Arturo Ripstein y Rosen (born December 13, 1943) is a Mexican film director and screenwriter . Considered the "Godfather of independent Mexican cinema", Ripstein's work is generally characterized by "somber, slow-paced, macabre melodramas tackling existential loneliness", often with a grotesque-like edge.
20-655: He is a nine-time Ariel Award winner, including five for Best Picture and two for Best Director . Three of his films have been nominated for the Palme d'Or at the Cannes Film Festival . In 1997, he received the prestigious National Prize for Arts and Sciences for his contributions to Mexican cinema. He was the second filmmaker (after Luis Buñuel ) to receive that honour. Ripstein was born in Mexico City on 13 December 1943, to producer Alfredo Ripstein and Frida Rosen. He
40-486: A hint of pathos and dignity. Así es la vida , according to Jonathan Crow, "boldly reworks the ancient Greek drama Medea, employing a dizzying array of flashbacks and Brechtian devices". Deep Crimson , according to the New York Times , is "a ferociously anti-romantic portrait of an obese nurse and a seedy small-time gigolo whose bungling scheme to swindle a succession of lonely women out of their life savings turns into
60-497: A killing spree." In 1997, Ripstein won the National Prize of Arts and Sciences , the second filmmaker after Buñuel to do so. Ripstein is married to screenwriter Paz Alicia Garciadiego , with whom he has two children. In 2003, the two received honorary Spanish citizenship. Ariel Award The Ariel Award ( Spanish : Premio Ariel ) is an award that recognizes the best of Mexican cinema. Given annually, since 1946, by
80-410: A sense of beauty, and most important, both realms recognize the significance of devoting oneself to an activity of the mind. Art is then a form of learning that finds and enriches the spirit and negates utilitarianism. Rodó denounced pragmatic utilitarianism , i.e. the philosophical movement that considered utility as the way to bring the most happiness to all those affected by it: “the name Ariel means
100-542: A tradition of making independent films written by high-profile Latin-American authors. His 1981 film Seduction was entered into the 12th Moscow International Film Festival . His 1989 film Love Lies was entered into the 16th Moscow International Film Festival . Some of Ripstein's films, especially the earlier ones, "highlighted characters beset by futile compulsions to escape [their] destinies". Many of his films are shot in tawdry interiors, with bleak brown color schemes, and seedy pathetic characters who manage to achieve
120-414: Is a strong statement, and Rodó justifies it by clarifying that because democratic societies give power to the masses, whom he deems less capable of making good decisions; but he is not against democracy but rather shows many ways in which its weak points can be strengthened, pointing for instance at the importance of the most capable educating the rest of society to pull the average upwards instead of letting
140-587: Is of Polish Jewish descent. He developed an interest in filmmaking from a young age due to his family's proximity, and made short films as a teenager. He met Luis Buñuel after seeing Nazarín , and they developed a close mentor-student relationship that lasted until Bunuel's death. After working as Bunuel's uncredited assistant director on The Exterminating Angel (1962), Ripstein got his break into movies working learning from Luis Buñuel . In 1965, he directed Tiempo de morir , his first feature. Written by Carlos Fuentes and Gabriel García Márquez , it began
160-835: Is the reflex: the poet inspired by nature [Rodó, José Enrique. (1899). La Vida Nueva II. Rubén Darío. Su personalidad. Su última obra. Montevideo: Imprenta de Dornaleche y Reyes]. His thought reflects on history, when the United States was growing in the Western Hemisphere, especially in Latin America early in the 20th Century. Rodó echoes the importance of regional identity and how it should be rooted deeply into every country. However, to create and maintain regional identity proves difficult at times due to outside cultural and economic influence. There were many examples in Rodó's immediate past, mainly
180-566: The Mexican Academy of Cinematographic Arts and Sciences (AMACC), the award recognizes artistical and technical excellence in the Mexican film industry . The purpose of the Ariel recognition is to stimulate and increase the excellence of Mexican cinema, favor the growth of the industry, and promote the meeting and strengthening of the national film community. It is regarded as the most prestigious award in
200-532: The Montevideo park named after him. For more than a century now, Ariel has been an extraordinarily influential and enduring essay in Latin American letters and culture due to a combination of specific cultural, literary, and political circumstances, as well as for its adherence to Classical values and its denunciation of utilitarianism and what Rodó called " nordomanía " (explained below). Ariel belongs to
220-673: The Mexican film industry and considered Mexico's equivalent to the Oscars of the United States . The statuette is in the image of a man and it was designed by the sculptor Ignacio Asúnsolo . The original statuette is currently found inside Churubusco Studios in Mexico City . The name "Ariel" was inspired by a series of short writings called El Ariel by Uruguayan writer José Enrique Rodó that inspired generations of young Latin Americans in
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#1733202932461240-465: The affirming of an idealist sense of life against the limitations of utilitarianism”. He furthers his argument by stating that utilitarianism causes certain individuals to become specialized in very specific fields and as an effect of such specialization, they end up receiving an incomplete, deformed education. Rodó argues that due to specialization, an individual could be a genius in one aspect of life and completely inept in another. Rodó describes this as
260-569: The first decades of the 20th century. Jos%C3%A9 Enrique Rod%C3%B3 José Enrique Camilo Rodó Piñeyro (15 July 1871 – 1 May 1917) was a Uruguayan essayist. He cultivated an epistolary relationship with important Hispanic thinkers of that time, Leopoldo Alas (Clarín) in Spain, José de la Riva-Agüero in Peru, and, most importantly, with Rubén Darío , the most influential Latin American poet to date,
280-404: The founder of modernismo . As a result of his refined prose style and the modernista ideology he pushed, Rodó is today considered the preeminent theorist of the modernista school of literature. Rodó is best known for his essay Ariel (1900), drawn from The Tempest , in which Ariel represents the positive, and Caliban represents the negative tendencies in human nature, and they debate
300-403: The future course of history, in what Rodó intended to be a secular sermon to Latin American youth, championing the cause of the classical western tradition. What Rodó was afraid of was the debilitating effect of working individuals' limited existence doing the same work, over and over again, never having time to develop the spirit. Among Uruguayan youth, however, he is best known for Parque Rodó ,
320-761: The movement known as modernismo , characterized by its elegance, artistic prose, and worldly references and allusions. Even though it is an essay, its ideas are expressed through Prospero's narrative voice. Prospero, the teacher, and Ariel are references to the characters in William Shakespeare's The Tempest , and the use of their names is an example of modernismo's desire for cosmopolitism. In Ariel , Prospero's seminar includes both famous and lesser-known European authors. He makes frequent reference to Goethe , Gaston Deschamps , St. Francis of Assisi , Schiller , and Guyau . Prospero also focuses on locations such as Ancient Greece, and he emphasizes Hellenic beauty as
340-409: The mutilation of the person, because without a general understanding of life through knowledge, the person is no longer complete. The specialization of jobs causes societies to become underdeveloped as opposed to evolving towards maturity. It is this specialization that causes societies to arrive at mediocrity, and as Rodó informs us, another culprit of mediocrity is democracy as it is applied today. This
360-434: The only ideal worthy of imitation. Rodó uses Ariel as a metaphor that symbolizes beauty, the spirit, and that which is good. The opposite of Ariel is the utilitarian, symbolized by Caliban, and he cites positivismo and nordomanía as two reasons why this movement has gained popularity. Ariel is structurally based on binary opposition, and the figures of Ariel and Caliban are diametrically opposed. In Ariel , Rodó surveys
380-572: The situation Latin America was facing at the end of the 19th century. He points out that utilitarianism relies on specialization and materialism, and that consequently, the wealth of our minds is affected. Such practice can and will affect the spirit. In order for Latin America to revive its spirit, Rodó proposed strict adherence to the aesthetic ideals of the Greek and the Roman cultures. He believed both of these embody
400-485: The trend be the opposite. Rodó warns against " nordomanía ," or the attraction of North America, and yankee materialism. However, this is only a hegemonical trend in the Nordamerica -compárese con nordomanía - because, as tell us Rodó, in his essay Rubén Darío. His literary personality. His last work , one of the manners to be with an original style, in agreement to the homeland, is the refractive from Whitman. The other
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