Televisión Española is the national state-owned public-service television broadcaster in Spain. TVE belongs to the RTVE Corporation which has overall responsibility for national public-service radio and television under a Parliament-appointed General Manager who, as well as being answerable to a Board of Directors, reports to an all-party committee of the national parliament, as provided for in the Public Radio and Television Law of 2006. TVE's activities were financed by a combination of advertising revenue and subsidies from the national government, but since January 2010 it has been supported by subsidies only. Both the international channel and La 1 have regular news-bulletins marketed under the Telediario name. La 1 broadcasts regional news bulletins at 14:00. La 2 has its own national news bulletin, "La 2 Noticias", which began as an original nightly news bulletin in the late 1980s but it was turned into a breakfast news-programme in the mid-1990s and was revamped as a nightly news bulletin, reverting to its original timeslot at 22:00.
In 2015, La 2 Noticias moved to a timeslot, 01:05. In addition, various regions have their own regional newscasts which may either supplement or replace Telediario in those regions. Examples include: TVE Andalucía: Noticias de Andalucía - since 1970 TVE Aragón: Noticias de Aragón - since 1979 TVE Asturias: Panorama regional - since 1974 TVE Baleares: Informatiu Balear - since 1979 TVE Canarias: Telecanarias - since 1971 TVE Cantabria: Telecantabria - since 1984 TVE Castilla-La Mancha: Noticias de Castilla-La Mancha - since 1989 TVE Castilla y León: Noticias de Castilla y León - since 1982 TVE Catalunya: L'informatiu - since 1977 TVE Ceuta: Noticias de Ceuta TVE Comunitat Valenciana: L'informatiu-Comunitat Valenciana - since 1971 TVE Extremadura: Noticias de Extremadura - since 1989 TVE Galicia: Telexornal-Galicia - since 1971 TVE La Rioja: Informativo La Rioja / Telerioja - since 1986 TVE Madrid: Informativo de Madrid TVE Melilla: Noticias de Melilla TVE Murcia: Noticias de Murcia - since 1982 TVE Navarra: Telenavarra - since 1981 TVE País Vasco: Telenorte - since 1971 Official Site
Badajoz is the capital of the Province of Badajoz in the autonomous community of Extremadura, Spain. It is situated close to the Portuguese border, on the left bank of the river Guadiana; the population in 2011 was 151,565. Conquered by the Moors in the 8th century, Badajoz became a Moorish kingdom, the Taifa of Badajoz. After the reconquista, the area was disputed between Spain and Portugal for several centuries with alternating control resulting in several wars including the Spanish War of Succession, the Peninsular War, the Storming of Badajoz, the Spanish Civil War. Spanish history is reflected in the town. Badajoz is the see of the Roman Catholic Archdiocese of Mérida-Badajoz. Prior to the merger of the Diocese of Mérida and the Diocese of Badajoz, Badajoz was the see of the Diocese of Badajoz from the bishopric's inception in 1255; the city has a degree of eminence, crowned as it is by the ruins of a Moorish castle and overlooking the Guadiana river, which flows between the castle-hill and the powerfully armed fort of San Cristobal.
The architecture of Badajoz is indicative of its tempestuous history. Badajoz is home to the CD Badajoz and AD Cerro de Reyes football clubs and the AB Pacense basketball club, it is served by Badajoz Railway Badajoz Airport. Archaeological finds unearthed. Megalithic tombs are dated as far back as 4000 BC, while many of the steles found are from the Late Bronze Age. Other finds include weapons such as axes and swords, everyday items of pottery and utensils, various items of jewellery such as bracelets. Archaeological excavations have revealed remnants from the Lower Paleolithic period. Artifacts have been found at the Roman town of Colonia Civitas Pacensis in the Badajoz area, although a significant number of larger artifacts were found in Mérida. With the invasion of the Romans, which started in 218 BC during the Second Punic War and Extremadura became part of the administrative district called Hispania Ulterior, divided by Emperor Augustus into Hispania Ulterior Baetica and Hispania Ulterior Lusitania.
Though the settlement is not mentioned in Roman history, Roman villas such as the La Cocosa Villa have been discovered in the area, while Visigothic constructions have been found in the vicinity. Badajoz attained importance during the reign of Moorish rulers such as the Umayyad caliphs of Córdoba, the Almoravids and Almohads of North Africa. From the 8th century, the Umayyad dynasty controlled the region until the early 11th century; the official foundation of Badajoz was laid by the Muladi nobleman Ibn Marwan, around 875, after he had been expelled from Mérida. Under Ibn Marwan, the city was the seat of an effective autonomous rebel state, quenched only in the 10th century. In 1021, it became the capital of the Taifa of Badajoz. Badajoz was known as Baṭalyaws during Muslim rule; the invasion of Badajoz by Christian rulers in 1086 under Alfonso VI of Castile, overturned the rule of the Moors. In addition to an invasion by the Almoravids of Morocco in 1067, Badajoz was invaded by the Almohads in 1147.
Badajoz was captured by Alfonso IX of León on 19 March 1230. Shortly after its conquest, in the time of Alfonso X the Wise of Castile, a bishopric see was established and work was initiated on the Cathedral of San Juan Bautista. In 1336, during the reign of Alfonso XI of Castile, the troops of King Afonso IV of Portugal besieged the city. However, soon afterwards, the Castilian-Leonese troops, which included Pedro Ponce de León the Elder and Juan Alonso Pérez de Guzmán y Coronel, second lord of Sanlúcar de Barrameda and son of Alonso Pérez de Guzmán, defeated the troops of Alfonso IV in the Battle of Villanueva de Barcarrota, their victory forced the king of Portugal to desert the city and it fell into neglect. In medieval times, the Sánchez de Badajoz family dominated the area as the lords of Barcarrota, near Badajoz, acquiring the property in 1369 when it was granted to Fernán Sánchez de Badajoz by Enrique II, they temporarily soon regained control. Fernán Sánchez's grandson of the same name, son of Garci Sánchez de Badajoz, was both lord of Barcarrota and Mayor of Badajoz in 1434.
Garci Sánchez de Badajoz his son, was a notable writer, one of his descendants, Diego Sánchez de Badajoz, was a notable playwright. The first hospital was founded in the town by Bishop Fray Pedro de Silva in 1485; those affected by the plague epidemic were treated here in 1506. During the 16th century the city experienced a cultural renaissance thanks to personalities such as the painter Luis de Morales, the composer Juan Vázquez, the humanist Rodrigo Dosma, the poet Joaquin Romero de Cepeda, the playwright Diego Sánchez de Badajoz, the Dominican mystic Fray Luis de Granada and architect Gaspar Méndez. In 1524, a board meeting between representatives of Spain and Portugal took place in the Old Town Hall in the city to clarify the status of their territorial arrangements, attended by Hernando Colón, Juan Vespucio, Sebastián Caboto, Juan Sebastián Elcano, Diego Ribeiro and Esteban Gómez. With reason to assert their rights to the Portuguese Crown, Philip II of Spain moved his court to Badajoz in August 1580.
Queen Anne of Austria died in the city two months and on 5 December 1580, Philip moved out of the city. From 1580 until 1640, as a result of the absence of war, the city flouri
Fernando León de Aranoa
Fernando León de Aranoa is a Spanish screenwriter and film director. He achieved acclaim with his film Mondays in the Sun. Since early childhood Fernando León de Aranoa wanted to become an artist, he had a passion for comics that led him to study art. It was while taking classes of Image, he studied literature and writing. He began winning awards for his narratives. Meanwhile, he had a job drawing for an advertising agency, but quit the job to pursue a career as a screenwriter. With help from his literature and writing teachers, he found a job writing scripts for television, he became involved in films for the first time as a screenwriter on three undistinguished films directed by Antonio del Real. León de Aranoa moved on to become a director, making the short film Sirenas which received a number of awards, his first feature film was Familia, for which he wrote the screenplay. For this film León de Aranoa was given the Goya Award for Best New Director, as well as the Audience Award and Special Mention from FIPRESCI at the Valladolid SEMINCI festival.
The screenplay was adapted into a theatrical play produced in several countries. In 1998 he directed Barrio, a portrait of the lives of three young teens in a slum. Thanks to this film, León de Aranoa received the Goya Awards for Best Director and Best Original Screenplay; the film was presented in the official section of the San Sebastian Festival, where León de Aranoa earned the Silver Shell for Best Director. The film received other major awards such as the FIPRESCI Prize, the Fotogramas de Plata Award for Best Spanish Film, the José María Forqué Prize, the Sant Jordi Award and the Turia Award. In 2002 he directed Mondays in the Sun, starring Javier Bardem, which became a major winner at the Goya Awards that year, winning five awards including Best Picture and Best Director; the film triumphed in the San Sebastian Film Festival, winning the Golden Shell for Best Film. The Spanish Academy of Arts and Cinematographic Sciences selected the film to represent Spain at the Oscars in the category of Best Foreign Language Film, although it ended up not being one of the five films nominated.
Princesses would be his fourth film as director and screenwriter, his debut as a producer after he created his own production company, Reposado. The film was seen by more than a million viewers, received three Goya Awards from the Spanish Academy of Cinema, for Best Actor, Best Actress and Best Original Song, composed by Manu Chao; the Ondas Awards gave Princesses its Film of the Year Best Film Actors Award. The film was part of the official selection of the Sundance Film Festival; as a documentary filmmaker León de Aranoa directed the Mexican film Walkers, which won festival awards in Havana, Los Angeles, New York City and Alcalá de Henares. In 2007 he took part in the documentary Invisibles directing the chapter entitled "Buenas Noches, Ouma"; this documentary featured the participation of the directors Mariano Barroso, Isabel Coixet, Wim Wenders and Javier Corcuera and was given the Goya Award for Best Documentary. In addition, in 1994 he collaborated in the direction of Izbieglize, in 2000 he wrote the script for the documentary The Back of the World.
In addition to writing his own films, León de Aranoa has worked as a screenwriter for other directors. He has published several short stories, he has worked as a cartoonist and illustrator. His film A Perfect Day was selected to be screened in the Directors' Fortnight section at the 2015 Cannes Film Festival. Familia Barrio Caminantes Mondays in the Sun Princesses Amador A Perfect Day Política, manual de instrucciones Escobar Fernando León de Aranoa on IMDb
Fernando Casado Arambillet, best known as Fernando Rey, was a Spanish film and television actor, who worked in both Europe and the United States. A suave, international actor best known for his roles in the films of surrealist director Luis Buñuel and as a drug lord in The French Connection, he appeared in more than 150 films over half a century; the debonair Rey was described by French Connection producer Philip D'Antoni as "the last of the Continental guys". He achieved his greatest fame after he turned 50: "Perhaps it is a pity that my success came so late in life", he told the Los Angeles Times. "It might have been better to have been successful, like El Cordobés in the bullring. Your life is all before you to enjoy it." Rey was born in A Coruña, the son of Captain Casado Veiga. He studied architecture, but the Spanish Civil War interrupted his university studies which led him to his success. In 1936, Rey began his career in films as an extra, sometimes getting credited, it was that he chose his stage name, Fernando Rey.
He kept his first name, but took his mother's second surname, Rey, a short surname with a clear meaning. In 1944, his first speaking role was the Duke of Alba in José López Rubio's Eugenia de Montijo. Four years he acted the part of Felipe I el Hermoso, King of Spain, in the Spanish cinema blockbuster Locura de amor; this was the start of a prolific career in film, radio and television. Rey was a great dubbing actor in Spanish television, his voice was considered intense and personal, he became the narrator of important Spanish movies including Luis García Berlanga's Bienvenido Mr. Marshall, Ladislao Vajda's Marcelino Pan y Vino, the 1992 re-dubbed version of Orson Welles' Don Quixote. In fact, Rey acted in four different film versions of Don Quixote in different roles, if one counts the Welles version, his brilliant performance in the role of a demotivated and doubtful actor in Juan Antonio Bardem's Cómicos, while showing him for the first time in a successful lead part, paradoxically, as he saw himself as the real incarnation of the role, plunged him in a professional depression, of which he did not emerge until his collaboration with Luis Buñuel several years later.
However, in the short term, Buñuel's disconcerting public remark on Rey's performance in another of Bardem's film, Sonatas, "I love how this actor plays a corpse", could only increase Rey's apprehensions. Rey became Buñuel's preferred actor and closest friend. Rey's first international performance was in The Night Heaven Fell a 1958 French-Italian film directed by Roger Vadim, where he acted alongside Stephen Boyd, Marina Vlady and Brigitte Bardot, he had played in an American TV series, It happens in Spain, the story of the exploits of a private detective, operating out in Spain, who helps distressed American tourists. In 1959, Rey co-starred with Steve Reeves and Christine Kaufmann in the Italian sword and sandal film The Last Days of Pompeii. In 1961 Rey played in a European Western, The Savage Guns, as the popularity of that genre increased during that decade appeared in some other movies, including the political The Price of Power, the bizarre cult classic Compañeros, two sequels of The Magnificent Seven, namely Return of the Seven and Guns of the Magnificent Seven.
It was his work with Orson Welles and Luis Buñuel during the 1960s and 1970s that made Rey internationally prominent. For Welles, Rey performed in Chimes at Midnight and The Immortal Story. Rey played memorably the French villain. Friedkin intended to cast Francisco Rabal as Charnier, but could not remember his name after seeing him in Luis Buñuel's Belle de jour. Rey was hired. Rey's English and French were not perfect, but Friedkin discovered that Rabal spoke neither of them, opted to keep Rey, who reprised the role in the less successful sequel, French Connection II. Along 1970s and 1980s Rey played in many international co-productions, some of his appearances being cameos; these films include Lewis Gilbert's The Adventurers, Mauro Bolognini's Drama of the Rich, Vincente Minnelli's A Matter of Time, Valerio Zurlini's The Desert of the Tartars, Robert Altman's Quintet, J. Lee Thompson's Caboblanco and Frank Perry's Monsignor. One of Rey's greater successes in these years was Elisa, vida mía, a 1977 Spanish drama film written and directed by Carlos Saura.
On his work in Stuart Rosenberg's Voyage of the Damned, Rey once said: "I played president Brú. They paid me a lot of money for less than six hours of shooting, in the Barcelona Stock Exchange building, with James Mason. I got more money than Orson Welles, who played a great role...". In years, Rey preferred to work in Spain, with successes as Francisco Regueiro's Padre Nuestro, José Luis Cuerda's El bosque animado and Jaime de Armiñán's
Supporting Roles is a 1989 Cuban drama film directed by Orlando Rojas. The film was selected as the Cuban entry for the Best Foreign Language Film at the 62nd Academy Awards, but was not accepted as a nominee. Rosa Fornes Juan Luis Galiardo Luisa Perez Nieto Ernesto Tapia List of submissions to the 62nd Academy Awards for Best Foreign Language Film List of Cuban submissions for the Academy Award for Best Foreign Language Film Supporting Roles on IMDb
Seville is the capital and largest city of the autonomous community of Andalusia and the province of Seville, Spain. It is situated on the plain of the river Guadalquivir; the inhabitants of the city are known as sevillanos or hispalenses, after the Roman name of the city, Hispalis. Seville has a municipal population of about 690,000 as of 2016, a metropolitan population of about 1.5 million, making it the fourth-largest city in Spain and the 30th most populous municipality in the European Union. Its Old Town, with an area of 4 square kilometres, contains three UNESCO World Heritage Sites: the Alcázar palace complex, the Cathedral and the General Archive of the Indies; the Seville harbour, located about 80 kilometres from the Atlantic Ocean, is the only river port in Spain. Seville is the hottest major metropolitan area in the geographical Southwestern Europe, with summer average high temperatures of above 35 °C. Seville was founded as the Roman city of Hispalis, it became known as Ishbiliyya after the Muslim conquest in 712.
During the Muslim rule in Spain, Seville came under the jurisdiction of the Caliphate of Córdoba before becoming the independent Taifa of Seville. After the discovery of the Americas, Seville became one of the economic centres of the Spanish Empire as its port monopolised the trans-oceanic trade and the Casa de Contratación wielded its power, opening a Golden Age of arts and literature. In 1519, Ferdinand Magellan departed from Seville for the first circumnavigation of the Earth. Coinciding with the Baroque period of European history, the 17th century in Seville represented the most brilliant flowering of the city's culture; the 20th century in Seville saw the tribulations of the Spanish Civil War, decisive cultural milestones such as the Ibero-American Exposition of 1929 and Expo'92, the city's election as the capital of the Autonomous Community of Andalusia. Hisbaal is the oldest name for Seville, it appears to have originated during the Phoenician colonisation of the Tartessian culture in south-western Iberia and it refers to the God Baal.
According to Manuel Pellicer Catalán, the ancient name was Spal, it meant "lowland" in the Phoenician language. During Roman rule, the name was Latinised as Hispal and as Hispalis. After the Umayyad invasion, this name was adapted into Arabic as Ishbiliyya: since p does not exist in Arabic, it was replaced by b. NO8DO is the official motto of Seville, popularly believed to be a rebus signifying the Spanish No me ha dejado, meaning "She has not abandoned me"; the phrase, pronounced with synalepha as, is spelled with an eight in the middle representing the word madeja "skein ". Legend states that the title was given by King Alfonso X, resident in the city's Alcázar and supported by the citizens when his son Sancho IV of Castile, tried to usurp the throne from him; the emblem is present on Seville's municipal flag, features on city property such as manhole covers, Christopher Columbus's tomb in the Cathedral. Seville is 2,200 years old; the passage of the various civilizations instrumental in its growth has left the city with a distinct personality, a large and well-preserved historical centre.
The mythological founder of the city is Hercules identified with the Phoenician god Melqart, who the myth says sailed through the Strait of Gibraltar to the Atlantic, founded trading posts at the current sites of Cádiz and of Seville. The original core of the city, in the neighbourhood of the present-day street, Cuesta del Rosario, dates to the 8th century BC, when Seville was on an island in the Guadalquivir. Archaeological excavations in 1999 found anthropic remains under the north wall of the Real Alcázar dating to the 8th–7th century BC; the town was called Hisbaal by the Phoenicians and by the Tartessians, the indigenous pre-Roman Iberian people of Tartessos, who controlled the Guadalquivir Valley at the time. The city was known from Roman times as Hispal and as Hispalis. Hispalis developed into one of the great market and industrial centres of Hispania, while the nearby Roman city of Italica remained a Roman residential city. Large-scale Roman archaeological remains can be seen there and at the nearby town of Carmona as well.
Existing Roman features in Seville itself include the remains exposed in situ in the underground Antiquarium of the Metropol Parasol building, the remnants of an aqueduct, three pillars of a temple in Mármoles Street, the columns of La Alameda de Hércules and the remains in the Patio de Banderas square near the Seville Cathedral. The walls surrounding the city were built during the rule of Julius Caesar, but their current course and design were the result of Moorish reconstructions. Following Roman rule, there were successive conquests of the Roman province of Hispania Baetica by the Vandals, the Suebi and the Visigoths during the 5th and 6th centuries. Seville was taken by the Moors, during the conquest of Hispalis in 712, it was the capital for the kings of the Umayyad Caliphate, the Almoravid dynasty first and
Álex de la Iglesia
Alejandro "Álex" de la Iglesia Mendoza is a Spanish film director, screenwriter and former comic book artist. De la Iglesia's films combines grotesque and dark elements such as death and murder: most of his work is considered dark comedies, but are often considered to have horror and/or drama elements. All his films, with the notable exceptions of The Last Circus and As Luck Would Have It, were written together with Jorge Guerricaechevarría. Álex de la Iglesia was born in Bilbao, Spain, in 1965. He is a philosophy graduate of the University of Deusto who ended up working in the comic book field at a young age, he had a brief stint in television before finding work as production designer on Pablo Berger's Mamá. This little seen short film focuses on a family forced to live in a basement after a nuclear war and features a little boy who wears a Batman costume. Enrique Urbizu came calling for his production designer services in 1991 for Todo por la pasta, a Basque crime thriller, nominated for 4 Goya Awards, won 1.
He met José Guerricaechevarria and together they made the short film, Mirindas Asesinas, in which a boring man, whose mind is degenerating, is on the verge of becoming a psychotic killer. The two men became fast friends and have worked together since, with José writing the screenplays to many of De La Iglesia's films. In 1993 De La Iglesia received a big break when Spain's most famous director, Pedro Almodóvar, produced his debut feature Accion mutante; this tale of a group of crippled and handicapped outcasts in the future taking arms against handsome oppressors, became an independent success globally. The next step he took was El día de la Bestia, it won the Best Director award amongst them. It marked his first collaboration with producer Andrés Vicente Gómez. Wanting to build on the success of The Day Of The Beast, Gómez hired Iglesia to direct Perdita Durango based on novelist Barry Gifford's 59 Degrees and Raining. Barry Gifford helped out on the script also. Isabella Rossellini played Perdita Durango in David Lynch's Wild At Heart based on a Gifford work.
The film did not prove as great a success as hoped. The film was more nasty in its violence, its confrontational style, resulted in cuts and running times around the globe varying from 95 minutes in South Korea to 126 minutes in Spain, it was rumoured Bigas Luna was offered the directors chair for the film. In 1997, Iglesia wrote Payasos en la lavadora, a satirical novel. Back in Spain, in 1999 de la Iglesia had success with Dying of Laughter a dark comedy about a Martin & Lewis style comic duo with no love for each other, nominated for 3 Goyas, winning 2. La Comunidad, a dark comedy/thriller set in an apartment block with a money scamble, got 15 Goya nominations, won 3. 800 Bullets, a homage to spaghetti westerns, got 4 Goya nominations, 1 win. And Crimen ferpecto, a dark comedy thriller with a man aspiring to perfection, winning 6 Goya prizes as a result. All these films have the recipe of dark humour, selfish aspirational characters, sexy situations. De la Iglesia himself provided the voice of The Underminer in the Spanish language dubbing of The Incredibles.
In 2006 he directed an episode of the TV series Películas para no dormir titled The Baby's Room. In 2008, de la Iglesia directed the science-fiction comedy TV series Plutón B. R. B. Nero, he has directed Elijah Wood and John Hurt in The Oxford Murders, his second movie in English, released in Spain in January 2008. His first feature film Accion mutante received two prizes at the Montreal Fantasia Festival, three Goya's. For The Day of the Beast, de la Iglesia won the Goya Award for Best Director; the films El día de la bestia, Muertos de risa, Perdita Durango, The Oxford Murders, La comunidad, 800 balas, Crimen Ferpecto, La Chispa de la Vida, Las brujas de Zugarramurdi and Balada triste de trompeta was part of the Álex de la Iglesia: Dancing with the Devil at the Toronto International Film Festival 2015. On November 17, 2017, Álex de la Iglesia received the star on Almeria Walk of Fame. Acción mutante El día de la Bestia Perdita Durango Muertos de risa La comunidad 800 balas Crimen ferpecto La habitación del niño The Oxford Murders Balada Triste de Trompeta La chispa de la vida Las Brujas de Zugarramurdi Messi Words With Gods Mi gran noche El Bar Perfectos desconocidos Shrew's Nest Los Increíbles Spanish Movie Toy Story 3 Herederos de la bestia Slant Green Cine Daily Boston Globe IFC Village Voice Álex de la Iglesia on IMDb Álex de la Iglesia at AllMovie