nMERo 14 | VERano-otoo 2011

ENTREVISTA VolkER kuTSchER INTERVIEW MuJERES EN lA cIENcIA WoMEN IN ScIENcE JulIo llAMAZARES DESTINo BERlN DESTINATIoN BERlIN

la revista de eurostars hotels magazine

hollywood: un siglo de cine hollywood: 100 years of moviesISSUE 14 / SUMMER-aUtUMn 2011

EDITORIAL

Amancio Lpez SeijasPresidente del Grupo Hotusa Chairman of Hotusa Group

En esta edicin de la revista ESTAR andamos a vueltas con una cifra redonda: 100. se es el nmero de aos que han transcurrido desde la creacin del estudio de cine Nestor Motion Picture Company, hito que viene a ser considerado como el nacimiento oficial de Hollywood, en su calidad de industria cinematogrfica. Y cien aos han transcurrido desde que la cientfica Marie Curie recibiera el premio Nobel de Qumica. Dos efemrides de muy distinto cariz, que nos sirven para acercarnos a dos realidades completamente diferentes. La historia de Hollywood, un mundo que ha encarnado el glamour y la mitomana por excelencia, es la historia de la manifestacin artstica de mayor calado en el siglo XX y, a la vez, la de una industria en el sentido ms literal del trmino, concebida como un perfecto engranaje que incluso recuerda en sus primeros aos a la industria automovilstica. Por su parte, el centenario del Premio Nobel que recibi Marie Curie nos sirve para asomarnos a una realidad que nos habla del escaso eco que han obtenido las mujeres en el mbito de la ciencia y la investigacin, as como la abundancia de trabas y obstculos que han tenido que superar muchas de las cientficas ms brillantes. Ms all del nmero cien, Berln es el otro eje del presente nmero de ESTAR. En estas pginas, proponemos un recorrido por la capital alemana y su enorme oferta cultural y de ocio. La ocasin la brinda la reciente apertura del flamante cinco estrellas de Eurostars en Berln. En nuestro afn de ofrecer una visin lo ms amplia posible de las realidades artsticas, culturales e histricas, situaremos nuestro foco en la apasionante poca de la Repblica de Weimar. Entrevistamos al escritor alemn Volker Kutscher, que ha concebido una saga de novela negra berlinesa que arranca en 1929 y termina en 1936. Kutscher es profesor de historia, lo que da a sus novelas un riguroso contenido documental de aquellos aos.In this edition of ESTAR Magazine we are toying with a round figure: 100. That is the number ofyears that have elapsed since the creation of the movie studio, Nestor Motion Picture Company, a milestone that is generally considered as the official birth of Hollywood, in its category as the headquarters of the film industry. And, a hundred years have elapsed since scientist Marie Curie received the Nobel Prize for Chemistry. T anniversaries of very distinct calibre, which help us to approach two completely different wo realities. The history of Hollywood, a world which has personified glamour and the cult of the myth above all others, is the history of the most significant artistic manifestation of the 20th century and, at the same time, that of an industry in the most literal sense of the word, conceived as a perfect mechanism that even, in its earliest years, is reminiscent of the car industry. On the other hand, the centenary of the Nobel Prize received by Marie Curie reveals a reality that tells us about the scarce recognition obtained by women in the spheres of science and research, in addition to the abundance of setbacks and obstacles that many of the most brilliant women scientists have had to overcome. Further afield than the one hundred figure, Berlin is the other axis of this edition of ESTAR. From these pages we propose a tour through the German capital and its enormous cultural offer. The occasion is provided by the recent opening of the stunning Eurostars five-star hotel in Berlin. In our desire to offer as wide a vision as possible of the artistic, cultural and historical realities, we set our spotlight on the exciting era of the Weimar Republic. We interview German writer Volker Kutscher, who has conceived a saga of Berlinbased thrillers, starting in 1929 and ending in 1936. Kutscher is a professor of history, which guarantees that his novels are endowed with a rigorously documented background of the period.la revista de eurostars hotels magazine 03

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Estar, la revista de Eurostars Hotels Edita: Eurostars Hotels Presidente: Amancio Lpez Seijas. Coordinador: Hctor Oliva. Consejo Editorial: Marta Sanjurjo, Judith Gonzlez, Ral Blanchart. c/ Princesa, 58 pral. / 08003 Barcelona Tel.: + 34 93 268 10 10 / Fax: + 34 93 319 68 07 www.eurostarshotels.com realizacin: ATOdAPLAnA E&C. directora editorial: Emilia Marcos (emarcos@atodaplana.es). director: Jos Antonio de Luis (jadeluis@atodaplana.es). diseo original: Aresogrfico / director de Arte: david Regueras. Redaccin y colaboradores: Violeta Bru, Carlos Surez, Andrs Gonzlez, nora Vergara, Mara Corisco, Jess Aguado, ngel Bermejo, Antonio Sierra, Teresa P. de Vega, Javier Lazcano. Asesora en Arte: Laura Arias Serrano / Fotografas: Guillermo navarro. / Ilustraciones: Miguel Ibarz / Edicin grfica: Klaus Winkel, Miguel Machine. Traduccin al ingls: Elena Gordon. IMAGEn dE PORTAdA: Extraos en un tren (Cordon Press). COVER IMAGE: Strangers on a Train (Cordon Press). Publicidad: Atodaplana E&C. c/ Viriato, 20. 28010 Madrid. Tfno. + 34 91 591 69 30 Fax: + 34 91 591 69 28. www.atodaplana.es directora comercial: Mercedes noguerado (mnoguerado@atodaplana.es). Mvil: 630 93 17 17. Impresin: EMF2011

descargue la revista de Eurostars Hotels 3 download the Eurostars Hotels magazine http://blog.eurostarshotels.com/estar-magazine-en-pdf04 Estar

Workinginthecinemawasshameful;itwasthemostdisgustingthing. ThankGodtelevisionhasbeeninvented.

Trabajarenelcineeravergonzoso,eralomsdespreciable. GraciasaDios,sehainventadolatelevisin.

BillyWilder

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Cinco Sentidos | FiveSenses Firma Invitada | Authorship JulioLlamazares Sexto Sentido | SixthSense Hollywoodcumplecienaos Hollywoodcelebratesits100thaniverary Perspectivas | Perspectives Mujeresenlacienciayenlainvestigacin Womeninscienceandresearch Relato | Story Desayunoincluido PorInsGonzlez Breakfastincluded ByInsGonzlez Mundo Eurostars | EurostarsWorld Entrevista | Interview VolkerKutscher Destino | Destination Berln | Berlin HotelesEurostarsHotels Placeres | Pleasures Vanguardias | Avant-garde Directorio Eurostars | EurostarsDirectory Hoteles de cine | MovieHotelsla revista de eurostars hotels magazine 05

cinco sentidos five sensesLa tradicin moderna inaugura eL museo thyssen de mLagaSe pueden ver obras de Monet, Picasso, Matisse o Mir, entre otros. El Museo Thyssen de Mlaga (www.carmenthyssenmalaga.org) inaugur en junio su primera exposicin temporal: La tradicin moderna en la Coleccin Carmen Thyssen. Monet, Picasso, Matisse, Mir, que presenta una seleccin de las obras ms contemporneas de la Coleccin Carmen Thyssen-Bornemisza. El recorrido est estructurado en torno al arte espaol de entre 1890 y 1960, aunque tambin figuran algunos ejemplos relevantes del arte internacional. El objetivo que se persigue es establecer un dilogo entre las principales propuestas plsticas protagonizadas por artistas espaoles y determinadas corrientes europeas y americanas que jugaron un papel fundamental en la configuracin de la modernidad en Espaa. La exposicin se estructura en seis secciones que glosan las tendencias ms representativas del arte de aquellos aos en Espaa: Fin de siglo, Retorno al Mediterrneo, Vanguardias, Arte nuevo, Del surrealismo al informalismo y Abstraccin lrica y arte normativo. 3 Modern tradition opens the Thyssen Museum of Malaga. The Thyssen Museum of Malaga (www.carmenthyssenmalaga.org) opened its first temporary exhibition in June: Modern tradition in the Carmen Thyssen Collection: Monet, Picasso, Matisse, Mir, a show that presents a selection of the most contemporary pieces of work from the Carmen ThyssenBornemisza Collection. The display is structured around Spanish art between 1890 and 1960, although some relevant examples of international art also figure. The objective pursued here is to establish a dialogue between the main plastic proposals headed by Spanish artists and certain European and American currents which played an essential role in the configuration of modernity in Spain. The exhibition is arranged in six sections, comprising the most representative trends of the art of the time in Spain: End of Century, Return to the Mediterranean, Avant Garde, New Art, From Surrealism to Informalism and Lyrical Abstraction, and Normative Art.06 Estar

eL nueva york de ai WeiWeiUna exposicin de la Asia Society hace un recorrido fotogrfico del artista en la ciudad Ai Weiwei: New York Photographs 19831993 es el nombre de la exposicin que acoge la Asia Society en su sede neoyorkina (http://asiasociety.org/centers/new-york). La muestra comprende una seleccin de 227 instantneas tomadas por el clebre artista chino que reflejan la historia, la cultura y la atmsfera del Nueva York de la dcada de 1980. Se trata de una exposicin sin precedentes que por primera vez exhibe esta serie de imgenes de Ai Weiwei en la ciudad. Ai Weiwei es uno de los artistas conceptuales ms provocadores e influyentes de la China actual. Antes de convertirse en un reconocido artista y activista, Ai Weiwei viva en un pequeo apartamento en barrio del East Village de Nueva York. 3 The New York of Ai Weiwei. Ai Weiwei: New York Photographs 19831993 is the name of the exhibition housed by the Asia Society at its NewYork headquarters (http://asiasociety.org/centers/ new-york). The display comprises a selection of 227 snapshots taken by this famous Chinese artist, which mirror the history, culture and atmosphere of the 1980s in New York. This is an unprecedented exhibition in that for the first time this series of New York Photographs by Ai Weiwei. He is one of the most provocative and influential conceptual artists in present-day China who. Before becoming a renowned artist and activist, Air WeiWei lived in a small apartment in the East Village district.

La BienaL de venecia se rinde a La esPectacuLaridadEl pabelln alemn, Len de Oro a la Mejor participacin nacional Son 89 los pabellones nacionales presentes en la Bienal de Venecia se inaugur el 4 de junio y permanecer abierta hasta el 27 de noviembre- y 83 los artistas internacionales participantes, la mayora jvenes y europeos o residentes en Europa, con una importante presencia femenina. La Bienal (www.labiennale.org/en/Home.html) es una de las citas de mayor calado en el panorama europeo. Como en otras ediciones, las propuestas ms reflexivas y espirituales (como la de Schlingensief para Alemania o la de Christian Marclay para la colectiva IlliminaZioni, ambas premiadas con los Leones de Oro) conviven con las que apuestan por la espectacularidad por encima del contenido. El Len de Oro a la Mejor Participacin Nacional concedido al pabelln de Alemania constituye un reconocimiento a Christoph Schlingensief (fallecido repentinamente en agosto de 2010), representante del pas. Culpa y reflexin poltica se entremezclan en las propuestas conceptuales de Schlingensief, muy interesado por Beuys, el movimiento Fluxus y la pera. 3 The Venice Biennale gives way to the spectacular. There are 89 pavilions from different countries at the Venice Biennale opened on 4th June and which will continue through to 27th November and 83 international artists participating, the majority young and European, or resident in Europe, with a notable presence of women artists. The Biennale (www.labiennale.org/en/Home.html) is one of the appointments of the greatest scope on the European panorama. As in other editions, the most reflexive and spiritual proposals (such as that by Schlingensief for Germany or that by Christian Marclay for the IlliminaZioni collective, both Golden Lion award-winners) coexist with those that choose the spectacular before the content. The Golden Lion for the Best Participation Country awarded to the German pavilion, constitutes recognition of Christoph Schlingensief (he died suddenly in August of last year). Guilt and political reflection are intermingled in the conceptual proposals by Schlingensief, much influenced by Beuys, the Fluxus movement and the opera.

czanne y Pars, una infLuencia recProcaCasi un centenar de obras del pintor vanguardista, en el parisino Museo de Luxemburgo Czzane, a quien sus coetneos calificaban como solitario, pasaba largas temporadas en la Provenza. Sin embargo, esto no le impeda mantener estrechos lazos con Pars y los ambientes artsticos que bullan en la ciudad. All, se relaciona con Pisarro, Guillaumin, Renoir o Monet, y especialmente con su gran amigo mile Zola. El Museo de Luxemburgo de Pars (www.museeduluxembourg.fr/), con la colaboracin del Museo de Bellas Artes de Pars y prstamos excepcionales del Museo de Orsay, rene 80 obras del pintor con el objeto de mostrar guionizada su trayectoria y sus grandes temticas: ambientes de Pars, los paisajes de le-de-France, los desnudos, retratos y naturalezas muertas. La muestra arranca el 12 de octubre y se prolonga hasta bien entrado 2012. 3 Czanne and Paris, a reciprocal influence. Czanne, who his peers qualified as a solitary man, spent long periods in Provence. However, this did not prevent him from maintaining close ties with Paris and the artistic ambiances that seethed in the French capital. There, he struck friendships with Pisarro, Guillaumin, Renoir or Monet, and in particular with Emile Zola, who was a great friend of his. The Luxembourg Museum of Paris (www.museeduluxembourg.fr/), in collaboration with the Fine Arts Museum of Paris and exceptional loans from the Orsay Museum, form a collection of 80 works of art by the painter which aim to show his progression and six most important themes: the ambiances of Paris, le-de-France landscapes, nudes, portraits and still life. The exhibition begins on 12th October and will continue well into 2012.

la revista de eurostars hotels magazine 07

cinco sentidos five senses

DVD | blu ray

La economa no es un ente abstracto, ni mucho menos Inside JobGuin y Direccin: Charles Fergusson. Narrador: Matt Damon. (Estados Unidos)

Charles Fergusson no slo explora en este documental las causas de la crisis financiera de 2008, sino que identifica a algunos de sus responsables a travs de una extensa investigacin y de entrevistas a financieros, polticos y periodistas. A veces parece que las responsabilidades se diluyen detrs de eufemismos y entes abstractos, como los mercados financieros, esos que arrinconan contra las cuerdas a pases enteros. Pero en el documental se nos muestra a esos responsables de la crisis, con nombres y apellidos, y comprobamos que son, al mismo tiempo, beneficiarios de la misma. Inside Job cuenta con el testimonio de inversores como George Soros y William Ackman, economistas como Nouriel Roubini, Raghuram Rajan y Simon Johnson, y del entonces director gerente del FMI, que tratan de arrojar luz sobre las acciones y omisiones que desembocaron en una crisis financiera y econmica internacional. Fergusson seala en su cinta a economistas, ejecutivos de los grandes bancos y polticos que impulsaron la toma de riesgos para obtener mayores rentabilidades en los activos financieros. Cuando el director de la cinta recogi el Oscar al Mejor Documental comenz su discurso diciendo: Disclpenme, pero debo arrancar sealando que tres aos despus de que estallara nuestra horrible crisis causada por el fraude financiero masivo, ni un solo ejecutivo ha sido encarcelado. 3 Economy is by no means an abstract thing. Inside JobScript and Direction: Charles Fergusson. Narrator: Matt Damon. (U.S.A.)

Fergusson does not only explore the causes of the 2008 financial crisis but in addition, identifies and interviews the responsible parties (or, anyway, several of them). There are times when it appears that responsibilities are diluted amidst euphemisms and abstract denominations, such as financial markets, i.e. those that push whole countries against the ropes. But in this documentary we are shown the people responsible for the crisis, with their full names, people who we can identify and discover that they are, at one and the same time, favoured by the situation. Inside Job has the benefit of testimonies by investors like George Soros and William Ackman, economists like Nouriel Roubini, Raghuram Rajan and Simon Johnson and the then Managing Director of the IMF, Dominique Strauss-Kahn, who try to throw some light on the actions and/or omissions that led to the international, financial and economic crisis. Fergusson points his finger at economists, executives from the big banks and politicians, who propelled the taking of risks in order to obtain greater yields from their investments. When the director of this documentary went up to receive his Academy Award for The Best Documentary, he began his speech by saying: You must excuse me, but I have to start by pointing out that three years after the eruption of this terrible crisis of ours, caused by a massive financial scam, not a single executive has been imprisoned.08 Estar

El discurso del rey Direccin: Tom Hooper. Intrpretes: Colin Firth, Geoffrey Rush. (Gran Bretaa) Una de las pelculas de 2010 se construye sobre los elementos bsicos y clsicos del cine: un buen guin y una interpretacin soberbia. Colin Firth interpreta al duque de York, convertido en rey tras la abdicacin de su hermano, el filonazi Eduardo VIII. Para desempear su funcin, deber superar su tartamudez. 3 The Kings Speech Director: Tom Hooper. Cast: Colin Firth, Geoffrey Rush. (U.K.) One of the movies of 2010 is constructed upon the basic, classical elements of movie-making: a good script and superb acting. Colin Firth plays the part of the Duke of York, who became King after the abdication of his brother, Nazi-follower Edward VIII. He would try to correct his stuttering.

El cisne negro Direccin: Darren Aronofsky. Intrpretes: Natalie Portman, Vincent Cassel (EE UU) Poco se puede decir del argumento de esta pelcula sin desbaratarla para el espectador porque se trata precisamente de uno de esos guiones con sorpresa final. El film parece construido a la medida de Natalie Portman, que interpreta a una bailarina de ballet: ella sola y el guin sostienen todo el entramado. 3 Black Swan Director: Darren Aronofsky. Cast: Natalie Portman, Vincent Cassel (U.S.A.). Little can be said about the plot in this movie without spoiling it for the spectator because it is precisely one of those stories with an amazing end which The film appears to have been made to measure for Natalie Portman, who plays the part of a ballet dancer; she alone and the script bear the weight of the entire plot.

Ms all de la vida Director: Clint Eastwood. Intrpretes: Matt Damon, Ccile de France (EE UU). Clint Eastwood ha recibido crticas muy dispares con esta pelcula. Narra paralelamente la historia de tres personajes que han tenido algn tipo de contacto con la muerte, entre ellos, un norteamericano (interpretado por Matt Damon) con el don de poder comunicarse con los muertos. No deja de ser interesante. 3 Hereafter Director: Clint Eastwood. Cast: Matt Damon, Ccile de France (U.S.A.). Clint Eastwood has received very different critiques with this film. It tells parallel stories of three characters who have had some kind death experience; amongst them, an American (Matt Damon) who has the ability to communicate with the dead. An interesting movie.

Una vez ms, MINI brilla por su fascinante variedad de modelos en el segmento de los automviles pequeos. Ahora, MINI presenta su primer coche biplaza que se suma a la gama de productos de la marca. El MINI Coup: traslado autntico de los genes deportivos de la marca a un concepto automovilstico moderno y nueva interpretacin de un coche deportivo perteneciente al segmento de automviles especialmente compactos. El coup de la gama MINI se distingue por su maniobrabilidad extraordinariamente gil y las mejores prestaciones de la gama.

MINI gives the small car segment another fascinating injection of variety with the presentation of the first two-seater in the brands current model range. The MINI Coup represents the faithful transposition of the brands sporting DNA into a cutting-edge vehicle concept with a new interpretation of the super-compact sports car class; unrivalled handling agility and the best performance figures in the model portfolio. New expression of the distinctive MINI design with extremely high emotional appeal; unique proportions created by distinctive helmet roof design; extraordinarily sporty presence with sharply raked A-pillars; hallmark MINI structuring of body, wrap-around glass areas and superimposed roof; characteristic design principles and exclusive MINI details underline its brand identity. First three-box MINI with strikingly stepped rear end in the classic style of a gran turismo; sporty, flat coup silhouette; sits up to 52 millimetres lower than the MINI; new, faithful expression of the hallmark MINI design language; distinctive roof form with optimised aerodynamic properties thanks to integrated roof spoiler; first MINI with an active rear spoiler to optimise airflow at higher speeds; rear spoiler extends automatically at 80 km/h (50 mph). John Cooper Works aerodynamic kit as standard. Strict two-seater concept with extended stowage and loading capacity behind the driver and passenger seats; large, variable-use luggage area; large throughloading facility into the passenger compartment; wide and extremely high-opening tailgate makes loading easier.

Inconfundible diseo de MINI de nueva expresin, de imagen capaz de despertar grandes emociones. Proporciones nicas gracias a la forma del techo a semejanza de un casco. Formas marcadamente deportivas con columnas A muy inclinadas. Esttica tpica de MINI: clara separacin entre el cuerpo de la carrocera, la superficie acristalada circundante y el techo que descansa sobre esa superficie. Los rasgos de diseo caractersticos y diversos detalles exclusivos de MINI acentan la pertenencia a la marca. Primer MINI con diseo de tres volmenes, con la zaga llamativamente marcada al ms puro estilo clsico de un Gran Turismo. Silueta plana y deportiva, propia de un coup (este modelos es 52 milmetros ms bajo que el MINI). El techo insina la forma de un casco y lleva integrado un deflector posterior. El el primer MINI con alern de funcionamiento automtico (se activa a partir de una velocidad de 80 km/h) para optimizar el guiado de aire a altas velocidades. El kit aerodinmico John Cooper Works viene de serie. Diseo consecuente de coche biplaza, con espacio para llevar objetos diversos detrs de los dos asientos. Maletero de grandes dimensiones y utilizacin verstil. Amplio paso entre el maletero y el habitculo para transportar objetos largos. Portn posterior con gran ngulo de abertura, para introducir objetos ms fcilmente en el maletero.

libros | books

cinco sentidos five sensesPor (by) Andrs Gonzlez

LOS ENAMORAMIENTOS Por JAVIER MARAS (Editorial Alfaguara)Es como aquella historia de un hombre y una mujer, que nunca son un solo hombre ni una sola mujer, pese a Ovidio. Parafraseando al autor, quin no ha deseado, malmetido, amenazado, acabado e, incluso, asesinado; quin no ha determinado, manoseado, ejecutado con objeto, con anhelo y con descaro por amor. Personalmente no recomendara el libro a adolescentes del Ministerio de Justicia, ni a mi vecina matrona, no por resquemor, sino porque la habilidad insidiosa de Maras inocula su veneno con la destreza de un mecnico del automvil, siempre tan pedigeos en sus facturas y tan solcitos en sus desmanes. Es un libro amargo y mordaz, asesinato incluido; una fbula moral para aquellos que dicen amarse y de veras se aman, con todas sus desgraciadas consecuencias. 3 Falling in love, by Javier Marias (Alfaguara Publishers). It is like that story about a man and a woman, who are never just one man or one woman, despite Ovid. Paraphrasing the author, who has not desired, interfered, threatened, finished and, even, murdered; who has not made decisions, pawed, done with a purpose, with longing and with cheek, for love? Personally, I would not recommend this book to any teenagers or civil servants, or to my midwife neighbour, not for any feelings of resentment but rather because of Javier Marass insidious ability to inoculate his poison with the dexterity of car mechanic, always so cadging in their invoices and so solicitous in their gestures. This is a bitter, scathing book, with a murder thrown in; a moral fable for those who say they love each other and who really do love each other, with all the wretched consequences. La bofetada CHRISTOS TSIOLKAS RBA Editores Hugo es un nio malcriado, como casi todos, y su comportamiento es repelente. Para solucionarlo, o compras su psicologa pre-delincuente con toda suerte de cochinadas de azcar o le pegas una sacudida. La segunda opcin es siempre incorrecta, y el amigo familiar que la ejercita desencadena una furia de sentimientos que sirve de coartada para desmenuzar las miserias de los matrimonios contemporneos. 3 The slap in the face CHRISTOS TSIOLKAS RBA Publishers Hugo is a spoilt child, as are almost all children, and his behaviour is disgusting. These things can be solved via two antagonistic formulas: bribing his pre-delinquent psychology with all kinds of sugary rubbish or giving him a good spanking. The second option is always incorrect and the friend of the family who carries it out unleashes a fury of feelings that serve as an alibi for reducing to crumbs the miserable existence of contemporary marriages.

Solar, por IAN McEWAN.(Editorial Anagrama) Nadie nos haba dado aviso de que la vida era tan rastrera, tan baja, tan minuciosa en sus conjuras y, acaso, tan inhabitable. Puede que la condicin de cientfico sea incompatible con la de capitalista, pero a buen seguro no lo es con la de adltero, asesino ni rastrero egosta, caractersticas todas del protagonista, cuyo calentamiento s puede decirse que es global. Novela intrigante, intrigada, intransigente, como debe ser. 3 S olar, by IAN MCEWAN. (Anagrama Publishers) Nobody had warned us that life was so despicable, so base, so meticulous in its spells and, when it comes to it, so uninhabitable. Perhaps the condition of being a scientist is incompatible with being a capitalist, but for sure it is not that of a adulterer, murderer or a despicable egotist, all of which are characteristics of the protagonist whose warming, one could say, is global. An intriguing, intricate, diehard novel, as it should be.

Gorka Lejarzegui

Lisbeth Salas10 Estar

El ao de Saeko KYOICHI KATAYAMA Editorial Alfaguara Japn es mucho decir para su simple nombre, donde junto al rito de los cerezos se celebra la muerte decorosa del amante. Alegora del mundo en crisis, contemplamos la empecinada lucha por la mujer querida y el desairado olvido de la dignidad laboral, de los sinsabores ms arduos; la pugna por un territorio sentimental que se diluye como los das en el frgil horizonte de las noches. 3 The year of Saeko KYOICHI KATAYAMA (Alfaguara Publishers) Japan contains so much in a simple name, where together with the rite of the cherry blossom, the decorous death of the lover is celebrated. The allegory of a world in crisis, we contemplate the stubborn fight for the woman we love and the disregarded forgetfulness of dignity in our work, of the most arduous tasks; the struggle for a sentimental territory which dissolves like the days on the fragile horizon of the nights.

MsiCA | MUsiC

Soundtrack for a Winters Tale. THE BRIGHT. Y en este mundo tan apesadumbrado, tan relapso a los placeres sutiles, grupos como The Bright se permiten el lujazo de un disco feliz, manso y brillante, entre la tierna corona de la manzanilla y el flojo amanecer de los amantes perseguidos. Estos leoneses son lo ms parecido a un Bloody Mary en un Aston Martin, momentos antes del precipicio. 3The bright soundtrack for a winters tale, by THE BRIGHT. In this world so weighed down with its plight, such a relapse into subtle pleasures, groups like The Bright allow themselves the super luxury of a happy, serene, brilliant disc, something between the tender crown of camomile and the soft dawn of pursued lovers. In this world where misfortune seems to reign, or the shadow of it, where showing ones disagreement implies being fettered, this group from Leon is the most similar sensation to a Bloody Mary in an Aston Martin moments before the precipice.CON LOS OJOS CERRADOS Ala Malikian & Fernando Egozcue QuintetLas cosas bien hechas, bien parecen, deca mi padre. Y precisamente esa factura es la que el por momentos zngaro violn del armenio y la guitarra lunfarda del bonaerense demuestran sin pudor, pues tampoco el deshielo es ni inhibido ni hipcrita, salvo en poltica. Tanto da si son los jadeos entrecortados del tango el sustrato sobre el que crece la hierba, como que sea el jazz quebrado y apenas dibujado quien la meza, cuando las cosas se disfrutan el personal se lo pasa de miedo. Son buenos y no les importa serlo. Los dems que arreen. 3 WITH CLOSED EYES. Ara Malikian & Fernando Egozcue Quintet. Things that are done well look well, as my father used to say. And that is precisely what the Armenian gypsys violin and the colloquial guitar from Buenos Aires show, without any embarrassment, since a thawing process is neither inhibited nor hypocritical, except in politics. Its all the same whether the half-choked moans of the tango is the soil upon which the grass grows, or if its the barely sketched out cadence of cracked jazz. When things are pleasurable, people have a fantastic time. These people are good and they dont mind being good. The rest just have to put up with it.

21 ADELE Adele es lo ms parecido a Ryta Hayworth si las caderas fuesen los compases en la clave de do, en la de fa o en la repblica de sol. Suena como una samaritana negra que ha dejado la religin porque slo le ofreca un trozo del paraso. 3 21 ADELE Adele would most resemble Rita Hayworth if her hips were the strains of a treble or a bass clef or that of the republic of sol. She sounds like a black Samaritan who has left religion because it only offered her a slice of paradise.

Handmade HINDI ZAHRA Aquellos que disfrutamos de las pelculas en blanco y negro, quienes salimos a las calles recin lloviznadas o aquellos que entretienen su espera con un tabaco nada disimulado, quiz podamos deletrear un nuevo placer en nuestras vidas a lo menos dispersas: Zahra. 3 Handmade HINDI ZAHRA Those of us who enjoy black and white films, who come out onto the streets after a drizzle or those who while our time away with an unconcealed cigarette, perhaps we could spell out a new pleasure in our lives, however unfocused: Zahara.

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JUVENtUD, DIVINO tEsOrOGlory days of youth

Julio Llamazares

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Julio Llamazares (1955, Len, Espaa). Poeta, novelista y periodista, obtuvo en 1976 el Premio de Poesa Jorge Guilln por Memoria de la nieve. Fue finalista del Premio Nacional de Literatura con su primera novela, Luna de Lobos. Su ms reciente publicacin, Tanta pasin para nada (Alfaguara), recoge doce relatos y una fbula. 3 Julio Llamazares (1955, Len, Spain). Poet, novelist and journalist, he obtained in 1976 the Jorge Guilln Poetry Prize for his Memory of the Snow. He was a National Literature Prize finalist with his first novel, Wolf Moon (Luna de Lobos). His latest publication, So much Passion for Nothing (Alfaguara), is a collection of twelve tales and a fable.12 Estar

ocas imgenes hay ms patticas que la del hombre o la mujer maduros que, en su resistencia a aceptar el paso del tiempo, se visten y se comportan como los jvenes tratando as de asimilarse a ellos. Suele ocurrir despus de un divorcio, de un cambio brusco de situacin o de un romance tardo, pero tambin, sin necesidad de ello, en personas con el complejo de Peter Pan muy acentuado, que son millones en nuestra sociedad. En las pginas de un peridico, por ejemplo, un reputado escritor teorizaba recientemente sobre el desapego que, en opinin de l, los jvenes espaoles sienten por la pintura y las dems artes. Segn V. (inicial del escritor terico), los jvenes ya no leen, ni escuchan msica clsica, ni se extasan ante un cuadro de Monet o de Mir porque el tiempo que ahora discurre es incompatible con la majestad, la jerarqua y la lentitud. Es ms, segn V., tampoco cuadra con la reflexin, la concentracin y la linealidad. Pero el diagnstico de V. no termina ah. Consecuente con su razonamiento, culpa a la escuela de esa situacin a la vez que acusa a los adultos (l no lo es, a lo que parece) de no saber entender que la cultura de hoy es la que bulle en La Red y no en las artes tradicionales, que pertenecen ya al siglo XX. Conmueve tanta radicalidad en un asunto tan complicado, pero conmueve an ms en un escritor que ya no cumplir los sesenta y ocho aos. Pero eso es lo de menos. Lo que de verdad sorprende es que alguien piense que la pintura ya no interesa a los jvenes, todo porque en un museo no haba uno solo viendo una exposicin. No ser yo quien intente demostrar aqu que la afirmacin no es cierta (al contrario que V., yo s he visto a muchos jvenes visitando exposiciones de pintura), pero s quiero reflexionar sobre algo que me llama la atencin desde hace tiempo; y es esa sacralizacin de la juventud que vive nuestra sociedad y que conduce a que todo lo que los jvenes hacen sea aceptado inmediatamente por los dems. Y, al revs, a que todo aquello que los jvenes ignoran o desprecian se considere intil y periclitado. As, si los jvenes no leen no slo no debe ser contemplado como apata, sino como la constatacin de que la literatura ha muerto. Si los jvenes no acuden a exposiciones (tampoco lo hacen muchos adultos), no ser porque tienen otros intereses, sino porque la pintura es un arte fuera de moda. Si los jvenes, en fin, en lugar del cine o el teatro prefieren la pantalla de sus ordenadores, no ser porque sta les proporciona gratis lo que en aquellos cuesta dinero, sino porque el teatro y el cine son ya antiguallas de nuestra historia. La conclusin sera intachable si no fuera que la historia demuestra lo contrario. Basta mirar veinte aos atrs (o cuarenta, cuando V. era joven de verdad) para ver que los jvenes de entonces tampoco lean demasiado ni acudan a exposiciones formando colas; al revs, lean menos que los de ahora y vean menos pintura, entre otras muchas razones porque el nivel educativo de Espaa era menor. Y a nadie se le ocurri decir en aquel momento que la literatura y el arte haban pasado de moda. Internet, la globalizacin de la informacin, la transformacin que el mundo ha experimentado con la aparicin de nuevas tecnologas han cambiado ciertamente la relacin del hombre con la cultura (no slo la de los jvenes), pero ello no significa que la literatura y el arte hayan dejado de tener sentido. Que cambie su formulacin, que los soportes sobre los que se trasmite sean distintos a los de tiempo atrs slo indica que se han transformado stos, no que lo que trasmiten haya perdido inters. Lo digan as los jvenes o lo diga un adulto como yo.

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here are few images more pathetic than those of mature men and women who, resisting acceptance of the elapsing of time, dress and behave as though they were youngsters, thus trying to assimilate their youthfulness. It usually happens after a divorce, a sudden change of situation or a late romance but, also, without any need to do so, in persons with a much accentuated Peter Pan complex, of which there are millions in our society. In the tabloids, for example, a reputed writer recently theorized about the indifference, in his opinion, felt by young people with regard to painting and the other arts. According to V. (the initial of the name of our theorizing writer), young people in Spain no longer read or listen to classical music, nor do they fall into ecstasies over a painting by Monet or Mir, because the period in which we are living is incompatible with majesty, hierarchy or slowness. Moreover, according to V., it also does not fit in with reflection, concentration and linearity. But V.s diagnosis does not end here. In consequence with his reasoning, he blames this situation on the schools while, at the same time, accusing adults (he, apparently, is not an adult himself) of not being able to understand that todays culture is that which is buzzing around the Internet and not is not related to the traditional arts, which already belong to the 20th century. Such radicalism in so complicated an issue shocks one, although it shocks one even more in a writer who has passed the age of sixty-eight. But that is the least of it all. What really is amazing is that anyone should think that painting does not interest young people, just because in some museum there was not a single young person visiting an exhibition. It will not be I who tries to demonstrate here that such an affirmation is incorrect (contrary to V. I have indeed seen plenty of young people visiting a painting exhibition), but I do want to reflect upon something that has attracted my attention for some time, i.e. the turning of youth into a sacred cow, which is what our society is doing and which results in everything done by young people being immediately accepted by the rest. And, reversely, all that young people ignore or despise is considered useless or outdated. Hence, if young people do not read, not only should it not be taken as apathy but rather as confirmation that literature is dead. If young

A nadie se le ocurri decir en aquel momento que la literatura y el arte haban pasado de moda. 3 To nobody at that time had it occurred to say that literature and art had gone out of fashion.people to not go to exhibitions (many adults do not go either), it will not be because they have other interests but that painting is an outmoded art. If young people, in summary, prefer their computer screens to the cinema or theatre, it will not because this provides them free with what in the latter case they would be charged for, but instead because the theatre and the cinema are old relics of our history. The conclusion would be impeccable were it not for the fact that history demonstrates the opposite. It only requires a backward glance to twenty years ago (or forty, when V. was really a young man) to comprehend that young people in those days also did not read very much or go to see exhibitions, queuing up outside to go in; on the contrary, they read less than todays younger generation and saw less paintings, amongst numerous, other reasons because the educational level of the Spanish population was inferior. And to nobody at that time had it occurred to say that literature and art had gone out of fashion. Internet, the globalization of information, the transformation that the world has experienced with the appearance of new technologies has indeed changed the relationship of mankind with culture (not only with young people), but that does not mean to say that literature and art have ceased to have any meaning. The fact that their formulation has changed; that the supports upon which they are transmitted are different from those of earlier times only indicates that the former has been transformed, not that what is being transmitted has lost interest. Whether stated by young people or by an adult like myself.la revista de eurostars hotels magazine 13

SEXTO SENTIDO | SIXTH SENSEcarlos surez texto / words cordon press, prisma edicin grfica/images edition

Un momento del rodaje de El enemigo pblico (Warner Bros., 1931), pelcula protagonizada por Jean Harlow, James Cagney y Edward Woods. 3 An image from the filming of Public Enemy (Warner Bros., 1931). From left to right: Jean Harlow, James Cagney and Edward Woods.

Hollywood cumple 100 aosA lo largo de un siglo los grandes estudios que levantaron la fbrica de sueos crecieron, vivieron su poca de esplendor y, desde entonces, han luchado para mantener su hegemona en el cine mundial. Hollywood celebrates its 100th birthday

Throughout the course of a century, the great movie studios which created the dream factories grew, lived their era of splendour and, ever since, have struggled to maintain their supremacy in the cinema worldwide.

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SEXTO SENTIDO | SIXTH SENSE

Es 1911. El cine no ha cumplido la mayora de edad, pero lleva camino ya de convertirse en un espectculo de masas. Las salas de proyeccin y los espectadores se multiplican cada ao y los primeros estudios se ven obligados a producir cada vez ms pelculas. Pars, Berln, Londres y Nueva York son entonces los grandes centros de produccin. Sin embargo, en octubre de ese ao un pequeo estudio, la Nestor Motion Picture Company, decide trasladarse California. Un clima mejor menos das de lluvia y ms horas de luz facilita y abarata los rodajes, y la distancia les libra de la persecucin de los detectives y abogados de Thomas Alva Edison, al que las productoras cinematogrficas tienen entonces que pagar royalties (medio centavo por cada centmetro de pelcula impresionada) por su patente como terico inventor del cine. Nestor Motion elige un pequeo barrio de Los ngeles para levantar su estudio, concretamente el cruce de las calles Sunset Boulevard y Gower Street, desde donde luego arrancar el paseo de la fama. Acaba de nacer Hollywood. A partir de ah comienzan a multiplicarse los estudios. Un ao despus Carl Laemmle funda Universal Studios, que con apenas meses compra la Nestor Company, y Famous Players Film, de la que saldr Paramount Pictures. En 1915 se crean Fox Films (el germen de la 20th Century Fox) y Metro Pictures (que con la productura de Louis B. Mayer y Goldwyn Pictures se convertir en la Metro-Goldwyn-Mayer). En 1918 los hermanos Warner levantan su primer estudio, tambin en Sunset Boulevard, y en 1919 otros hermanos, Harry y Jack Cohn, crean el embrin de lo que ser la Columbia y construyen su estudio en Gower Street. En 1919 Charles Chaplin, Douglas Fairbanks, Mary Pickford y D. W. Griffith forman United Artists, en teora para desafiar el creciente poder de los grandes estudios de la poca. En 1928, con la creacin de la RKO, estn ya las ocho majors de Hollywood: cinco grandes (Paramount, MGM, Warner, 20th Century Fox y RKO) y tres medianas (Universal, United Artist y Columbia). Ha nacido el denominado studio system, una nueva forma de hacer cine. No es slo un cambio geogrfico: con Hollywod llega una nueva filosofa. Los

Abajo, Charles Chaplin, Douglas Fairbanks, Mary Pickford y D.W. Griffith, en la firma con la que nace la United Artists. 3 In 1919, Charlie Chaplin, Douglas Fairbanks, Mary Pickford and D.W. Griffith formed United Artists.

estudios conciben el cine como una industria ms, basada, como el resto, en la eficacia empresarial y la racionalizacin econmica, todo lo contrario de lo que parecera indicar el lema que la MGM coloca bajo su len: Ars gratia artis (el arte por el arte). No slo producen las pelculas (tres cuartas partes de los ttulos estrenados a finales de los aos treinta), se convierten tambin distribuidores, lo que les permite obligar a las salas a contratar paquetes en los que se mezclan films de xito con ttulos menos comerciales, y se hacen en muchos casos con la propiedad directa de cadenas de exhibicin norteamericanas. Cambia adems la forma de producir. La divisin de trabajo, la especializacin de los tcnicos y la filmacin de escenas segn el orden de produccin (y no del guin literario) copian los mtodos de las cadenas de montaje de la industria automovilstica. Los productores se convierten adems en autnticos dioses. Los jefes de los estudios, como Irving Thalberg (Universal y MGM), David O. Selznick (MGM, Paramount, RKO) o Darryl Zanuck (Warner y 20th Century Fox) tendrn poder para hacer y deshacer a su antojo: modifican guiones, contratan y despiden directores o intervienen en el montaje acortando o alargando metrajes. En el lado contrario, el director se convierte en muchos casos en un simple especialista en llevar a imgenes el guin literario, un artesano a las rdenes del estudio. Prueba del poder de los productores es que hasta 1941 lo que conocemos como Oscar a la Mejor Pelcula (Best Picture) premia la produccin ms destacada (Outstanding Production), un signo del que todava queda rastro: an hoy es el productor quien lo recoge. Los actores son otra pieza ms del engranaje. Durante toda la poca dorada (entre los aos treinta y los cincuenta), las estrellas estn ligadas a los estudios por contratos de exclusividad, generalmente de siete aos, que hacen que la imagen de determinados actores se asocie a un estudio concreto: Katharine Hepburn o Robert Mitchum (con RKO), Clark Gable, Greta Garbo o Spencer Tracy (con MGM), Gary Cooper o Marlene Dietrich (con Paramount), Marylin Monroe o Gregory Peck (con Fox) o James Cagney o Edward G. Robinson (con Warner).

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It is 1911. The cinema has not yet come of age but is already on

the way to becoming a form of mass entertainment. Picture houses and spectators multiply year by year and the first film studios find themselves forced to produce more and more movies. Paris, Berlin and New York are, at that time, the most important production centres. However, in October of that year a small studio, the Nestor Motion Picture Company, decides to move to California. A better climate less rainy days and more light hours facilitate and reduce shooting costs and the distance frees them from the persecution of Thomas Alva Edison detectives and lawyers, to whom cinema producers then had to pay royalties (a halfcent per each centimetre of processed film) for the patent rights as theoretical inventor of the cinema. Nestor Motion Pictures chose a small district of Los Angeles to found its studio, specifically the Sunset Boulevard and Gower Street junction, from where in later years the famous Walk of Fame was to start. Hollywood had just been born. From that time onwards studios proliferated. One year later, Carl Laemmle founded Universal Studios which, after a mere few months of existence, bought up Nestor Motion Pictures, and the Famous Players Film Company which was to become the commencement of Paramount Pictures. In 1915 Fox Films were created (the beginnings of 20th Century Fox) and Metro Pictures (which, together with the Louis B. Mayer Production Company and Goldwyn Pictures were to become Metro-Goldwyn-Mayer). In 1918 the Warner Brothers established their first studio, also on Sunset Boulevard and, in 1919 another pair of brothers, Harry and Jack Cohn, created the embryo of what was later to become Columbia Pictures and set up their studio on Gower Street. In 1919, Charlie Chaplin, Douglas Fairbanks, Mary Pickford and D.W. Griffith formed United Artists, in theory to compete with the increasing power of the great studios of the era. In 1928, with the creation of RKO, the eight Hollywood majors were already in existence: five big studios (Paramount, MGM, Warner, 20th Century Fox and RKO); three of medium size: (Universal Studios, United Artists and Columbia Pictures). The studio system had been born, a new form of film-making.

Jean Harlow. A la derecha, Humphrey Bogart e Ingrid Bergman. 3 Jean Harlow. On the right, Humphrey Bogart and Ingrid Bergman.

It was not just a geographical change: with Hollywo-

od a new philosophy had arrived. Studios conceived the cinema as yet another industry, based as do the rest on business efficiency and economic rationale, quite the contrary to what the MGM motto beneath its roaring lion appeared to represent: Ars gratia artis (art for the sake of art). Not only did they produce movies (by the end of the thirties, three-quarters of the all the titles shown), they also became distributors, which thus allowed them to force picture houses to buy packages in which they mixed successful films with less commercial products and, in many cases they became the direct owners in America of cinema chains. The production process was also changed. The work division, the specialisation of technicians and the filming of scenes following production order (instead of the script) imitated the assembly line methods of the car industry. Producers also become virtual gods. Studio chiefs such as como Irving Thalberg (Universal and MGM), David O. Selznick (MGM, Paramount, RKO) or Darryl Zanuck (Warner and 20th Century Fox) had the power to do and undo as they wish: modify scripts, hire and fire directors or remake films cutting or extending footage. On the other hand, the film director in many cases became simply a specialist in converting a script into images, a craftsman obeying studio orders. Proof of the power of the producers is that up to 1941, what we know as the Oscar for the Best Picture really made the award to the Most Outstanding Production, a tradition that still today bears its trace: even nowadays it is the producer who collects the award. The actors and actresses formed yet another cog in the wheel. Throughout the Golden Era (between the thirties and the fifties) movie stars were attached to studios through exclusive contracts, usually for seven years, thus associating a series of actors and actresses with specific studios: Katharine Hepburn or Robert Mitchum (with RKO), Clark Gable, Greta Garbo or Spencer Tracy (with MGM), Gary Cooper or Marlene Dietrich (with Paramount), Marilyn Monroe or Gregory Peck (with Fox) or James Cagney or Edward G. Robinson (with Warner Bros.).la revista de eurostars hotels magazine17

SEXTO SENTIDO | SIXTH SENSE

A la vez que cambia la forma de producir, Hollywood va dando forma tambin al producto:

el sistema de montaje en cadena alcanza a los contenidos. La reutilizacin del material decorados, vestuario y la especializacin de directores, tcnicos e incluso actores favorece el auge de las pelculas de gnero, adems de cierta especializacin temtica de los estudios: musical ( MGM), comedias (Paramount), terror (Universal), cine familiar (Fox) o cine negro (Warner). La eficacia y la racionalidad empresarial lleva a Hollywood a tomar en buena parte de sus pelculas el camino de un cine para todos los pblicos, simple, lineal y previsible; alejado del riesgo basado en best sellers literarios que aseguren la taquilla o en films que ya han tenido xito (remakes) y propenso a recurrir a esquemas estereotipados (boy meets girl) y al ineludible happy end. El Cdigo Hays, con el que los estudios se autorregulan a partir de 1934 para, en teora, evitar la censura gubernamental, obliga a que la historia termine moralmente bien, adems de limitar la aparicin de escenas de sexo o desnudos en pantalla (ni siquiera el ombligo) o las crticas a la religin y las blasfemias. El Hays Code librar a los estudios de la competencia de los films independientes y europeos, en general ms abiertos en temas morales, y los productores saben que los espectadores esperan una historia con final feliz y que el happy end es parte inseparable del xito.

Entre los aos treinta y cincuenta, las estrellas de Hollywood estn ligadas a los estudios por contratos de exclusividad. Arriba, Ava Gardner; a la derecha, James Stewart; abajo, Mary Pickford. 3 Between the thirties and the fifties movie stars were attached to studios through exclusive contracts. On top, Ava Gardner; on the right, James Stewart; below, Mary Pickford.

En 1948 la sentencia Paramount del Tribunal Supremo establece que la posicin de dominio de los estudios sobre la produccin, distribucin y la exhibicin de pelculas viola la ley antimonopolio y obliga a las majors a deshacerse de los cines. Terminan tambin los contratos en exclusividad del star system: los estudios se ven obligados a pagar mejor para conservar a sus estrellas (James Stewart, por ejemplo, se lleva la cuarta parte de los beneficios de sus filmes con la Universal) y muchos actores crean sus propias productoras. La caza de brujas expulsa de la industria a algunos de los mejores profesionales y mancha de modo vergonzante la reputacin de Hollywood, surgen los sindicatos y comienza a resultar ms barato rodar fuera de Estados Unidos. Pero ser la televisin la que ponga fin a la Edad de Oro. Una frase de Norma Desmond, la actriz en la que Gloria Swanson se autointerpreta en El Crepsculo de los Dioses I am big. Its the pictures got smaller. Yo soy grande. Son las pelculas las que se han hecho pequeas define claramente el cambio. Las majors su hegemona absoluta en el cine mundial sobrevivirn, pero nada volver a ser lo mismo.

Sin embargo, de pronto, todo cambia.

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Los jefes de los estudios tenan poder para hacer y deshacer a su antojo: modificar guiones, contratar y despedir directores... 3 Studio chiefs had the power to do and undo as they wish: modify scripts, hire and fire directors or remake films.A la izquierda, Cary Grant. Abajo, Loretta Young. 3 On the left, Cary Grant. Below, Loretta Young.

While production methods were being changed,

Hollywood was also giving the product a different form. The assembly line system was, likewise, reaching the contents. The reuse of material dcor, costumes and the specialisation of directors, technicians and even actors and actresses favoured the advent of different genres in pictures, in addition to a certain specialisation in themes by the studios themselves: musicals (MGM), comedies (Paramount), terror films (Universal), films for all the family (Fox) or thrillers (Warner Bros.) Business efficiency and rationale induced Hollywood, to a certain extent, to concentrate on movies for every kind of audience, simple, single-track, foreseeable; no risks taken based on best-sellers which ensured a good box-office draw or on films that had been successful in their day (remakes) and which tended to take recourse to stereotyped plots (boy meets girl) and to the inevitable happy ending. The Hays Code, which became the guidelines for motion pictures as from 1934, theoretically to avoid governmental censorship, forced plots to end morally right, in addition to limiting sex scenes or nudes on the screen (not even navels) or criticisms on religion or any kind of blasphemy. The Hays Code thus freed the studios from European and experimental film competition, in general more open in terms of morality, and producers knew that spectators expected a story with a happy ending, an inseparable part of its potential success.

In 1948 the Paramount sentence issued by the Supreme Court established that the studios position of dominance over the production, distribution and exhibition of motion pictures violated the antitrust law and forced the majors to rid themselves of their cinema chains. It was also the end of contract exclusivity with the stars. Studios were forced to pay better fees to keep their stars (James Stewart, for example, was to pocket one quarter of the profits earned from his films with Universal) and many actors and actresses created their own production companies. The Witch Hunt later threw some of the best professionals out of the film industry and shamefully smeared Hollywood reputation; the syndicates then appeared and it began to be cheaper to shoot outside the United States. However, it was television that put an end to the Golden Age. The quotation made by Norma Desmond, the actress that Gloria Swanson portrays in Sunset Boulevard: I am big. Its the pictures got smaller clearly defines the change. The big studios their pre-eminence in worldwide picture-making were to survive, although nothing would ever be the same.la revista de eurostars hotels magazine19

Nevertheless, everything was soon to change.

SEXTO SENTIDO | SIXTH SENSE

Los primeros estudios se asientan entre Sunset Boulevard y Gower Street. 3 The first major studios were founded in the Sunset Boulevard and Gower Street junction.

a la prdida de espectadores provocada por la televisin (en 1955 la mitad de los hogares norteamericanos tiene ya televisor), despus, a partir de los ochenta, al vdeo y los sucesivos sistemas de reproduccin (DVD, Blue-ray). Y, desde finales del siglo pasado, a internet. En esa carrera por mantener su status, los grandes estudios reducen el nmero de pelculas por ao y se vuelcan en producciones ms espectaculares que puedan competir con los otros medios: grandiosos dramas histricos en los cincuenta, cine de catstrofes en los setenta y, ms tarde, films de anticipacin, aventuras y animacin digital que permitan despliegues de efectos especiales. Paralelamente, Hollywood recurre a las sucesivas innovaciones tecnolgicas cinemascope (1953), sonido dolby (1971) y THX (1983), o el cine en 3-D, hoy en su momento estelar para tratar de sobrevivir frente a los otros medios. Sin embargo, pierden por el camino su independencia de medio siglo. A partir de los aos sesenta se suceden las compras y absorciones peregrinas a veces que llevarn, por ejemplo, a Columbia caer en manos de Coca-Cola, y a Universal, en las de la distribuidora de licores canadiense Seagram. En esa carrera desaparece RKO (comprada por Paramount), United Artist, que cierra en 1980 y, recientemente, MGM, en quiebra desde 2009. Por el contrario, crece imparablemente Disney. Pero sern tambin los nuevos medios la televisin, los sucesivos soportes de grabacin e internet los que paradjicamente salven a las majors. Los derechos de sus pelculas cobran valor ante la necesidad de contenidos y, a partir de los noventa, los grandes estudios comienzan a caer en manos de grandes conglomerados de comunicacin. En 1989 Warner se fusiona con Time y Sony compra Columbia, a la que aadir en 2005 MGM. News Corporation se hace con la Fox, Viacom adquiere Paramount en 1993 (a la que sumar Dreamworks) y en 2000 Vivendi compra Universal para fusionarla con la cadena de televisin NBC. Fueron grandes: produjeron la mayor parte de las pelculas con mayor recaudacin de la historia. Y siguen sindolo, integradas ahora en conglomerados de comunicacin: de las 30 pelculas ms taquilleras estrenadas en la ltima dcada, 25 (todas salvo 5 ttulos de Disney) fueron producidas por alguna de las cinco supervivientes: Fox Corporation, Viacom (Paramount/ RKO/Dreamworks), Time-Warner, Sony (Columbia-MGM) y Vivendi-Universal.

A lo largo del siguiente medio siglo, la exhibicin en salas tendr que enfrentarse, primero,

Prcticas oligopolsticas, productores tirnicos, guiones rehechos con la vista puesta en las cuentas de resultados... Las majors han sido y son una implacable mquina de obtener dinero a cualquier precio. Pero no solo eso. Entre las intrigas palaciegas y los asesinatos de la Italia del Renacimiento surgieron la Capilla Sixtina o la Gioconda. Hollywood nos deja Ciudadano Kane, Casablanca, Historias de Filadelfia o El Padrino, la filmografa de Lubisth o Wilder, Hitchcock o Ford, la pasin por el cine negro, frases inolvidables, momentos mgicos, risa, emocin o miedo, y actrices y actores con los que soar.20estar

Throughout the subsequent half-century, the showing of movies in picture houses was faced, first of

all, with the loss of spectators, due to the influence of television (in 1955, half of U.S. homes already had a TV set), later, from the eighties onwards, to the appearance of the video and successive reproduction systems (DVD, Blue-ray) and, finally, from the end of the past century, to Internet. In this race to maintain their status, the big studios reduced the number of films produced per year and devoted themselves to more spectacular productions that could compete with other media: the grand historical dramas of the fifties, the catastrophes of the sixties and, later on, futuristic, adventure and digital animation movies which allowed the deployment of special effects. In parallel, Hollywood took recourse to successive technological innovations Cinemascope (1953), Dolby Sound (1971) and THX (1983), or todays 3-D, now at its peak in order to survive in the face of the other media. Nonetheless, on the way they were to lose their independence of half-a-centurys standing. From the sixties, buys and mergers sometimes quite alien were to bring Colombia, for instance, to fall into the hands of Coca-Cola or Universal to become the property of the Canadian liquor corporation, Seagrams. During this race, RKO was to disappear (bought by Paramount), United Artists was to close in 1980 and, more recently, MGM, bankrupt for over a year. On the contrary, Disneys growth seemed to be unstoppable. But it was also to be the new media television, the successive recording systems and Internet that, paradoxically, were to save the big studios. Movie rights gained value in the light of the need to provide contents and, as from the nineties, the studios started to fall into the hands of the major communication conglomerations. In 1989 Warner Bros. merged with Time and Sony bought up Colombia, to which in 2005 it was to add MGM. News Corporation bought Fox, Viacom acquired Paramount in 1993 (to which it would add Dreamworks) and, in 2000, Vivendi bought Universal Studios to merge it with the NBC TV channel. They were truly great: they produced the majority of the 50 most lucrative movies in history. And they continue to be great, integrated as they are in the communication conglomerates: of the 30 films having recorded the best box office sales over the last decade, 25 (except 5 Disney titles) were produced by one of the five survivors: Fox Corporation, Viacom (Paramount/RKO/Dreamworks), Time-Warner, Sony (Columbia-MGM) and Vivendi-Universal.

Oligopolistic practices, tyrannycal producers, scripts re-written with the balance sheet in mind... The major

studios were and are relentless machines for obtaining money at any price. But that was not all. From within the palace intrigues and murders of Renaissance Italy emerged The Agony and the Ecstasy or The Mona Lisa Smile. Hollywood leaves us Citizen Kane, Casablanca, The Philadelphia Story or The Godfather, films produced by Lubitsch or Wilder, Hitchcock or Ford, the passion for thrillers, those unforgettable phrases, magic moments, laughter, excitement or fear and, actors and actresses with whom to dream.

En Sunset Boulevard Norma Desmond (Gloria Swanson) describa en una frase un gran cambio: Yo soy grande. Son las pelculas las que se han hecho pequeas. A la izquierda, William Holden con el len de la MGM. 3 The quotation made by Norma Desmond (Gloria Swanson) in Sunset Boulevard defined a change in Hollywood: I am big. Its the pictures got smaller. On the left, William Holden with the lion of MGM.

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PERSPECTIVAS | PERSPECTIVESemilia marcos texto/words archivo imgenes / images

mujeres en ciencia y en investigacinWomen in science and research

Marie Curie reciba hace cien aos el premio N obel de Qumica. Es un buen momento para hacer un pequeo balance de la situacin de las mujeres en la investigacin y la ciencia. A hundred years ago, Marie Curie received the N obel Prize in Chemistry. This is a good moment in time to take stock of the situation of women in research and science.22 estar

Barbara McClintok, Premio Nobel en Medicina en 1983. 3 Barbara McClintok was awarded the Nobel Prize for Medicine in 1983.

Hace ahora cien aos, en 1911, Marie Curie reciba el Premio Nobel de Qumica. Pero fue unos aos antes, en 1903, cuando lleg a ser todo un referente al convertirse en la primera mujer que reciba un Nobel: el de Fsica que comparti con su marido, Pierre Curie, y con Henri Becquerel. Hasta ese momento, unos cuantos nombres jalonaban ya la historia de la mujer en la ciencia: Hipatia de Alejandra, Sophie Germain o Ada Lovelace, entre ellas. Desde entonces, la figura de la mujer, escasamente representada en las esferas ms altas de casi cualquier actividad, tampoco se prodiga en los niveles superiores de la investigacin cientfica. Las dificultades de la mujer para destacar en cualquier mbito de la vida pblica, profesional o poltica han sido tambin importantes a lo largo de la historia. Han sido pocas las que han despuntado y, en algunos casos, sus mritos no han sido reconocidos. Es el caso, por ejemplo, de Sophie Germain (1777-1831), matemtica, fsica y filsofa francesa. Pionera en la teora de la elasticidad, su trabajo respecto al ltimo teorema de Fermat (tambin llamado el teorema de Sophie Germain) sent las bases para matemticos que exploraron el tema cientos de aos despus. Sin embargo, siempre trabaj de forma independiente porque su condicin de mujer no le permiti desarrollarse como acadmica. Tenemos otro ejemplo en Lisa Meitner (1878-1968), fsica austriaca que descubri la fisin nuclear. Pero no fue ella, Now just a hundred years ago, Now just a hundred years ago, in 1911, Marie Curie received the Nobel Prize in Chemistry.But it was some years earlier, in 1903, when she became a celebrity as the first woman to win a Nobel award: in Physics, together with her husband, Pierre Curie and Henri Becquerel. Up to that date, several names adorn the history of women in the world of science: Hypatia of Alexandria, Sophie Germain or Ada Lovelace, amongst them. And, since then, the woman figure, so scarcely represented in the highest spheres of any activity, likewise, does not appear too frequently in the upper echelons of scientific research. The difficulties faced by women to stand out in any walk of life in public, professional or political circles, have also been huge throughout history. Very few have made a name for themselves and, in some cases, their achievements were not even acknowledged. This is the case, for example, of Sophie Germain (1977.1831), French mathematician, physicist and philosopher. A pioneer in the elasticity theory, her work on Fermats Last Theorem (also known as the Sophie Germain Theory) laid out the groundwork for mathematicians to explore the subject hundreds of years later. She worked independently because her condition as a woman did not allow her to develop an academic career.

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sino su colega Otto Hann, quien recibi el Premio Nobel precisamente por este descubrimiento. Uno de los casos ms polmicos y uno de los ms claros ejemplos de cmo el comit del Nobel ha ignorado durante muchos aos los logros llevados a cabo por mujeres. Meitner rechaz en su da trabajar en el proyecto Manhattan, que termin con el desarrollo de la primera bomba nuclear. Por su parte, la mayor aportacin a la ciencia de Rosalind Frankling (1920-1958), biofsica y cristalgrafa inglesa fue obtener la imagen de una molcula de ADN. Pero uno de sus colegas, Maurice Wilkins, mostr esa imagen (sin permiso ni conocimiento de Rosalind) a los cientficos James Watson y Francis Crik. La imagen les permiti construir un modelo de ADN y entender la estructura de la molcula. Wilkins, Crick y Watson recibieron el Nobel por ese descubrimiento en 1962, algunos aos despus de la muerte de Franklin.

A pesar de todo, mujeres como las anteriormente citadas, o como la estadounidense Grace Hopper (la primera persona que desarroll un compilador para lenguaje computacional, el Cobol) han ido escribiendo pginas de la historia de la investigacin y de la ciencia. Pginas que ahora continan escribiendo otras grandes cientficas como la primatloga Jane Godall (Reino Unido, 1934), considerada la mayor experta en chimpancs del mundo y que an hoy contina con sus interesantsimas investigaciones. Una de las ms destacadas cientficas del siglo XX, todo un referente en la ciencia europea, es la italiana Rita Levi-Montalcini (nacida en 1909). En 1986 Levi-Montalcini consegua el Premio Nobel en Fisiologa y Medicina, junto con Stanley Cohen, por su descubrimiento sobre el factor de crecimiento del nervio. Adems es, desde 2001, senadora vitalicia de su pas. En Espaa, hoy da destacan cientficas como Margarita Salas, una de las ms importantes investigadoras en el campo de la bioqumica y la gentica molecular, o Mara Blasco, recientemente nombrada directora del CNIO (Centro Nacional de Investigaciones Oncolgicas), uno de losWe have another example in Lisa Meitner (1878-1968). Lisa was the Austrian physicist who discovered nuclear fission. But it was not her but her colleague, Otto Hahn, who was awarded the Nobel Prize, precisely for this discovery; one of the most glaring examples of how the Nobel committee has ignored womens scientific achievements. Later on, she refused to work in the Manhattan project which ended in the development of the first nuclear bomb. On the other hand, Rosalind Frankling (1920-1958), a British biophysicist and X-ray crystallographer, obtained the image of a DNA molecule. But one of her colleagues, Maurice Wilkins, showed this image (without Rosalinds knowledge or permission) to scientists James Watson and Francis Crik. The image allowed them to build a DNA model and to understand molecular structure. Wilkins, Crick and Watson were awarded the 1962 Nobel Prize for this discovery, years after the death of Rosalind Franklin.

Despite all, women such as those described, or like the American Grace Hopper (the first person to deve-

Lisa Meitner, descubridora de la fisin nuclear. 3 Lisa Meitner discovered nuclear fissin.24 estar

lop a compiler for computer language: the Cobol) have forged pages of history in research and science. These pages now continue to be imprinted by other celebrated women scientists, such as primtologist Jane Godall (U.K., 1934), considered to be the greatest expert in the world on chimpanzees and who, even now continues with her fascinating research work. One of the most outstanding scientists of the 20th century, a reference in European science matters, is the Italian Rita Levi-Montalcini (born in 1909). In 1986, Levi-Montalcini won the Nobel Prize in Physiology and Medicine, together with Stanley Cohen, for her discovery of the nerve growth factor. What is more, since 2001she has been serving as a Senator for Life in her home country. In Spain, researchers like Margarita Salas, one of the most important scientists working in the field of biochemistry and molecular genetics, recently appointed Director of the CNIO (National Oncology Research Centre), or Mara Blasco. Blasco is contributing significant results for science in telomeres and telomerase enzymes and the role played by the former in cancer and aging processes. The scientific catalogue is, obviously, much larger: from Ada Lovelace or BarbaraMcClintok, to Jocelyn Bell Burnell, through Rosalyn Sussman Yalow, Carol W. Greider or Maria Goppert-Mayer. All of these women have made highly important contributions to the progress of scientific research.

The interest to promote the equality of gen-

Walter Benjamin en la Biblioteca Nacional de Pars (1939). Foto: Gisle Freund. 3Walter Benjamin en la Biblioteca Nacional de Pars (1939). Foto: Gisle Freund.

centros de investigacin sobre el cncer ms importantes del mundo. Blasco est realizando importantes aportaciones a la ciencia centradas en los telmeros y la telomerasa y la funcin que los anteriores desempean en el cncer y el envejecimiento. El catlogo de cientficas ilustres es, obviamente, ms amplio: desde Ada Lovelace o Barbara McClintok (Premio Nobel de Medicina en 1983), hasta Jocelyn Bell Burnell, pasando por Rosalyln Sussman Y alow, Carol W. Greider o Maria Goppert-Mayer. Todas ellas han realizado importantes aportaciones al avance de la ciencia, aunque en muchos casos no hayan obtenido el merecido reconocimiento.

El inters por promover la paridad

de gnero en todos los mbitos, particularmente en la ciencia y la tecnologa, comenz en Estados Unidos en los aos setenta. All se cre (en 1971) la Association for Women in Science una asociacin que rene mujeres con un objetivo comn: conseguir que la ciencia y la tecnologa en Amrica resulte ms accesible para todo tipo de personas. Estados Unidos y Canad comenzaron a recopilar estadsticas separadas por sexo de forma sistemtica, desde 1981. A comienzos de los aos noventa, la Comisin de las Naciones Unidas sobre la Ciencia y la Tecnologa consider que una de las tres cuestiones principales de las que deba ocuparse era la de gnero. En Europa ese inters surge en los aos ochenta con iniciativas concretas en Alemania, los pases nrdicos y el Reino Unido. A estos esfuerzos se une posteriormente una sensibilizacin general de la Unin Europea que culmina con la creacin del Grupo de Helsinki en 1999, con el objetivo de examinar la situacin de las mujeres en ciencia en 30 pases. Entonces se tena la impresin generalizada de que haba un nmero insuficiente de mujeres que se dedicaban a la ciencia y de que los puestos de mayor responsabilidad cientfica estaban ocupados por hombres. Sin embargo, haba un factor de peso que impeda que se interviniera en este asunto: la falta de datos. La Comisin Europea se propuso remediarlo con la ayuda del Grupo de Helsinki. El plan de accin para promover la igualdad de gnero en esta rea incluy la elaboracin por un grupo de expertos del informe ETAN, publicado en el ao 2000. Tras estudiar la situacin de las mujeres en la ciencia y la tecnologa en diversos pases europeos, conclua que la infrarrepresentacin de las mujeres amenaza los objetivos cientficos de alcanzar la excelencia, adems de ser un derroche y una injusticia. Adems de revelar las dificultades que afrontaban las mujeres en la ciencia, las estadsticas sacaron a la luz otra tendencia interesante, como reconoce Tiia Raudma, miembro de la Unidad de Ciencia, Cultura y Gnero de la Direccin General

ders in all walks of life, particularly in science and technology, commenced in the U.S.A. in the seventies. In that country (in 1971) the Association for Women in Science was founded, an association that unites women with a common objective: to achieve making science and technology accessible to all kinds of people. The United States and Canada began, systematically from 1981, to elaborate separate statistics according to genders. By the beginning of the nineties, the U.N. Science & Technology Commission considered that one of the three major questions which should be addressed was that of gender. In Europe, interest in the issue arises in the eighties with concrete enterprises in Germany, Scandinavia and the U.K. These efforts were to be followed later with a general sensitizing of the European Union, which was to be culminated with the creation of the Helsinki Group in 1999, with the objective of examining the situation of women in science in 30 countries. At the time, a general impression existed that there were insufficient numbers of women devoted to science and that the positions of greatest responsibility were occupied by men. Nonetheless, a weighty factor existed that prevented any intervention in the issue: the lack of data. The European Commission proposed remedying the matter with the help of the Helsinki Group. The plan of action to promote equality of gender in this area included preparation by a group of exports of the ETAN Report, published in 2000. Following study of the situation of women in science and technology in various European countries, it concluded that under-representation of women threatens scientific objectives to attain excellence, in addition to being a waste and an injustice. In addition to revealing the difficulties faced by women in science, statistics brought out into the open another interesting trend, as recognized by Tiia Raudma, a member of the Unit of Science, Culture and Gender of the European Commission Research General Directorate: in countries that invest in research and development, the salaries of male researchers are usually higher, wherefore mostly men (hence, less women) do research work. On

Cuanto ms se asciende en la jerarqua acadmica, menor es la proporcin de mujeres. 3 The higher goes on academic hierarchy; the lower is the proportion of women.

Jane Goodall, primatloga. Arriba, Grace Hooper, la primera desarrolladora de un compilador para un lenguaje computacional. 3 Jane Goodall, primatologist. Up, Grace Hooper was the first person to develop the compiler for computer languaje.la revista de eurostars hotels magazine 25

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Silvia Torres-Peimbert, astrnoma, premiada en 2011 con el LOral-Unesco Awards For Women in Sciencie. Abajo, Anne LHuillier, matemtica, tambin premiada en 2011 con el LOral-Unesco Awards For Women. 3 Silvia TorresPeimbert, astronomer. She received in 2011 the LOral-Unesco Awards For Women. Below, Anne LHuillier, mathematician; she was also awarded.

de Investigacin de la Comisin Europea: en los pases que invertan ms en investigacin y desarrollo, los sueldos de los investigadores suelen ser ms elevados, por lo que son ms los hombres (y menos las mujeres) que se dedican a la investigacin. En cambio, en pases que invierten menos en ciencia, tambin suelen ofrecer una remuneracin ms baja a sus cientficos; en estas naciones suele haber ms mujeres dedicada a esta profesin. Desde entonces, el Grupo de Helsinki contina elaborando estadsticas e informes de los pases que lo componen con el fin de promover el debate y el intercambio de experiencias sobre medidas y polticas ideadas y aplicadas en los mbitos local, regional, nacional y europeo con el fin de fomentar la participacin de la mujer en la carrera cientfica y la investigacin. En sus informes ha destacado que, a pesar de que los diferentes pases cuentan con infraestructuras cientficas distintas y diferentes medidas en materia de igualdad, s existen algunos factores comunes que favorecen esa desigualdad estructural. Uno de ellos es el desequilibrio, a favor de los hombres, en los rganos que adoptan decisiones sobre poltica cientfica y entre quienes evalan los nuevos proyectos y los candidatos a puestos superiores en la carrera cientfica. Por eso en algunos pases, entre ellos Espaa, se han tomado decisiones en este sentido que estn dando ya los primeros resultados. En el informe Mujeres investigadoras 2010, elaborado por el CSIC (Consejo Superior de Investigaciones Cientficas) en Espaa, el presidente de la entidad, Rafael Rodrigo, reconoca que la proporcin de mujeres en los niveles superiores de la investigacin ha crecido sustancialmente desde la publicacin en Espaa de la orden que obliga a que los rganos de seleccin de personal tengan una composicin paritaria. El CSIC, explica Rodrigo, ha cumplido cuidadosamente esta Orden nombrando tribunales con una representacin equilibrada entre ambos sexos, como prueba la presencia del 49% de mujeres en los tribunales de 2009, cuando en 2001 era del 21,4%. Disponer de datos, elaborar leyes que fomenten la paridad, educar en la igualdad, facilitar la conciliacin entre la vida familiar y la profesional, facilitar el reingreso de la mujer en la carrera cientfica despus de dedicar un tiempo a sus hijos son algunas de las medidas que se estn poniendo en marcha en distintos pases para lograr que las cosas cambien. A grandes rasgos, se dice en el informe del grupo de Helsinki Polticas nacionales sobre mujeres y ciencia en Europa, puede afirmarse que las mujeres son mayora entre los estudiantes. Aunque sigan siendo minora en algunas disciplinas cientficas y en ingeniera, su presencia es mayoritaria en las ciencias mdicas y biolgicas. Cuanto ms se asciende en la jerarqua acadmica, menor es la proporcin e mujeres. En realidad, puede afirmarse que las mujeres constituyen en todos los casos una pequea minora de las personas que ocupan los puestos cientficos de mayor responsabilidad. Finalmente, aunque no existen cifras concretas que recojan el efecto de la maternidad sobre la carrera cientfica, es decir, si hay diferencias entre26 estar

the other hand, countries that invest less in science also tend to offer lower remuneration to their scientists; in these nations there are usually more women in the profession. Since then, the Helsinki Group continues to prepare statistics and reports from the countries that comprise the group, with a view to promoting debate and exchange of experiences regarding the measures and policies elaborated and applied in local, regional, national and European spheres in order to encourage the participation of women in scientific and research careers. Gender Equality in decision-making organisms: essential. In its reports it highlights that, despite different countries having different scientific infrastructures and different yardsticks in equality issues, there are certain common factors that favour this structural inequality. One of then is the imbalance, in favour of men, on the part of the organisms that adopt decisions on scientific policies and evaluate new projects and assess candidates to occupy high positions in scientific enterprises. Therefore, in some countries Spain amongst them decisions have been taken in this context, which are already showing their preliminary results. In Women in Research 2010, a report prepared by CSIC (Higher Council for Scientific Research) in Spain, the president, Rafael Rodrigo, acknowledges that the proportion of women in top levels of research has increased substantially since publication of the mandate that obligate staff selection departments to maintain gender equality. CSIC, explains Rodrigo, has meticulously complied with this mandate appointing panels composed of a balanced representation of genders, as proven by the presence of 49% of women on panels in 2009 while, in 2001, the proportion was 21.4%. Data availability, the creation of laws that encourage gender equality, education in equality, facilitating conciliation between family and professional life, facilitating the return of women to scientific careers after having spent time rearing their children... these are some of the measures that are being implemented in different countries to achieve changes. Overall, says one of the latest Helsinki Group reports, National Policies on Women and Science in Europe, affirmation can

Lisa Meitner descubri la fisin nuclear; sin embargo, fue su colega Otto Hahn quien recibira el N obel en 1944. 3 Although Lisa Meitner discovered nuclear fission, her colleague Otto Hahn was awarded the 1944 N obel Prize.mujeres con hijos y mujeres sin hijos, estudios realizados en diferentes pases muestran que las mujeres con descendencia tardan ms en lograr el reconocimiento acorde a sus mritos, mientras que esta circunstancia entre los hombres es irrelevante y, en ocasiones, hasta positiva: la afectividad, cubierta por una familia estable, favorecera la produccin y la carrera profesional de los hombres mientras parece retrasar y dificultar la de las mujeres. El impacto de la maternidad est pendiente de anlisis detallados en la Unin Europea, y tener datos claros es importante para llevar a cabo polticas concretas. Pero lo cierto es que hay manifestaciones palpables de estas diferencias, como, por ejemplo, el estudio de parejas cientficas y sentimentales: comparten familia y trabajo, y muestran sistemticamente a las mujeres de esas parejas en un segundo plano pblico como profesionales: hombres y mujeres con la misma formacin y que, por alguna razn, el sistema parece disuadir a las mujeres a la hora de rescatar para s un protagonismo y reconocimiento similar al de su pareja. Haremos bien en poner todos los medios para que la sociedad no se pierda tantas aportaciones que pueden hacer la mujeres al desarrollo, a la investigacin y a la ciencia. Que no se pierda, en el futuro, ninguna Marie Curie.

ConClusiones del estudio europeo she figuresShe Figures es la publicacin que el Grupo de Helsinki realiza peridicamente con las estadsticas recogidas en los diferentes pases que lo componen. La ltima edicin es de 2009 (las anteriores fueron en 2003 y 2006). Entre sus principales conclusiones encontramos las siguientes:Las mujeres continan siendo una minora en la investigacin cientfica: un 30%. En la Unin Europea, el porcentaje de mujeres investigadoras crece ms rpidamente que el de hombres (6,3% anual para las mujeres en el periodo 2002-2006; frente al 3,7% de los hombres). Lo mismo se puede decir en cuanto al crecimiento del porcentaje de mujeres en el total de los cientficos e ingenieros (6,2% anual, frente al 3,7 para los hombres). Como media, en la Unin Europea, las mujeres representan el 37% del total de los investigadores en la Universidad; el 39% en el sector pblico y el 19% en el sector privado. En todos los casos, se producen movimientos positivos tendentes a la igualdad. En los ltimos aos ha habido un crecimiento del nmero de investigadoras en prcticamente todos los sectores; pero es especialmente importante en ciencias mdicas (+5,6% en el sector privado y +12% en el sector pblico); en humanidades; ingenieras y tecnologas y en ciencias sociales. Las mayores ratios de mujeres investigadoras en la empresa privada se encuentran en temas relacionados con agricultura y medicina; las ms bajas, en ingeniera y tecnologa. La carrera acadmica de la mujer contina marcada por una intensa segregacin vertical: la proporcin de mujeres estudiantes universitarias (55%9 y graduadas (59%) es mayor que la de hombres; pero ellos las superan en cuando se llega a niveles superiores. Las mujeres representan slo el 44% del personal acadmico de grado inferior; el 36% de los titulados y el 18% de los catedrticos. Como media, slo el 13% de las instituciones dedicadas a la investigacin o la ciencia de alto nivel estn dirigidas por mujeres y slo el 9 por ciento de las universidades. En sus rganos directivos figura un 22% de mujeres.

be made that women are in the majority amongst students. Although they continue to be in a minority in some scientific areas and in engineering, their presence is in the majority in medical sciences and biology. The higher one goes in academic hierarchy; the lower is the proportion of women. In fact, it can be affirmed that women comprise in all cases a small minority of the persons who occupy the scientific positions of greatest responsibility. Finally, although there ar no concrete figures that reflect the effect of maternity over scientific careers, i.e. if there are differences between women with children and women without children, studies carried out in various countries show that women with children take longer to achieve the recognition their merits deserve, whilst this circumstance amongst men is irrelevant and, at times, even positive: the emotional state, supported by stable family life, favours production and the professional career of men while appearing to delay and hinder that of women. The impact of maternity is pending detailed analysis in the European Union and it is important to have clear data in order to implement the correct policies. However, there are certainly palpable manifestations of these differences, as for example, the study of scientific work and emotional partners: they share family life and work and systematically show how the women forming such couples take second place as professionals; i.e. men and women having the same training where, for some reason, the system appears to dissuade women to obtain similar prominence and recognition to that of their partners. We should do all we can to implement all possible measures to avoid society losing so many of the contributions that women can make to development, to research and to science. We would not want to lose any future Marie Curies.

ConClusions of the european study she figuresShe Figures is a publication prepared periodically by the Helsinki Group with statistics collected in the different countries belonging to it. The latest edition is from 2009 (the previous editions were in 2003 and 2006). Amongst its main conclusions we find the following:Women continue to be a minority in scientific research: 30%. In the European Union, the percentage of women researchers grows quicker than that of men (6.3% annually for women during the period 2002-2006, against 3.7% for men). The same can be said about the growth of the percentage of women amongst the total number of scientists and engineers (an annual 6.2% against 3.7% of men). On average, in the European Union, women represent 37% of the total of University researchers, 39% of the total in the public sector and 19% in the private sector. In all cases, positive movements are being produced which tend towards equality. Over the last few years there has been an increase in the number of researchers in practically all sectors; but this is particularly important in the medical sciences (+5.6% in the private sector and +12% in the public sector); in Humanities; in engineering and the technologies and in social sciences. The greatest ratios of women researchers in private companies is to be found in issues concerning agriculture and medicine; the smallest in engineering and technology. Academic careers for women continue to be marked by an intense vertical segregation: the proportion of women university students (55%) and graduates (59%) is greater than that of men; but men outnumber women when it comes to the higher levels. Women only represent el 44% of academic staff on the lowest rung; 36% of lecturers and 18% of professors. On average, only 13% of the institutions dedicated to research or science on higher level is headed by women and only 9% of universities; the proportion of women on their governing bodies is only 22%.la revista de eurostars hotels magazine 27

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