Collection Items

  • syllabi.pdf

    Our syllabi collection contains a trove of information that reveals the vast ways Latin American cinema is taught in the United States and abroad. Cinegogía contains dozens of sample syllabi, in English and Spanish, from educators teaching in undergraduate and graduate settings, from large public and private research universities to small liberal arts colleges. These carefully crafted documents include course objectives, curated film selections, recommended readings, writing assignments, media resources, and detailed weekly schedules. In addition, syllabi contain well-worn pedagogical methods that have worked successfully, and innovations in teaching film that are being developed at the undergraduate and graduate levels. We invite faculty to use the syllabi in this collection as a valuable source of ideas, new films, and pedagogical approaches for their own courses; and to collaborate with Cinegogía by contributing syllabi of their own. 
  • Gonzalez_Ecosistema_audiovisual_contemporáneo.pdf

    El propósito general del curso consiste en contribuir a la comprensión de las dinámicas del ecosistema audiovisual en la era de las plataformas. Ello se desagrega en tres objetivos específicos: (1) proveer herramientas conceptuales y metodológicas para abordar plataformas audiovisuales; (2) dar cuenta de las implicancias materiales y simbólicas de las transformaciones en el ecosistema audiovisual; (3) comprender el impacto local de los servicios audiovisuales globales, con énfasis en los agentes dominantes.

  • Farrell_Documentary_Civic_Engagement.pdf

    In this course we examine the documentary genre in film and its participation in the public sphere as filmmakers and their audiences demand or create justice in pursuit of participation in Latin America and among Latinx communities. We see how a range of documentarians and their subjects use film to not only hold their communities and governments accountable, but also surface buried stories, and serve as alternative public platforms to reframe memory. We see how, in some communities, through the use of small screens and phone cameras, people write themselves into a more plural and inclusive history. We will examine the theoretical frameworks and documentaries coming from Latin America and Latinx communities on the topic of documentary as justice, while analyzing key documentaries that have used the genre to reveal and remember buried stories. This course and the documentaries analyzed will be in Spanish and as such we recognize our privilege interacting with these materials as Spanish-speakers and students of Spanish as another level of engagement, activism, and community.  

    As we examine the voices captured in these texts celebrating, narrating, criticizing, and challenging terms such as the limits of the documentary genre, democracy, nation, sovereignty, racism and gender, we too will continue to develop our own voices using the written word scaffolding our writing through a low-stakes and higher-stakes on-going practice. We will use writing throughout the course to think through texts, shape our own voices in Spanish as well as respond to each other to foster a supportive community of thinkers, writers, and Spanish-speakers. 

  • Franco_Indigenous_Afrodescendant_Syllabus.pdf

    This course serves as an introduction to film analysis by studying Latin American cinema, with a focus on Afro-descendant and indigenous communities. We will analyze the representation of indigenous people in contemporary Latin American cinema, and highlight the contributions of indigenous media to current discussions about indigeneity and decolonization. In addition, we will examine the cinematic representa-tion of Afro-Latin Americans and explore the cultural legacy of the African diaspora through Latin American film. The course will highlight important social and political issues concerning historically marginalized voices in Latin America, as well as how cinematography, as an artistic medium, grapples with questions of representation, identity, memory, and activism. Movies will be screened in Spanish (in some cases, Portuguese and indigenous languages, with Spanish subtitles). Class conducted in Spanish.

  • Middents_Contemporary_World_Cinema_FA20.pdf

    Inspired by ideas articulated by Dudley Andrew, Franco Moretti and Catherine Grant, this seminar will examine questions of contemporary world cinema from multiple perspectives (for example: What do international films look like? Why do they look that way? Who watches them?) by working back and forth between concepts of examining single, individual texts (what is this particular film trying to tell me?) and broader, globally relevant contexts (what do we learn when we examine many films in a similar manner?).

    As part of that project, each student will study in detail a single international film of their choice made since the year 2010; in addition to some traditional writing and research projects, all students will craft an audiovisual essay – that is, a short 6- to 10-minute film that visually presents their argument concerning their film, in coordination with a curatorial piece between 500 and 1000 words. All of the pieces will be collected onto a single, public website which together will present our collective response to defining “world cinema.”

  • Franco_Latin_America_through_Cinema_FA20.pdf

    In this course, we will explore cinema from and about Latin America to expand our understanding of this culturally diverse region comprised of more than twenty countries and territories. We will examine topics such as gender, humor, history, globalization, politics, memory, and religion through the lens of films by Latin American screenwriters and directors. Students will gain experience in film analysis, learning how to articulate the relationship between content and artistic form. Through this cinematographic encounter, we will begin to see and understand Latin America in a new way.
  • Wood_Representación_indígena.pdf

    El curso busca analizar las diversas formas en que han aparecido los pueblos indígenas de América Latina en las pantallas de cine, tanto de ficción como documental. Abarca un amplio periodo desde las representaciones en el cine de los primeros tiempos, pasando por los cines clásicos, los nuevos cines, cines políticos e independientes, para culminar en las luchas por la autorrepresentación, principalmente a través del video, que los propios pueblos indígenas emprendieron a partir de la década de los ochenta en casi todo el continente. El panorama de la representación indígena en el cine latinoamericano complejiza una periodización lineal. Si bien el curso está estructurado de manera más o menos cronológica, a lo largo de semestre se propone identificar debates, preocupaciones y formas de representación que permitan lecturas transversales y diacrónicas de los problemas discutidos.

  • Farrell_Hispanic_Film_2020_syllabus.pdf

    In our Hispanic film course we examine diverse cinemas made in the region and how Latin American filmmakers represent, reject, reconstruct, maintain or challenge their realities. We look at how films are made, how they are funded, and how films reach audiences to question which films we see, and which ones are hidden from our view. The most accessible films available on major US platforms such as Netflix and Hulu do not begin to represent the diversity of world cinema, nor that of even US cinema.

    In this course we examine works from the region to see how artists use cinema to challenge, break with, or redefine their realities sharing complexities beyond the limited roles of Latin Americans in Hollywood film. In these examples of more nuanced representations of Latin Americans, we see the crucial importance of self-representation, and diversity in front of and behind the camera.

  • Benner_LatinAmerican_Women_Filmmakers.pdf

    This course will provide students an introduction to the critical analysis of film and literature in Latin America (including Brazil) with a specific focus, particularly at the end of the course, on post-dictatorship film and literature from Argentina, Chile, and Brazil. This course is designed to give students an introduction of literary and filmic analysis at an advanced level as a means of building their speaking, reading, critical thinking, and writing skills in Spanish and English.
  • Shamash_MHIS429_Syllabus.pdf

    By tracing a women centric social, geo-political, cultural, historical, cinematic map, we will be looking at the praxis of key women filmmakers across the Americas. From Alanis Obomsawin, to Arlene Bowman, to Ann Marie Fleming, to Amanda Strong in Canada to Chicana filmmakers in the US (i.e. Lourdes Portillo, Sylvia Morales), to Latin American filmmakers (Marta Rodriguez [Colombia]), Patricia Ferreira Yxapy [Brazil], Lucrecia Martel [Argentina]), we will examine the intersectional politics evidenced in their films. This examination will feature discussions grounded in critical approaches to, and analyses of, the historical, theoretical, political, social, economic, and cultural framework of these filmmakers. We will also be revisiting concepts from film theory, such as cult theory and auteur theory, which are traditionally centred around the Euro-Western white male imaginary, in order to subvert, transgress, and redefine film theory from a women and women of color perspective. By deconstructing some of the dominant, oppressive discourses and colonial systems that provoked the counter-narratives and resistance manifest in various women made cinematic works, our goal is to expand our understanding of film culture.
  • Mesa_Morales_Cuban_Film.pdf

    This course examines contemporary Cuban cultural production with special emphasis on the audiovisual as a powerful medium for learning about language and culture. The class will explore topics spanning the postrevolutionary period to the present that relate to issues of gender, race, class, civil society, politics, migration, memory, trauma, diaspora, and identity. We will seek to understand contemporary Cuba by analyzing critically different film genres: short and feature length films, documentaries and web series. The audiovisual genre functions as an important source for building communication skills because it captures authentic language, llustrates language varieties and will allow students to evaluate changes in social and political representation of the island in the 21st century. We will discuss new modes of production and distribution and investigate the changing structural, technological, and material conditions that have sustained Cuban film and media. An engaging and interdisciplinary list of readings, drawn from audiovisual criticism, history and film theory will facilitate and contribute to our study.
  • Franco_LatAm_Film.pdf

    This course serves as an introduction to film analysis by studying the development of cinema in Latin America, specifically in relation to the military dictatorships (1970/80s) in the Southern Cone and the subsequent transition period to democracy of the early 1990s in Argentina, Chile and Uruguay. We will examine how a variety of classic and independent films highlight important social and political issues, as well as how cinematography, as an artistic medium, grapples with questions of representation, censorship, testimony, memory, and popular culture. This class is conducted entirely in Spanish and the students are typically seniors with highly functional communication skills in the target language.
  • Mesa_Morales_Contemporary_Spanish_Latin_American_Cinema.pdf

    This interdisciplinary course seeks to review and analyze the complexity of contemporary society through the study of Latin American and Spanish film production. We will explore topics that relates to issues of ethnicity, class representation, immigration and exile, dictatorship, experiences of war and violence, globalization, gender, as well as sexual and racial identities, among other themes. The course has a transatlantic approach covering different genres, styles, and filmmakers from Mexico, Cuba, Spain, Argentina, Chile, Brazil, Colombia, and Uruguay. Class discussions in Forum, activities, presentations, reflections, and a final multimodal research project will help to improve and expand students’ analytical skills as well as their Spanish language proficiency.
  • Poppe_Cine hispano.pdf

    “Las películas son un mundo de fragmentos”, propuso una vez Jean-Luc Godard, el director de la Nouvelle Vague francesa. Estos fragmentos, trozos audiovisuales de la realidad, captan nuestra imaginación. El cine es un sitio interacción social, de entretenimiento, de aburrimiento, de placer estético, de crítica cultural, de muchas cosas. Nos hacen pensar de manera diferente. Confirman y, aún mejor, desafían nuestras visiones del mundo. Y, a veces, forman parte de quienes somos. En este curso, estudiaremos (y de manera fragmentaria) el texto y el contexto de algunos de estos mundos de fragmentos. A través del análisis de películas de Argentina, Colombia, Cuba, España, Estados Unidos, México, Paraguay y Perú, se examinarán géneros cinematográficos, prácticas estéticas y conceptos sociológicos y políticos (como la clase socio-económica, el género, la ideología, la raza y la sexualidad).
  • Franco_Latin_American_Cinema.pdf

    In this course, we will explore cinema from and about Latin America to expand our understanding of this culturally diverse region comprised of more than twenty countries and territories. We will examine topics such as gender, humor, history, globalization, politics, memory, and religion through the lens of films by Latin American screenwriters and directors. Students will gain experience in film analysis, learning how to articulate the relationship between content and artistic form. Through this cinematographic encounter, we will begin to see and understand Latin America in a new way.
  • Farrell_Hispanic Film_syllabi.pdf

    This course examines film by Spanish and Latin American directors. Students study films as an independent genre using specific structural forms as the means of analysis (close-up, soundtrack, frame, etc.). Students will formulate interpretations that move between the formal, technical composition of films and the concrete socio-historic and cultural reality to which each film refers and shapes. Course activities include screening of films, discussion of articles that focus on literary theory and film analysis, and writing short papers.
  • Middents_Contemporary_World_Cinema.pdf

    Inspired by ideas articulated by Dudley Andrew, Franco Moretti and Catherine Grant, this seminar will examine questions of contemporary world cinema from multiple perspectives (for example: What do international films look like? Why do they look that way? Who watches them?) by working back and forth between concepts of examining single, individual texts (what is this particular film trying to tell me?) and broader, globally relevant contexts (what do we learn when we examine many films in a similar manner?).
  • Shamash_FIST434_CourseSyllabus.pdf

    By tracing a Latin American centric social, geo-political, cultural, historical, cinematic map, we will be looking at the praxis of key visionary filmmakers and cinematic movements. We will examine how these filmmakers, their films, their texts, and their legacies engage local and global contexts. Cinema from the global south is not an addendum to "First World Cinema"; the majority of world cinema is actually produced in the "Third World”. By mapping the vibrant, often neglected, legacy of Latin American cinema, we will revisit films from New Latin American Cinema to more contemporary films from the continent in order to delve into the poetry and politics of a subjective repertoire of films. By grounding our critical approach and analyses in the historical, theoretical, political, social, economic, and cultural framework that these films were created in, “Poetry and Politics in Latin American Cinema” aims to deconstruct some of the dominant, oppressive discourses and colonial systems that provoked the counter-narratives and resistance manifest in these cinematic works.

  • Moret_Inmigración en el cine.pdf

    This course is designed for students taking an intermediate to advanced Spanish course with focus on Hispanic culture and language through film. Undoubtedly, films are a rich source of
    meaningful cultural information and students can come to understand much about a country’s culture through the discussion and analysis of films. The combination of sound, image and language provided by the films engages and stimulates students’ senses and cognitive faculties simultaneously. Films will be selected from a variety of Hispanic countries, emphasizing the connection between language, culture, society and visual representation. The main topic or
    theme of this course will be the representation of ‘migration’ in the Hispanic Contemporary Films: women, slavery, trafficking, displacement and groups of people traveling from Spain to
    Latin America, from Africa to Spain and other itineraries.
  • Medina_Migrations Immigrations.pdf

    To learn about the main events and historical characters that have forged the development and the evolution of the Latin-American culture(s) , arts and literature from Pre-Columbian times to the present. To address social-cultural and political issues derived from the tutelage of the Spanish Empire.
  • Rocha_Children Adolescents Arg Mex Col.pdf

    This course explores the representation of children and adolescents in contemporary Spanish American cinema from the 1980s to the present. Young characters have been used to explore issues of identity, coming of age, social inequalities, and the impact of major political events. The class will be divided in three parts, which coincide with Spanish America’s major cinemas: Argentina, Colombia, and Mexico. Each part will follow a chronological order so as to encourage students to reflect on each filmmaker’s contribution to the depiction of children and adolescents and the socio-political events represented.
  • Farrell_Cuban Cinema syllabus.pdf

    To study the Cuban Revolution is to willingly enter into a battlefield of opinions, politics, and years of trauma. For some it is the single-most “successful” revolution in Latin America, while for others it is an example of dictatorship and a consistent denial of human rights. While the revolution is highly politicized and is often covered with pre-determined notions of good and evil, right and wrong, we will work to go beyond this binary to analyze Cuba through its cinema. In our study of Cuba, we will analyze the film representations (Cuban, US, Spanish, and those from the extended diaspora) of the Cuban Revolution to become aware of how these representations of the Cuban revolution are created and reinforce or challenge our notions of Cuba. Through a close analysis of the film industry, the use of cinema, narrative tools, soundtracks, camera angles, camera focus, character development, funding, and the cultural industry we will critically research how each of these aspects contribute to the versions of Cuba that we come in contact with in large and small screens. We will learn to recognize how the different versions of Cuba are created, challenged, or questioned. We will analyze how film and audiovisual language continues to reflect on the complexities of Cuban society, and how social media and technology is now challenging the limits of Cuban film, and possibly of the Revolution itself.
  • Rabin_Intro_Spanish_Language_Film.pdf

    This course is an introduction to appreciating and understanding film art as it relates to the rich and diverse cinema history of Latin America. Conducted entirely in Spanish, the course focuses on students’ acquisition of knowledge on the material and principles of film form, or the basic elements of film narrative, mise-en-scène, editing, and sound. Students will be asked to put their new knowledge into practice by watching closely and analyzing major films produced across the Latin American regions in the 20th and 21st centuries, from Argentina to Chile to Bolivia to Chile to Brazil to Cuba to Mexico. A variety of film genres will be enjoyed, including the documentary, the musical, the comedy, the thriller, the coming-of-age movie and the road film. The “New Latin American Cinema” or the socially-engaged film of the 1960s and 1970s will also receive attention in the course. In addition to studying film as an art form we will also tackle prominent issues in contemporary film studies, including film theory, the history of audiences and the role of cinema as a form of mass media.
  • Schroeder_latin_american_cinema3.pdf

    In this course we will explore how Latin Americans have represented themselves on the big screen, through close readings of representative films from each of the following major periods:
    • silent cinema (1890s-1930s),
    • studio cinema (1930s-1950s),
    • Neorealism/Art Cinema (1950s),
    • the New Latin American Cinema (1960s-1980s), and
    • contemporary cinema (1990s to today)
    Throughout the course we will examine evolving representations of modernity and pay special attention to how these representations are linked to different constructions of gender, race, sexuality, and nationality. We will conclude the course with a collective screening of video essays created by students in the course.
  • Stone_syllabi 2.pdf

    The history of filmmaking in Latin America, as in other parts of the world, has largely taken place in Hollywood's shadow. Whether seeking to adapt US cinematic conventions to a different cultural context or experimenting with radically new paradigms that turn conventional filmmaking on its head, Hollywood has been an indispensable reference point. We will focus on the “Golden Age” of Mexican cinema in the ‘40s and ‘50s, the revolutionary "New Cinema" movement of the ‘60s and ‘70s, and other significant trends such as the growing numbers of women screenwriters and of films focusing on issues related to sexuality and gender in the ‘80s and ‘90s, as well as the increasing globalization of the industry in the new millennium, to the point that the very concept of "national" cinema has lost much of its resonance.
  • Syllabi.pdf

    This course is an introduction to Latin American film and television studies. It is conducted in Spanish and is open to graduate students and advanced undergraduates with the permission of the instructor. Students will acquire knowledge on contemporary trends in film and television studies, including film theory, the archival turn, and ethnographies of television reception, as they relate to the film and television cultures of the rich and diverse regions of Latin America. The course’s historical purview takes students from classical narratives of the 1930s and 40s to revolutionary cinema of the 1960s and 70s to melorealism and the telenovela of the contemporary period.
  • Chicano syllabi-signed.pdf

    "This course examines the unique status of race in the history of American cinematography. Film, like most art forms, inevitably involves meditations on personal and national identity. American film is particularly distinguished for its racialized construction of America and Americans. While cinematic discourses on race are controversial—especially the more overtly racist views in early twentieth-century film—these discourses on race also are complex and change dramatically over time.

    This course is designed so that students will come to realize the importance of analyzing films as texts that illuminate deeply held beliefs around race, class, ethnicity, gender and national origin. It examines the enduring stereotypes of Latinas/os that appear in mainstream media productions, (primarily film focused on Mexican Americans and Puerto Ricans). We will also explore attempts by Latina/o filmmakers to subvert these images and present more complex characters and a multi-focal understanding of Chicano/Latino history, experience and culture. Chicano/Latino film will be studied as a form of cultural representation and insider communication. Students will learn the basics of film theory and criticism, an overview of cinematic history, and the socio-historical context for analyzing each film so that they can better understand the politics of representation. As they learn to interpret for meaning, students will begin to see media production as a means of socialization rather than just as an art or entertainment form. We will also discuss the role of film as a political tool in social movements. Students will learn how to evaluate and interpret moving images, visual symbols, and the narrative of cinema as an art form, but also as a means of (re)constructing and maintaining an ethnic identity. This will include discussion of the burden of representation that is placed on Latina/o filmmakers, screenwriters, and actors."
  • c3145b620aa6015d361b581bae4da649.pdf

    "El curso se enfoca en procesos de cambio cultural en comunidades hispanohablantes de las Américas. Las metodologías empleadas incluyen la histórica (a base de la organización en forma narrativa de evidencia documentada), la transcultural (a base del estudio de las interacciones dinámicas entre perspectivas culturales) y la comunitaria (a base de experiencias vitales de participación comunitaria). "
  • Zvierkova_Cine_Mexicano.pdf

    Este curso ofrece una introducción al análisis fílmico, enfocándose en la Época de Oro del cine mexicano (mediados de 1930 a mediados de 1950). El curso se enfocará en los géneros populares de la época (melodrama, el drama rural y la comedia) y en el desarrollo de la industria del cine. Se enfatizará el estudio del contexto cultural, político e histórico, y se pondrá especial atención a la construcción del imaginario nacional y sus implicaciones para la representación de género, raza y clase en la pantalla grande.
  • Burucua_LatAmFilmFestivalCircuit.pdf

    The course will look at Latin American cinema (mostly contemporary films), and the associated ideas about the region, that circulate in the film festival circuit. Understanding the latter as a complex and dynamic phenomenon, the study of which has been tackled from a wide range of multidisciplinary approaches (from socio-economics to film studies, from anthropology to global studies), special attention will be paid to the political economies at stake in these transnational networks and their impact in terms of film distribution, exhibition and, perhaps more importantly, film production.
  • Transnational Cinemas_Jeff Midents-anc.pdf

    This seminar explores the breadth of theoretical and cultural perspectives on the complex state of contemporary international cinema. By the end of this course, you will be able to:
    • Apply theoretical and practical contexts to examine “transnational cinema” as a broad concept
    • Explain historical and contemporary trends concerning international cinema
    • Participate within the intellectual conversation concerning narrative, films and, more specifically, international cinema.
  • Nacional cinema study- Mexico_Jeff Middents-anc.pdf

    This course will examine different histories, approaches and methodologies related to the study of national cinema, tying in aspects of culture, politics, aesthetics and economics. Throughout the course, we will study the Mexican film tradition as case studies and examples. It should be clear, however, that the primary pedagogical thrust of this course concentrates on larger implications of national cinema writ large; to that end, each student will choose a different national cinematic tradition to examine, culminating in a term-long research project.
  • Cine latinoamericano contemporaneo_Jeff Mittens-Anc.pdf

    Using methods that both embrace and critique the study of national cinemas, this course provides a survey of cinema from across the Latin American region, concentrating on the changing tropes of contemporary cinema and including screenings as part of the AFI Latin American Film Festival.
  • Latin american Documentary_syllabi_skvirsky.pdf

    This course will investigate Latin American documentary by focusing on three important topics in Latin American cultural studies. We will screen recent and historical documentaries about (1) underdevelopment and poverty, (2) the history and memory of the Southern Cone military dictatorships, and (3) popular culture and folklore. These three topics will provide material for an investigation of documentary form. With respect to each topic, we will consider how the resources of documentary filmmaking are employed to frame the same subject matter in different ways.
  • Latin American Cinema_ syllabi_Skvirsky.pdf

    This course is a survey of Latin American cinema that spans from the 1930s to the present. Topics will include Mexican Golden Age cinema as well as the New Latin American Cinema of the 1960s and 1970s and contemporary new new waves. The course will examine key films in the history of Latin American cinema including María Candelaría (Emilio Fernandez, 1944), Memories of Underdevelopment (Tomás Gutiérrez Alea, Cuba,1968), and The Jackal of Nahueltoro (Miguel Littín, 1969) as well as accomplished contemporary productions such as Edifício Master (Eduardo Coutinho, 2002) and Neighboring Sounds (Kleber Mendonça Filho, 2012). The course will put these films in dialogue with key debates within Latin American cultural studies including debates around national culture, national identity, aesthetics and politics, and underdevelopment. In many cases, we will compare filmic treatments of these questions from different countries and from different time periods.
  • Medina_Postmodernismo: la historia en la producción cultural latinoamericana_syllabi.pdf

    Un estudio de la representación de la historia en la ficción y el cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea.
  • Medina_Después del cine latinoamericano- tradición y renovación_syllabi.pdf

    Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea.
  • Medina_Contemporary Latin American Film_syllabi.pdf

    A study of a specific group of Latin American films in relation to their specific cultural and historical contexts.
  • Medina_cine latinoamericano- redefiniendo identidades a comienzos del siglo XXI_syllabi.pdf

    Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea.
  • Podalsky_laura_ANC_syllabi3.pdf

    Este curso examinará el cine argentino de los últimos treinta años durante un período de gran cambio político y socio-económico. Nos interesará explorar cómo las películas que han surgido en esos años han respondido a estas transformaciones más globales y cómo se ha transformado la industria cinematográfica misma. Empezaremos analizando el cine de la época de la “redemocratización” como respuesta a lo que había pasado durante los años de la dictadura militar (1976-1983). A la vez, pondremos mayor atención en lo que se ha llamado el “Nuevo cine argentino” que surgió a partir de 1995. Por medio de este recorrido, se identificará a algunos de los directores principales de cada generación, las temáticas recurrentes y diferentes propuestas estéticas. También se hablará de las dinámicas industriales –por ejemplo ,qué papel ha tenido el estado en promover un cine nacional en diferentes épocas? ¿cómo se define un cine nacional? ¿a quiénes se han dirigido las películas argentinas en diferentes épocas? Al leer ensayos sobre problemáticas sociales más generales (desde la memoria social y los legados dictatoriales hasta la creciente comercialización del espacio urbano), también se discutirán cómo estas películas forman parte de un tejido socio-cultural más amplio.
  • Podalsky_Laura_ANC_syllabi2.pdf

    Este curso pretende ofrecerles a los estudiantes una introducción al cine latinoamericano al trazar su trayectoria histórica desde el cine mudo al presente, al examinar diferentes contextos y modos de producción, y al analizar diferentes tendencias estéticas. A la vez, se propone darles una introducción al análisis fílmico al familiarizarles con los términos especializados y con varias líneas críticas que han surgido del campo de los estudios fílmicos. Este trimestre nos enfocaremos en el documental y, más ampliamente, en el “impulso documental” el cual se hace evidente en películas que se suelen caracterizar como de ficción.
  • Podalsky_Laura_ANC_syllabi.pdf

    Este curso es una introducción al análisis fílmico con relación al cine argentino y brasileiro. Les familiarizará con las herramientas del análisis textual, algunos de los planteamientos críticos-teóricos más influyentes dentro del campo de cine (por ej. cómo funcionan los géneros, qué es un auteur, qué es un cine político) y, de allí, algunos de los métodos de análisis propios a ese campo. Mientras tanto, les dará una visión panorámica del cine latinoamericano al explorar películas de diferentes épocas (es decir, el cine ‘mudo’; el 'viejo' cine de los 30s-50s; el Nuevo Cine Latinoamericano de los 1960s-70s; y el cine contemporáneo).
  • Wood_Nahmad_Cine_y_revolucion.pdf

    La intención del curso es hacer un recorrido por la historia de América Latina y por su producción cinematográfica, teniendo como eje rector las diversas maneras en que se ha expresado la idea de revolución en el cine latinoamericano, tanto en términos argumentales, como en cuestiones estéticas y técnicas, enfatizando su relación con lo social. En el curso se abordarán teorías y metodologías que problematizarán el cine como fuente para la historia cultural y política, tratado de rescatar la incipiente teorización latinoamericana sobre el tema. Así mismo, se emprenderá un recorrido por el cine social latinoamericano y sus distintas corrientes y manifestaciones hasta la década de los años ochenta.

  • Piedras_canciones_cine_argentino.pdf

    En primer lugar, el seminario pretende discutir el campo teórico y analítico abierto por los estudios sobre los usos de la canción popular en el cine. En segundo lugar, el curso se propone abordar la producción argentina del período clásico-industrial (1930-1959) pero se concentrará, mayormente, en el cine posterior a la década de los sesenta, el cual recupera (como cita, homenaje o parodia) géneros musicales y formas de manifestación de la canción y de la música propias de la tradición. Por último, el seminario prestará especial atención a los apropiaciones del cancionero de los sesenta-setenta (rock, melódico, pop) en el cine nacional contemporáneo.