{"version":"1.0","provider_name":"TAIPEI","provider_url":"https:\/\/taipeirevista.com","author_name":"\u00c1lvaro Bretal","author_url":"https:\/\/taipeirevista.com\/index.php\/author\/gdg85cx6lz\/","title":"Las fantas\u00edas mutantes de los estudiantes de cine - TAIPEI","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"rySCGjXgYh\"><a href=\"https:\/\/taipeirevista.com\/index.php\/2025\/12\/24\/las-fantasias-mutantes-de-los-estudiantes-de-cine\/\">Las fantas\u00edas mutantes de los estudiantes de cine<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/taipeirevista.com\/index.php\/2025\/12\/24\/las-fantasias-mutantes-de-los-estudiantes-de-cine\/embed\/#?secret=rySCGjXgYh\" width=\"600\" height=\"338\" title=\"&#8220;Las fantas\u00edas mutantes de los estudiantes de cine&#8221; &#8212; TAIPEI\" data-secret=\"rySCGjXgYh\" 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\/2025\/12\/GUACHOABEL-SD.mp4_snapshot_05.04.961.png","thumbnail_width":640,"thumbnail_height":480,"description":"Lejos de la impronta callejera de parte del Nuevo Cine Argentino de los noventa, ac\u00e1 encontramos ideas sobre la realidad social y pol\u00edtica del pa\u00eds encriptadas en met\u00e1foras, alegor\u00edas y simbolismos. La diferencia es que estos recursos nunca funcionan como un salvoconducto de la potencia visual. Cada uno de estos cortos respeta los g\u00e9neros cinematogr\u00e1ficos con los que dialoga, pregunt\u00e1ndose al mismo tiempo qu\u00e9 aportar de nuevo y espec\u00edfico en el contexto de la Argentina contempor\u00e1nea(...)"}