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                <text>Loretta Young en 'Shanghai'</text>
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                <text>1935-11-24</text>
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                <text>La revista &lt;em&gt;Blanco y Negro&lt;/em&gt; publicaba esta fotograf&amp;iacute;a a toda p&amp;aacute;gina de la actriz norte-americana Loretta Young que en 1935 interpretaba, junto a Charles Boyer, el melodrama&amp;nbsp;&lt;em&gt;Shanghai&lt;/em&gt; (dir. James Flood).</text>
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                <text>&lt;em&gt;Blanco y Negro&lt;/em&gt; (Madrid), 24 de noviembre de 1935, p&amp;aacute;g. 92</text>
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                <text>Antonio Ramos en Hollywood</text>
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                <text>Publicada en una revista cinematogr&amp;aacute;fica norte-americana, la fotograf&amp;iacute;a muestra a Antonio Ramos Espejo durante su visita a Hollywood. Ramos aparece junto al actor y director James Kirkwood en el set de la pel&amp;iacute;cula &lt;em&gt;The Great Impersonator&lt;/em&gt; (dir. George Melford, 1921) en los estudios Lasky.</text>
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                <text>&lt;span&gt;TORO ESCUDERO Juan Ignacio.&amp;nbsp;&lt;/span&gt;&lt;em&gt;Del burdel al emporio cinematogr&amp;aacute;fico: el papel fundamental, olvidado, principal y pionero del soldado espa&amp;ntilde;ol Antonio Ramos Espejo en el nacimiento del cino chino&lt;/em&gt;&lt;span&gt;. Universidad Complutense de Madrid (tesis doctoral), 2016.&lt;/span&gt;</text>
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                <text>&lt;em&gt;The Exhibitors Herald,&lt;/em&gt; vol. XIII, n&amp;ordm;. 2, 9 de julio de 1921, pag. 72</text>
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        <name>Antonio Ramos</name>
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                <text>Foto de grupo de los líderes de la industria cinematográfica china</text>
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                <text>Antonio Ramos aparece en primera plano en esta foto de los mayores empresarios del sector cinematográfico de Shanghai.</text>
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                <text>"中國影戲事業領袖之合影",&amp;nbsp;&lt;em&gt;ShenBao&lt;/em&gt;&lt;span&gt;&amp;nbsp;申报, 10 de octubre de 1923&lt;/span&gt;</text>
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                <text>Una visión comparativa del cine doméstico</text>
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                <text>En el extremo izquierdo de esta p&amp;aacute;gina del &lt;em&gt;ShenBao&lt;/em&gt;, el art&amp;iacute;culo "Una visi&amp;oacute;n comparativa del cine dom&amp;eacute;stico" (中國自製影片之比較觀) se abre citando a &lt;a href="http://ace.uoc.edu/exhibits/show/galeria-de-personajes/antonio-ramos"&gt;Antonio Ramos &lt;/a&gt;y su diferentes cines.</text>
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                <text>S&lt;em&gt;henBao&lt;/em&gt;&lt;span&gt;&amp;nbsp;申报, 24 de junio de 1924.&lt;/span&gt;</text>
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                <text>Noticia del conflicto por los derechos de exhibición de 'The Kid' de Chaplin en Shanghai</text>
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                <text>La compa&amp;ntilde;&amp;iacute;a de Antonio Ramos, Ramos Amusement Co., se vio envuelta en un conflicto legal con la gran multinacional Path&amp;eacute; al exhibir en el cine Olympic la m&amp;aacute;s reciente pel&amp;iacute;cula de Charles Chaplin, &lt;em&gt;The Kid.&lt;/em&gt; Seg&amp;uacute;n Path&amp;eacute;, Ramos no ten&amp;iacute;a los derechos de esa pel&amp;iacute;cula. Seg&amp;uacute;n explica el art&amp;iacute;culo, la pel&amp;iacute;cula fue proyectada en Shanghai tan solo una semana despu&amp;eacute;s de su premier en Londres.</text>
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                <text>TORO ESCUDERO Juan Ignacio. &lt;em&gt;Del burdel al emporio cinematogr&amp;aacute;fico: el papel fundamental, olvidado, principal y pionero del soldado espa&amp;ntilde;ol Antonio Ramos Espejo en el nacimiento del cino chino&lt;/em&gt;. Universidad Complutense de Madrid (tesis doctoral), 2016.</text>
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                <text>&lt;em&gt;The North China Herald&lt;/em&gt; (Shanghai), 10 de diciembre de 1921</text>
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                <text>Double-page visual report on Shanghai cinemas</text>
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                <text>A collection of photographs of the cinemas of Shanghai in the 1930s, among which some of Antonio Ramos' initiatives, such as the&amp;nbsp;&lt;a href="http://ace.uoc.edu/items/show/1139"&gt;Embassy&lt;/a&gt;&amp;nbsp;and the&amp;nbsp;&lt;a href="http://ace.uoc.edu/items/show/1151"&gt;Hongkew&lt;/a&gt;.</text>
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                <text>&lt;em&gt;Liangyou huabao&lt;/em&gt; 良友畫報, num. 62, October 1931.</text>
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                <text>'El cine de Filipinas, Japón y China, visto por un aventurero español', de Santiago Aguilar</text>
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                <text>El art&amp;iacute;culo comenta el viaje del actor y director Fernando G. Toledo por tierra asi&amp;aacute;ticas y sus impresiones de las respectivas industrias cinematogr&amp;aacute;ficas. En China,&#13;
&lt;blockquote&gt;G. Toledo encuentra muy atrasada la industria cinematogr&amp;aacute;fica china. Todav&amp;iacute;a se impresiona en mudo. Los procedimientos son rudimentarios. &amp;Uacute;nicamente son admirables dos cosas: los int&amp;eacute;rpretes y el operador.&lt;/blockquote&gt;</text>
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                <text>AGUILAR, Santiago. 'El cine de Filipinas, Jap&amp;oacute;n y China, visto por un aventurero espa&amp;ntilde;ol', &lt;em&gt;Cinegramas&lt;/em&gt;, a&amp;ntilde;o II, N&amp;ordm;. 46, 28 de julio de 1935 / Biblioteca nacional de Espa&amp;ntilde;a.</text>
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                <text>Anuncio del Victoria Cinematograph de Shanghai, propiedad de Antonio Ramos</text>
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                <text>Anuncio de la pel&amp;iacute;cula&amp;nbsp;&lt;em&gt;Red lights&lt;/em&gt;&amp;nbsp;(estrenada en chino como 可怕的红灯), filmada en 1923 por el director&amp;nbsp;&lt;span class="itemprop"&gt;Clarence G. Badger, y&amp;nbsp;&lt;/span&gt;que se estren&amp;oacute; en Shanghai en el Victoria Cinematograph 维多利亚大戏院 de la calle Haining Road, n&amp;uacute;mero 24. Este era uno de los cines propiedad de Antonio Ramos Espejo, uno de los principales exhibidores de la ciudad.</text>
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                <text>&lt;em&gt;Shenbao&lt;/em&gt;, n&amp;ordm; 18.662, 15 de febrero de 1925, p. 20.</text>
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                <text>Anuncio de la película 'España en llamas'</text>
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                <text>Anuncio publicado en el peri&amp;oacute;dico &lt;em&gt;Shenbao&lt;/em&gt; 申报 de Shanghai de la pel&amp;iacute;cula documental &lt;em&gt;Espa&amp;ntilde;a en llamas&lt;/em&gt; (&lt;em&gt;Spain in Flames,&amp;nbsp;&lt;/em&gt;&lt;span&gt;火中的西班牙), &lt;/span&gt;compilada por Helen van Dongen en 1937 a partir de materiales f&amp;iacute;lmicos de la Guerra Civil Espa&amp;ntilde;ola y &lt;span&gt;narraciones de John Dos Passos y Hemingway, entre otros.&lt;/span&gt;&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;A la derecha del t&amp;iacute;tulo, se lee:&amp;nbsp;"&amp;iexcl;Espa&amp;ntilde;a! El mundo entero contempla ansioso tu devenir".&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;La pel&amp;iacute;cula se pudo ver en el Shanghai Cinema (上海大戏院), sito en el n&amp;uacute;mero 523 de North Sichuan Road y tal y como el cartel promet&amp;iacute;a, ofreci&amp;oacute; im&amp;aacute;genes de gran crudeza sobre el conflicto espa&amp;ntilde;ol. Se exhibi&amp;oacute; en versi&amp;oacute;n original con subt&amp;iacute;tulos chinos.</text>
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                <text>&lt;em&gt;Shenbao&lt;/em&gt;, n&amp;ordm; 23.043, 2 de julio de 1937, p. 27.</text>
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                <text>Portada con Ernesto Vilches caracterizado como Wu-Li-Chang</text>
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                <text>1930</text>
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                <text>&lt;em&gt;Wu-Li-Chang&lt;/em&gt;, estrenada en 1930, dirigida por &lt;span&gt;Carlos Borcosque y&lt;/span&gt;&amp;nbsp;protagonizada por Ernesto Vilches, fue la versi&amp;oacute;n espa&amp;ntilde;ola de un pel&amp;iacute;cula muda norte-americana hom&amp;oacute;nima estrenada en Espa&amp;ntilde;a tres a&amp;ntilde;os antes.&lt;br /&gt;&lt;br /&gt; A su vez, la pel&amp;iacute;cula se basaba en una obra de teatro que tambi&amp;eacute;n se represent&amp;oacute; en Espa&amp;ntilde;a.</text>
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                <text>&lt;em&gt;El Cine. Semanario Cinematogr&amp;aacute;fico Nacional.&lt;/em&gt; Diciembre 1930</text>
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