{"id":12565,"date":"2022-06-24T11:11:34","date_gmt":"2022-06-24T10:11:34","guid":{"rendered":"https:\/\/www.imex-revista.com\/xxii-los-cines-donde-vi-mi-cine\/"},"modified":"2022-08-24T12:02:07","modified_gmt":"2022-08-24T11:02:07","slug":"xxii-los-cines-donde-vi-mi-cine","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xxii-los-cines-donde-vi-mi-cine\/","title":{"rendered":"XXII. Y. Rodr\u00edguez Gonz\u00e1lez &#8211; Los cines donde vi mi cine"},"content":{"rendered":"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text]\n<p style=\"text-align: center;\"><a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/5850\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Issue<\/span><i class=\"icon-button-arrow\"><\/i><\/a> <a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/11962\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Article<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221; text_align=&#8221;left&#8221;][vc_column_inner column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;30&#8243;][vc_column_text]\n<h3 style=\"text-align: center;\"><strong><span style=\"color: #b0b0b0;\">Los cines donde vi mi cine<br \/>\n(pp. 71-83; DOI: 10.23692\/iMex.22.6)<\/span><\/strong><\/h3>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<p style=\"text-align: center;\"><div class=\"ead-preview\"><div class=\"ead-document\" style=\"position: relative;\"><div class=\"ead-iframe-wrapper\"><iframe src=\"\/\/docs.google.com\/viewer?url=https%3A%2F%2Fwww.imex-revista.com%2Fdownload%2F11962%2F&amp;embedded=true&amp;hl=en\" title=\"Embedded Document\" class=\"ead-iframe\" style=\"width: 80%;height: 80%;border: none;min-height: 500px;visibility: hidden;\"><\/iframe><\/div>\t\t\t<div class=\"ead-document-loading\" style=\"width:100%;height:100%;position:absolute;left:0;top:0;z-index:10;\">\n\t\t\t\t<div class=\"ead-loading-wrap\">\n\t\t\t\t\t<div class=\"ead-loading-main\">\n\t\t\t\t\t\t<div class=\"ead-loading\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/loading.svg\" width=\"55\" height=\"55\" alt=\"Loader\">\n\t\t\t\t\t\t\t<span>Loading...<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"ead-loading-foot\">\n\t\t\t\t\t\t<div class=\"ead-loading-foot-title\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/EAD-logo.svg\" alt=\"EAD Logo\" width=\"36\" height=\"23\"\/>\n\t\t\t\t\t\t\t<span>Taking too long?<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"ead-document-btn ead-reload-btn\" role=\"button\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/reload.svg\" alt=\"Reload\" width=\"12\" height=\"12\"\/> Reload document\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<span>|<\/span>\n\t\t\t\t\t\t\t<a href=\"https:\/\/docs.google.com\/viewer?url=https%3A%2F%2Fwww.imex-revista.com%2Fdownload%2F11962%2F&#038;hl=en\" class=\"ead-document-btn\" target=\"_blank\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/open.svg\" alt=\"Open\" width=\"12\" height=\"12\"\/> Open in new tab\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<h3><span style=\"color: #ffffff;\"><strong><span style=\"color: #b0b0b0;\">Yliana Rodr\u00edguez Gonz\u00e1lez<br \/>\n<\/span><\/strong><\/span><\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-11965 size-medium alignleft\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Rodr\u00edguez-Gonz\u00e1lez-foto-225x300.jpg\" alt=\"\" width=\"225\" height=\"300\" srcset=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Rodr\u00edguez-Gonz\u00e1lez-foto-225x300.jpg 225w, https:\/\/www.imex-revista.com\/wp-content\/uploads\/Rodr\u00edguez-Gonz\u00e1lez-foto-769x1024.jpg 769w, https:\/\/www.imex-revista.com\/wp-content\/uploads\/Rodr\u00edguez-Gonz\u00e1lez-foto-1154x1536.jpg 1154w, https:\/\/www.imex-revista.com\/wp-content\/uploads\/Rodr\u00edguez-Gonz\u00e1lez-foto-scaled.jpg 1539w\" sizes=\"auto, (max-width: 225px) 100vw, 225px\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Yliana Rodr\u00edguez Gonz\u00e1lez is a full-time researcher at the Seminar on Critical Text Editing at the Instituto de Investigaciones Filol\u00f3gicas of the Universidad Nacional Aut\u00f3noma de M\u00e9xico, where she is developing the project \u201cRescate y edici\u00f3n cr\u00edtica de la obra literaria de Emilio Rabasa (1856-1930)&#8221;. She is a member of the National System of Researchers, level 2. She specializes in Mexican and Latin American literature of the 19th century with special emphasis on reading, readers and reading practices in the Porfiriato, as well as the relationship between press and literature.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;50&#8243;][tabbed_section style=&#8221;default&#8221; alignment=&#8221;left&#8221; spacing=&#8221;default&#8221; tab_color=&#8221;Accent-Color&#8221;][tab icon_family=&#8221;none&#8221; title=&#8221;Abstract&#8221; id=&#8221;1532705295616-53d7d-8e03&#8243; tab_id=&#8221;1580125134478-0&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">In this essay I intend to develop a tour through the cinemas that I frequented in Mexico City, mainly during my childhood and my youth (1974-2013), to understand the morphology of a city that changes constantly, in accordance with the idea posed in this dossier of the city as a palimpsest in which the effacement preserves the trace of that erased, in which the changes promote new practices and new uses, and in which the subjects reconcile between the absent and the new. I rest on the belief that the city is also its cinemas, but I am aware, however, that I am not telling the story of its splendor. Thus, I reflect on my experience in and of the city through its movie theaters: I reflect about its structure, the practices that they made possible, the traces they left, how they disappeared, what replaced them. With this route through the &#8220;immediate past&#8221; I intend to understand these tensions that, at the time, were unnoticeable because I experienced them as incremental innovations, but now manifest themselves as radical, embodied in new material conditions, and other senses, functions and habits.<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1532705295639-33d7d-8e03&#8243; tab_id=&#8221;1580125134518-1&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">En este ensayo me propongo hacer un recorrido por las salas de cine que frecuent\u00e9 en la Ciudad de M\u00e9xico \u2014fundamentalmente durante mi ni\u00f1ez y mi juventud (1974-2013)\u2014 para entender la morfolog\u00eda de una ciudad que se renueva constantemente, en consonancia con la idea, propuesta en este dossier, de la ciudad como un palimpsesto, en la que la borradura conserva el rastro de lo eliminado, en la que los cambios inauguran nuevas pr\u00e1cticas y nuevos usos, y en la que los sujetos negocian entre lo ausente y lo nuevo. Parto de la convicci\u00f3n de que la ciudad tambi\u00e9n es sus cines; consciente, sin embargo, de que no narro la historia de su esplendor. As\u00ed, reflexiono sobre mi experiencia en y de la ciudad desde sus salas de cine: hablo de su estructura, de las pr\u00e1cticas que posibilitaron, de las huellas que dejaron, de c\u00f3mo desaparecieron, de qu\u00e9 las relev\u00f3. Con este itinerario por el \u201cpasado inmediato\u201d pretendo entender estas tensiones que, en su momento fueron imperceptibles porque las experiment\u00e9 como innovaciones incrementales, y que ahora se manifiestan radicales en la forma de nuevas condiciones materiales y otros sentidos, funciones y h\u00e1bitos.[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;iMex N\u00b022 | La Ciudad de M\u00e9xico, Palimpsesto&#8221; id=&#8221;1532705295697-43d7d-8e03&#8243; tab_id=&#8221;1580125134563-4&#8243;][vc_column_text]<span style=\"color: #b0b0b0;\"><strong>Introduction<\/strong><\/span><\/span><\/p>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxii-introduction\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXII. J. R. Ruis\u00e1nchez \/ M. Moreno Carranco \u2013 Introducci\u00f3n<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><span style=\"color: #b0b0b0;\"><strong>Interview<\/strong><\/span><\/p>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxii-interview-with-palou\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXII. Brian Price \u2013 Entrevista con Pedro \u00c1ngel Palou<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p style=\"text-align: left;\"><span style=\"color: #b0b0b0;\"><strong>Articles <\/strong><\/span><\/p>\n<p style=\"text-align: left;\"><a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxii-cambio-de-tiempo\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXII. Jorge P. Uribe Llamas \u2013 Cambio de tiempo<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxii-avisos-del-diario-y-mensajes-de-whatsapp\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXII. Colectivo Maltip\u00fa \u2013 Avisos del Diario de M\u00e9xico y mensajes de Whatsapp<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxii-postales-de-lo-infraordinario\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXII. V\u00edctor S\u00e1nchez Villareal \u2013 Postales de lo infraordinario<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxii-los-cines-donde-vi-mi-cine\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXII. Y. Rodr\u00edguez Gonz\u00e1lez \u2013 Los cines donde vi mi cine<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxii-gueros-y-museo\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXII. Georgina Cebey - <em>G\u00fceros<\/em> y <em>Museo<\/em><\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxii-la-cdmx-en-los-anos-veinte\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXII.  Y. Hadatty Mora \u2013 La Ciudad de M\u00e9xico en los a\u00f1os veinte<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxii-narrating-urban-change\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXII. M. Moreno Carranco  \u2013 Narrating urban change<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xxii-chapultepec\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>XXII. Jos\u00e9 R. Ruis\u00e1nchez  \u2013 Chapultepec<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][\/tab][\/tabbed_section][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text] [\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221;&#8230;<\/p>\n","protected":false},"author":12,"featured_media":12117,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[580,2403],"tags":[1616,2385],"class_list":["post-12565","post","type-post","status-publish","format-standard","has-post-thumbnail","category-issues","category-xxii-la-ciudad-de-mexico-palimpsesto-en","tag-cine-en","tag-ciudad-de-mexico"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>XXII. 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