está pagada.The bill is paid.
Past participle used in the present perfect tense:
He pagado la cuenta.I have paid the bill.
Here's a couple of more examples:
Past participle used as an adjective:
Las cuentas están pagadas.The bills are paid.
Past participle used in the present perfect tense:Juan ha pagado las cuentas.Juan has paid the bills.Note that when used to form the present perfect tense, only the base form (pagado) is used.
Let's look more carefully at the last example:Juan ha pagado las cuentas.
Juan has paid the bills.
Notice that we use "ha" to agree with "Juan". We do NOT use "han" to agree with "cuentas." The auxiliary verb is conjugated for the subject of the sentence, not the object. Compare these two examples:
Juan ha pagado las cuentas.Juan has paid the bills.
Juan y María han viajado a España.Juan and Maria have traveled to Spain.
In the first example, we use "ha" because the subject of the sentence is "Juan." In the second example, we use "han" because the subject of the sentence is "Juan y María."
The present perfect tense is frequently used for past actions that continue into the present, or continue to affect the present.
He estado dos semanas en Madrid.I have been in Madrid for two weeks.
Diego ha sido mi amigo por veinte años.Diego has been my friend for 20 years.
The present perfect tense is often used with the adverb
"ya".Ya han comido.They have already eaten.
La empleada ya ha limpiado la casa.The maid has already cleaned the house.
The auxiliary verb and the past participle are never separated. To make the sentence negative, add the word "no" before the conjugated form of haber.
(yo) No he comido.I have not eaten.
(tú) No has comido.You have not eaten.
(él) No ha comido.He has not eaten.
(nosotros) No hemos comido.We have not eaten.
(vosotros) No habéis comido.You-all have not eaten.
(ellos) No han comido.They have not eaten.
Again, the auxiliary verb and the past participle are never separated. Object pronouns are placed immediately before the auxiliary verb.
Pablo le ha dado mucho dinero a su hermana.Pablo has given a lot of money to his sister.
To make this sentence negative, the word "no" is placed before the indirect object pronoun (le).
Pablo no le ha dado mucho dinero a su hermana.Pablo has not given a lot of money to his sister.
With reflexive verbs, the reflexive pronoun is placed immediatedly before the auxiliary verb. Compare how the present perfect differs from the simple present, when a reflexive verb is used.
Me cepillo los dientes. (present)I brush my teeth.
Me he cepillado los dientes. (present perfect)I have brushed my teeth.
To make this sentence negative, the word "no" is placed before the reflexive pronoun (me).
No me he cepillado los dientes.I have not brushed my teeth.
Questions are formed as follows. Note how the word order is different than the English equivalent.
¿Han salido ya las mujeres?Have the women left yet?
¿Has probado el chocolate alguna vez?Have you ever tried chocolate?
Here are the same sentences in negative form. Notice how the auxiliary verb and the past participle are not separated.
¿No han salido ya las mujeres?Haven't the women left yet?
¿No has probado el chocolate ninguna vez?Haven't you ever tried chocolate?
Present Perfect
haber + past participlehe hablado, he comido, he vivido
hehashahemoshabéishan
FIN
