{"version":"1.0","provider_name":"TAIPEI","provider_url":"https:\/\/taipeirevista.com","author_name":"Celeste Damiani","author_url":"https:\/\/taipeirevista.com\/index.php\/author\/santiago-damiani\/","title":"Sobre la voluntad - TAIPEI","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"DVGrhQEgIS\"><a href=\"https:\/\/taipeirevista.com\/index.php\/2023\/12\/04\/sobre-la-voluntad\/\">Sobre la voluntad<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/taipeirevista.com\/index.php\/2023\/12\/04\/sobre-la-voluntad\/embed\/#?secret=DVGrhQEgIS\" width=\"600\" height=\"338\" title=\"&#8220;Sobre la voluntad&#8221; &#8212; TAIPEI\" data-secret=\"DVGrhQEgIS\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/taipeirevista.com\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/taipeirevista.com\/wp-content\/uploads\/2023\/12\/Trois-couleurs-Bleu-Krzysztof-Kieslowski-1993.mkv_snapshot_00.46.43_2023.11.29_20.57.45-1.png","thumbnail_width":1280,"thumbnail_height":690,"description":"Nunca me llev\u00e9 muy bien con la caracterizaci\u00f3n de Andrew Sarris sobre el cine de Billy Wilder, esa donde lo acusa de c\u00ednico. Apenas unos p\u00e1rrafos le sirven para despachar sus pel\u00edculas como visualmente deficientes y estructuralmente pobres. Lo que m\u00e1s llama la atenci\u00f3n de esas palabras es el modo en que se escandaliza por los chistes de intentos de suicidio en \"Sabrina\" y \"The Apartment\". Para empezar, no son chistes: en ambos casos se trata de elementos dram\u00e1ticos de la narraci\u00f3n(...)"}