1 50 34 https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/64c1d4c70e98f874e9c5a122fece39dd.pdf?Expires=1773878400&Signature=nfWbNSh1Ue9zuEFJgE3kn-%7ELYcwNDg%7EdlNhvwr6bRTTfyr%7EBEMeZXHKEtka3X5dij2P6TCiEIkXN%7ERroHP5W8VYt6LJj7rTOQa7O%7EryOuyLmDULvyW7b84TOlSTDSnmtfvXEUzcfdkbZq3GodRCek4wgHuP7Gd2B10f05xMaTSDyt57ccXDnnz%7E2oOIvYYGaqdoklC2BoeaGRPVNLXJVBwoTvbFoQRnimfX1mI0n4babO2u8y81rvnOzKlei8JjeAJlG9gfJi8huCvMhOhMDFsH59EbEDDtisM5OArbmDFVhxR80ClJ8NevKVzVTnfklkeC580brB%7ED1Vl31anU0SA__&Key-Pair-Id=K6UGZS9ZTDSZM 5eeb6c3bec58523237de566e066d4144 PDF Text Text SPAN 7800 Primavera 2013 Jueves 5:30-8:15 Hagerty Hall 45 Dr. Laura Podalsky podalsky.1@osu.edu Hagerty Hall 262; 6-3662 Horas de consulta: los jueves 4:00-5:30 o por cita El impulso documental en el cine latinoamericano SPAN 7800 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. Lecturas No habrá libro de texto, sino varias lecturas accesibles en versión electrónica por medio de nuestro sitio en Carmen (https://carmen.osu.edu). Para las personas con poca experiencia con el análisis fílmico, pondré varios libros introductorios (de Barsam; y de Bordwell y Thompson) como libros de consulta en la oficina departamental (Hagerty 298). También habrá un glosario y otros materiales de consulta en nuestro sitio. Películas Aunque veremos algunas películas durante las horas de la clase, los estudiantes tendrán que ver la mayoría fuera de clase por medio del Secured Media Library (http://ocio.osu.edu/elearning/services/tools/online-repositories/media-library/) o por medio de youtube. En el Secured Media Library, deben consultar el playlist para nuestro curso (SPAN 7800) donde encontrarán las películas las cuales pueden ver por medio de sus propias computadoras o por medio de una computadora universitaria. Les recomiendo fuertemente que vean las películas con anticipación. Si encuentran dificultades en ver las películas en casa, tendrán que verlas en una computadora universitaria (con sus propios audífonos). Háganlo con anticipación para evitar problemas al último momento También tendrán que ver otras películas fuera de clase para los dos ensayos. Como se describe en la próxima sección, cada estudiante tendrá libertad para escoger películas según sus gustos e intereses, pero siempre en consulta con la profesora. Otras oportunidades para ver el cine latinoamericano durante este semestre: Como ya sabrán, el Center for Latin American Studies (CLAS) auspicia un ciclo de cine cada semestre. Esta vez se llama New Poetic Realisms: Human Landscapes and the Documentary Impulse y se organizó con nuestro curso en mente. Se proyectarán las películas los miércoles en Hagerty Hall 180 a las 7:30 de la noche. Las fechas están señaladas en el sílabo y muchas veces las muestras se relacionan con los temas tratados en nuestro curso durante esta semana o la próxima. Reconozco que varios de ustedes tienen conflicto el miércoles por la noche, pero si no me gustaría que vean por lo menos una de las películas del ciclo. El Wexner Center también proyectará varias películas brasileñas y otras portuguesas durante la primavera. De particular interés es la retrospectiva del director brasileño Nelson Pereira dos Santos, cuya obra tiene fuertes lazos con el impulso documental. El director mismo vendrá a OSU en abril como señalado en el sílabo. Ojalá que haya oportunidad para hablar con él como clase. 1 �Evaluación Participación oral Dos ejercicios de análisis (1-2 páginas.cu) Presentación oral Trabajo corto (6-7 páginas) Trabajo final (10-12 páginas) TOTAL 20% 10 20 20 30 100% Participación oral La participación activa de todos los estudiantes es absolutamente esencial. Vengan a clase preparados para discutir las películas y las lecturas señaladas. Ejercicios de análisis Cada estudiante tendrá que escribir dos pequeños ensayitos (o “ejercicios de análisis “) los cuales pretenden ayudarles a los estudiantes a mejorar su capacidad para el análisis textual. En el primero, los estudiantes tendrán que identificar una escena o elemento estilístico clave en la película Vámonos con Pancho Villa y discutir su significado. En el segundo, tendrán que analizar un aspecto del lenguaje fílmico del cortometraje Now!. Hay copia de la película en el Secured Media Library (bajo el título Santiago Alvarez) y otras en www.youtube.com. Se entregarán los dos ejercicios por medio del “Dropbox” en nuestro sitio en Carmen. Presentación oral En grupos de 2, los estudiantes tendrán que hacer una breve presentación acerca de una de las películas indicadas en el sílabo. Se ofrecerá una interpretación de la película la cual incluirá comentarios sobre el lenguaje fílmico. No es necesario (o recomendable) comentar todos los aspectos claves de la película; más bien, el grupo debe presentar un argumento central y defenderlo por medio del análisis textual. También se debe buscar y reconocer (implícita o explícitamente) los comentarios de otros críticos sobre la película. Es decir, el argumento presentado por el grupo debe “responder” a las interpretaciones ya publicadas, no sólo reiterarlas. Cada presentación durará unos 15 minutos (20 minutos como MAXIMO) y funcionará como punto de partida para nuestra discusión como clase. Cada grupo debe traer una bibliografía con obras críticas pertinentes para compartir con los otros compañeros. Trabajos Cada estudiante escribirá dos trabajos. El primero (6-7 páginas) será un análisis textual de una película escogida por el/la estudiante según sus intereses y en consulta con la profesora. El/la estudiante tendrá que sostener un argumento por medio del análisis de la estructura y los elementos del lenguaje fílmico (la escenografía, la cinematografía, el montaje, y el sonido) de la película. El segundo trabajo (10-12 páginas) tiene tema “abierto.” Para el trabajo, los estudiantes tendrán que hacer una investigación. Por un lado, tendrán que identificar un ensayo que les ayude a responder a una inquietud teórica; por otro, tendrán que buscar artículos críticos relacionados con su tema en revistas académicas centradas en el estudio de cine como, por ejemplo, El Amante (en línea), Archivos de la Filmoteca, Cahiers du Cinema, Cinema Journal, Cine Documental (http://www.cinedocumental.com.ar/sitio/), Cinemais, Doc Online (http://www.doc.ubi.pt/), Film Quarterly, Framework, Journal of Film and Video, Studies in Hispanic Cinemas, El ojo que piensa (en línea), Quarterly Review of Film and Video y Screen. Calendario enero m 9 j 10 Oportunidad extra: Nostalgia de la luz (France-Germany-Chile-Spain-US, Patricio Guzmán, 2010, 90‟), en Hagerty Hall 180 a las 7:30 de la noche Introducción al curso Documento, documentar, documental … ¿ficción? Para ver (en clase): El Diablo nunca duerme / The Devil Never Sleeps (EU-México, Lourdes Portillo, 1994, 56‟) Para leer: Aufderheide, Documentary Film (pp. ix-44); Paranaguá, “Orígenes, evolución y problemas” (pp. 13-16); Renov, “Towards a Poetics of Documentary” 2 �I. j EL INICIO DEL CINE Y EL IMPULSO DOCUMENTAL 17 Los orígenes: las actualidades y los noticieros Para ver: Operaciones del Dr. Posadas (Argentina, Eugenio Py, c. 1899-1920, 5”) Actualidades Argentinas (1913, 10”), dos selecciones de Film Revista Valle (1926, 13” y 1931, 9”), Mosaico Criollo (Argentina, Eleuterio Iribarren, 1929, 10”) Para leer: Gunning, “An Aesthetic of Astonishment”; López, “Early cinema and modernity in Latin America” Lecturas recomendadas: Paranaguá, “Orígenes, evolución y problemas” (pp. 16-27); Hansen, “Early Cinema, Late Cinema” m 23 j 24 II. EL NUEVO CINE LATINOAMERICANO j 31 febrero w 6 j 7 j 14 Otra oportunidad: -En el hoyo (México, Juan Carlos Rulfo, 2006, 84 min) en Hagerty Hall 180 a las 7:30 de la noche -La Hora da Estrela (Brasil, Suzana Amaral, 1986, 96 min.) en el Wexner Documentar la historia Para ver: Vámonos con Pancho Villa (México, Fernando de Fuentes, 1935, 92‟) Para leer: Paranaguá, “Orígenes, evolución y problemas” (pp. 34-38); Chanan, “Different Histories” (pp. 185; 192-193); Mraz, “How Real is Reel”; Rosen, “Detail, Document, and Diegesis” EJERCICIO 1: entregar antes del mediodía (por medio del “Dropbox”) El neo-realismo y su legado latinoamericano Para ver: Rio, 40 Graus (Brasil, Nelson Pereira dos Santos, 1955, 100”) Para leer: Paranaguá, “Neorrealismo”; Rocha, “Uma estética da FOME”;Bazin, “The Ontology of the Photographic Image”; y Bazin, “The Evolution of the Language of the Cinema”; y algo de Sadlier, para ser anunciado después Otra oportunidad Copacabana (Argentina, Martín Rejtman, 2006, 56 min.) en Hagerty Hall 180 a las 7:30 de la noche El “nuevo” documental en Argentina, Cuba y Uruguay: ¿La voz del pueblo? Para ver (fuera de clase): Muerte al invasor (Cuba, Santiago Alvarez y Tomás Gutiérrez Alea, 1961, 16‟); Now! (Cuba, Santiago Alvarez, 1965); 79 primaveras (Cuba, Santiago Alvarez, 1969, 25”); Me gustan los estudiantes (Uruguay, Mario Handler, 1968, 6‟) Para ver (en clase): Tire dié (Argentina, Instituto de Cintematografía/Universidad Nacional de Litoral, 1960, 33‟) Para leer: Nichols, “How Can We Describe…” (pp. 172-211); Paranaguá, “Orígenes, evolución y problemas” (pp. 39-50); Chanan, “Different Histories” (pp. 195-200); Alvarez, “Arte y compromiso”; García Borrero, “Santiago Alvarez”; Birri, “El manifiesto de Santa Fe”; Kriger, “Tire dié”; Burton, “Democratizing Documentary” (pp. 49-54; 56-57; 60-64; 77-80) EJERCICIO 2: entregar antes del mediodía (por medio del “Dropbox”) El documental épico Para ver: La hora de los hornos: Parte I (Argentina, Cine Liberación, 1966-68, 90”) Para leer: Paranaguá, “Orígenes, evolución y problemas” (pp. 53-63); Bernini, “Politics and the Documentary Film in Argentina …”; Stam, “The Hour of the Furnaces and the Two Avant-Gardes”; Solanas y Getino, “Hacia un Tercer Cine” 3 �V 15 Otra oportunidad: Dona Flor e Seus Dois Maridos (Brasil, Bruno Barreto, 1976, 100 min.) en el Wexner m 20 j 21 Otra oportunidad: Montoneros, una historia (Argentina, Andrés DiTella, 89”) en Hagerty Hall 180 a las 7:30 de la noche Documental y ficción Para ver: El chacal del Nahueltoro (Chile, Miguel Littín, 1969, 95”) Para leer: Paranaguá, “Orígenes, evolución y problemas” (pp. 65-70); López, “At the Limits of Documentary”; García Espinosa, “Por un cine imperfect”; Bruzzi, “An Introduction” (pp. 1-10). l j 25 28 ENTREGAR ENSAYO CORTO Documentar la dictadura en Brasil Para ver: Cabra marcado para morrer (Brazil, Eduardo Coutinho, 1985, 119‟) por medio de www.youtube.com (http://www.youtube.com/watch?v=VJ0rKjLlR0c) Para leer: Aufderheide, Documentary Film (pp. 91-106); Lins, “Eduardo Coutinho”; Burton, “Transitional States”; Chanan, “Living Histories...” (pp. 202-203; 210-214) III. EL DOCUMENTAL CONTEMPORÁNEO: COMUNIDADES, SUBJETIVIDADES Y NUEVOS REALISMOS marzo m 6 j 7 m 13 j 14 m 20 j 21 Otra oportunidad: Edificio Master (Brazil, Eduardo Coutinho, 2002, 110 min) en Hagerty Hall 180 a las 7:30 de la noche El cine callejro de Colombia Para ver: La vendedora de rosas (Colombia, Víctor Gaviria, 1998, 116‟) por medio de youtube: http://www.youtube.com/watch?v=6zoKdeAmphE Para leer: “Víctor Gaviria en tiempo de cine;” Kantaris, “The Young and the Damned….”; Suárez, “Agarrando el margen;” Presentación de ________________________________________ Otra oportunidad: Girimunho (Brasil, Clarissa Campolina, Helvécio Marins Filho, 2011, 90”) en el Wexner Semana de descanso Cocalero (Bolivia, Alejandro Landes, 2006, 94 min) en Hagerty Hall 180 a las 7:30 de la noche El cine indígena en Brasil y México Para ver (fuera de clase): A Festa da Moça (Brasil, Vicent Carelli/ Vídeo nas Aldeias, 1987, 20‟); La familia indígena (Mexico, Chiapas Media Project 1998, 8”+7”), Videos producidos en los municipios autónomas de Chiapas (1999, 11”); La vida de la mujer en resistencia (Mexico, Chiapas Media Project, 2004, 18”) Para ver (en clase): Kinja Iakaha (Brasil, 2003, 41”); Mujeres unidas (Chiapas Media Project, 1999, 17”) Para leer: Schiwy, “Film, Indigenous Video, and …”; Gallois y Carelli, “Índios „eletrónicos‟”; Aufderheide, “‟You See the World of the Other…‟”; Rashkin, “We Are Equal...”; Rony, “Introduction” (1-13; 16-17) y “Conclusión” (pp. 211-218 Recomendados: Kukuli (Perú, Luis Figueroa, 1961, 64”) @ http://www.youtube.com/watch?v=1f_y8rTLou8 ; Chanan, “Different Histories (pp. 194-95) Presentación de ________________________________________ 4 �j 28 abril m 3 j 4 El cine comunitario en Colombia: medios y ciudadanía Para ver: algunos videos de Escuela Audiovisual Infantil (por medio de http://escuelaaudiovisualinfantil.blogspot.com/ y su sitio en youtube: http://www.youtube.com/user/eaudib/videos?view=0) y algunos videos del Colectivo de Comunicaciones MMa (por medio de youtube) Para leer: Rodríguez, Citizens‟ Media Against Armed Conflict (pp. 1-58; 74-132) Presentación de ________________________________________ Otra oportunidad: Del olvido al no me acuerdo (México, Juan Carlos Rulfo, 1999, 70‟) en Hagerty Hall 180 a las 7:30 de la noche El documental subjetivo Para ver: Um passaporte húngaro (Belgica-Francia-Brasil, Sandra Kogut, 2001, 72”) y All Water Has a Perfect Memory (Mexico-US, Natalia Almada, 2001, 19”) Para leer: Renov, “New Subjectivities”; Renov, “The Subject in History”; Chanan, “After Verité” Presentación de ________________________________________ Otra oportunidad: The 16th Annual Hispanic & Lusophone Studies Symposium Otra oportunidad: Rio, 40 Graus (Brasil, Nelson Pereira dos Santos, 1955, 100”) y Como gostoso era o meu francés (Brasil, Nelson Pereira dos Santos, 1971, 84”) en el Wexner, a las 7:00 de la noche v-s s 5-6 6 j 11 Historia, memoria y el “yo” en el documental Para ver (fuera de clase): Los rubios (Argentina-EU, Albertina Carri, 2002, 89‟) Para ver (en clase): Papá Iván (México-Argentina, María Invés Roqué, 2004, 52‟) Para leer: Williams, “Mirrors without Memories”; Ruffinelli, “De los otros al nosotros...”; Andermann, “Perforated Presence...” Presentación de ________________________________________ Otra oportunidad: -“Robert Rodríguez and the Cinema of Possibilities”, un mini-simposio (12:00-1:30 una mesa; 4:00-ponencia formal del professor Charles Ramírez Berg) -Memorias do Cárcere (Brasil, Nelson Pereira dos Santos, 1984, 185 min.) en el Wexner a las 7:00 de la noche m 17 Otra oportunidad: Mutum (Brazil-France, Sandra Kogut, 2007, 92 min), Hagerty Hall 180 a las 7:30 de la noche Nuevo(s) nuevo(s) realismo(s) Para ver: La libertad (Argentina, Lisandro Alonso, 2001, 73 min.) Para leer: Page, “New Argentine Cinema...” (pp. 34-36); Andermann, “Margins of Realism (pp. 61-64; 85-92); Nagib y Mello, “Introduction” (pp. xiv-xxi); Elsaesser, “World Cinema” (pp. 3-12; 17-19); Grist, “Whither Realism” Presentación de ________________________________________ Otra oportunidad: Music According to Tom Jobim (Brasil, Nelson Pereira dos Santos, j 18 v 19 2012, 84 min.) en el Wexner a las 7:00 de la noche. Otra oportunidad: Vidas secas (Brasil, Nelson Pereira dos Santos, 1963, 103”) en el Wexner a las 7;00 de la noche. Conversación con el director y la profesora Darlene J. Sandlier después de la proyección ENTREGAR EL TRABAJO FINAL LUNES, EL 23 DE ABRIL ANTES DEL MEDIODIA 5 �Algunos posibles objetos de investigación El Nuevo Cine Latinoamericano -La primera carga del machete (Cuba, Manuel Octavio Gómez, 1969); Memorias del subdesarrollo (Cuba, Tomás Gutiérrez Alea, 1968); De cierta manera (Cuba, Sara Gómez, 1974), etc. - La batalla de Chile: La lucha del pueblo sin armas –Primera Parte: La insurrección de la burguesía (Venezuela-Francia-Cuba, Grupo Tercer Año, 1975, 191‟) –y/o las otras dos partes-OSU - El coraje del pueblo (Bolivia, Grupo Ukumau, 1970, 90‟) Después del Nuevo Cine Latinoamericano -De Solanas: Memoria del saqueo (2003) -De Guzmán: Chile: Memoria Obstinada, Salvador Allende, El Caso Pinochet El impulso documental en la obra de Víctor Gaviria Rodrigo D-CLAS El nuevo documental en Argentina Afro-Argentinos -CLAS; Bonanza, en vías de extinción (Ulises Rosell, 2000); Cazadores de utopíasOSU; Dársena sur (SPPO); Crónicas de libertad-CLAS; Saluzzi, ensayo para bandoneoón y tres hermanos (Daniel Rosenfeld, 2000 (LP) El nuevo nuevo realismo en Argentina -El cine de Pablo Trapero -otra película de Lisandro Alonso El nuevo documental en Brasil Ômnibus 174 (Jose Padilha y Felipe Lacerda, 2002, 150‟); Santiago (João Moreiera Salles, 2007) Documentales por cineastes mujeres -Carmen Miranda: Bananas is my Business (Brazil-US, Helena Solberg-Ladd, 1995)-OSU -algo de Cine Mujer, Colombia -La operación (Ana María García, c. 1992)-OSU -películas por Natalia Almada como El General y El Velador -otra(s) películas por Lourdes Portillo –OSU -películas por Sara Gómez o Gloria Rolando (cineastas cubanas) Documentales sobre indígenas y/o por cineastes indígenas -Kukuli (Perú, Luis Figueroa, 1961, 64”)-youtube -Gerónima (Argentina, Raúl Alberto Tossa, 1986)-SPPO -cine de CEFREC en Bolivia -Bad Harvest (Chiapas Media Project) El cine comunitario -cine piquetero en Argentina después del 2001 -cine de Chiapas: A Massacre Foretold (Nick HIggins, 2007); Acteal, 10 Años de impunidad, ¿cuánto más? (José Alfredo Jiménez, 2007) Documentales performativos Quién diablos es Juliette?-CLAS Fuentes posibles en Columbus CLAS: Center of Latin American Studies SPPO: Department of Spanish and Portuguese OSU: biblioteca universitaria CML: Columbus Metropolitan Library 6 �Lecturas Alvarez, Santiago. “Arte y compromiso.” En Paulo Antonio Paranaguá, Ed. Cine documental en América Latina. Madrid: Cátedra, 2003. Andermann, Jens. “Margins of Realism: Exploring the Contemporary Landscape” y “Perforated Presence: The Documentary Between the Self and the Scene.” En New Argentina Cinema. London: I.B. Tauris, 2012. Aufderheide, Patricia. Documentary Film: A Very Short Introduction. New York: Oxford University Press, 2007. -------. “‟You See the World of the Other and You Look at Your Own‟: The Evolution of the Video in the Villages Project.” Journal of Film and Video 60.2 (2008): 26-34. Bazin, Andres. “The Evolution of the Language of the Cinema.” In Leo Braudy and Marshall Cohen, Eds. th Film Theory and Criticism. 7 ed. New York: Oxford University Press, 2009. -------. “The Ontology of the Photographic Image.” En What is Cinema? Vol. 1. Berkeley: University of California Press, 1967. Bernini. Emilio. “Politics and the Documentary Film in Argentina during the 1960s.” Journal of Latin American Cultural Studies 13.2 (agosto 2004): 155-170. Birri, Fernando. “El manifiesto de Santa Fe.” En Paulo Antonio Paranaguá, Ed. Cine documental en América Latina. Madrid: Cátedra, 2003. Bruzzi, Stella. New Documentary. 2a ed. London: Routledge, 2006 [2000]. Burton, Julianne. “Democratizing Documentary: Modes of Address in the New Latin American Cinema, 1958-1972.” En Julianne Burton, Ed. The Social Documentary in Latin America. Pittsburgh: University of Pittsburgh Press, 1990. -------. “Transitional States: Creative Complicities with the Real in Man Marked to Die: Twenty Years Later and Patriamada.” En Julianne Burton, Ed. The Social Documentary in Latin America. Pittsburgh: University of Pittsburgh Press, 1990. Chanan, Michael. “After Verité: The film-maker in person,” “Different Histories: Japan, Iran, and Latin America,” and “Living History: Latin America in the 1970s.” En The Politics of Documentary. London: British Film Institute, 2007. Elsaesser, Thomas. “World Cinema: Realism, Evidence, Presence.” En Lúcia Nagib y Cecília Mello, Eds. Realism and the Audiovisual Media. New York: Palgrave Macmillan, 2009. Gallois, Dominique y Vincent Carelli. “Índios „electrónicos: Uma rede de indígena de comunicação.‟” Cinemais 20 (1999): 53-68. García Borrero, Juan Antonio. “Santiago Alvarez.” En Paulo Antonio Paranaguá, Ed. Cine documental en América Latina. Madrid: Cátedra, 2003. 7 �García Espinosa, Julio. “Por un cine imperfecto.” En Hojas de cine: Testimonios y documentos del nuevo cine latinoamericano. Vol. III Centroamérica y el Caribe. México, D.F.: Dirección General de Publicaciones y Medios, Secretaría de Educación Pública/ Fundación Mexicana de Cineastas/Universidad Autónoma Metropolitana, 1988. Grist, Leighton. “Whither Realism? Bazin Reconsidered.” En Lúcia Nagib y Cecília Mello, Eds. Realism and the Audiovisual Media. New York: Palgrave Macmillan, 2009. Gunning, Tom. “An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator.” En Linda Williams, Ed. Viewing Positions: Ways of Seeing Film. New Brunswick, NJ: Rutgers UP, 1995. Hansen, Miram. “Early Cinema, Late Cinema: Transformations of the Public Sphere.” En Linda Williams, Ed. Viewing Positions: Ways of Seeing Film. New Brunswick, NJ: Rutgers UP, 1995. Kantaris, Geoffrey. “The Young and the Damned: Street Visions in Latin American Cinema.” En Stephen Hart y Robert Young, Eds. Contemporary Latin American Cultural Studies. London: Arnold, 2003. Kriger, Clara. “Tire dié.” En Paulo Antonio Paranaguá, Ed. Cine documental en América Latina. Madrid: Cátedra, 2003. Lins, Consuelo. “Eduardo Coutinho.” En Paulo Antonio Paranaguá, Ed. Cine documental en América Latina. Madrid: Cátedra, 2003. López, Ana. López, “At the Limits of Documentary: Hypertextual Transformation and the New Latin American Cinema.” En Julianne Burton, Ed. The Social Documentary in Latin America. Pittsburgh: University of Pittsburgh Press, 1990. -------. “Early cinema and modernity in Latin America. ” Cinema Journal 40.1 (2000): 48-78. Mraz, John. “How Real is Reel? Fernando de Fuentes‟s Revolutionary Trilogy.” En Framing Latin American Cinema: Contemporary Critical Perspectives. Ann Marie Stock, ed. Minneapolis: University of Minnesota Press. Nagib, Lúcia y Cecília Mello, “Introduction.” En Realism and the Audiovisual Media. New York: Palgrave Macmillan, 2009. Nichols, Bill. “How Can We Describe the Observational, Participatory, Reflexive, and Performative Modes of Documentary Film?” En Introduction to the Documentary. 2a ed. Bloomington: Indiana University Press, 2010 [2001]. Page,Joanna. “New Argentine Cinema and the Production of Social Knowledge” En Crisis and Capitalism in Contemporary Argentine Cinema. Durham: Duke University Press, 2009. Paranaguá, Paulo Antonio. “Neorealismo.” En Tradición y modernidad en el cine de América Latina. Madrid: Fondo de Cultura Económica: 2003. -------. “Orígenes, evolución y problemas.” En Paulo Antonio Paranaguá, Ed. Cine documental en América Latina. Madrid: Cátedra, 2003. Rashkin, Elissa. “We Are Equal: Women and Video in Zapatista Chiapas.” En Nayibe Bermúdez Barrios, Ed. Latin American Cinemas: Local Views and Transnational Connections. Calgary: University of Calgary Press, 2011. Renov, Michael. “New Subjectivities: Documentary and Self-Representation in the Post-verité Age.” En The Subject of Documentary. Minneapolis: University of Minnesota Press, 2004. 8 �-------. , “The Subject in History” The Mew Autobiography in Film and Video.” En The Subject of Documentary. Minneapolis: University of Minnesota Press, 2004. -------. “Towards a Poetics of Documentary.” En Michael Renov, Ed. Theorizing Documentary. New York: Routledge, 1993. Rocha, Glauber. “Uma estética da FOME.” Revista Civilizacão Brasileiro 3 (1965): 165-170; o la traducción al nd inglés: “An Esthetic of Hunger.” En Brazilian Cinema. Eds. Randal Johnson and Robert Stam. 2 ed. Austin: University of Texas Press, 1988. Rodríguez, Clemencia. Citizens‟ Media Against Armed Conflict: Disrupting Violence in Colombia. Minneapolis: University of Minnesota Press, 2011. Rony, Fatimah Tobing. The Third Eye: Race, Cinema and Ethnographic Spectacle. Durham: Duke University Press, 1996. Rosen, Philip. “Detail, Document, and Diegesis.” Change Mummified: Cinema, Historicity, Theory. Minneapolis: University of Minnesota Press, 2001. Ruffinelli, “De los otros al nosotros: familia fracturada, visión política y documental personal.” En Josefina Sartora y Silvina Rival, Comp. Imágenes de lo real: La representación de lo político en el documental argentino. Buenos Aires: Libraría Ediciones, 2007. -------. “Víctor Gaviria en tiempo de cine.” En Víctor Gaviria: Los márgenes al centro. Madrid : Casa de América /Turner, 2004. Sadlier, Darlene. Nelson Pereira dos Santos. Urbana: University of Illinois Press, 2003. Schiwy, Freya. “Film, Indigenous Video, and the Lettered City‟s Visual Economy.” En Sara CastroKlaren, Ed. A Companion to Latin American Literature and Culture. Malden, MA: Blackwell, 2008. Solanas, Fernando y Octavio Getino. “Hacia un Tercer Cine.” Hojas de cine: Testimonios y documentos del nuevo cine latinoamericano. Vol. I. México: Dirección General de Publicaciones y Medios, Secretaría de Educación Pública, Fundación Mexicana de Cineastas, Universidad Autónoma Metropolitana, 1988. Stam, Robert. “The Hour of the Furnaces and the Two Avant-Gardes.” En Julianne Burton, Ed. The Social Documentary in Latin America. Pittsburgh: University of Pittsburgh Press, 1990. Suárez, Juana. “Agarrando el margen.” En Cinembargo Colombia: Ensayos crítico sobre cine y cultura. Bogotá: Universidad del Valle, 2007/ Williams, Linda. “Mirrors without Memories: Truth, History, and the New Documentary.” Film Quarterly 46.3 (1993); 9-21. 9 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Syllabi Syllabus Title / Título (Original) A name given to the resources. El nombre original del recurso. El impulso documental en el cine latinoamericano Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. 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. Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Argentina Bolivia Brazil / Brasil Chile Colombia Cuba Mexico / México Uruguay Category / Categoría A broad category or mode of cinematographic production. Documentary Films / Cine documental Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Laura Podalsky, The Ohio State University Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Studio Cinema / Cine clásico de estudio New Latin American Cinema / Nuevo Cine Latinoamericano Contemporary / Contemporáneo Films taught / Películas Actualidades Argentina <a href="https://cinegogia.omeka.net/items/show/785">A Festa da Mo</a><a href="https://cinegogia.omeka.net/items/show/785">ça</a> <a href="https://cinegogia.omeka.net/items/show/107">Cabra marcado para morrer</a> <a href="https://cinegogia.omeka.net/items/show/117">El chacal de Nalhueltoro</a> <a href="https://cinegogia.omeka.net/items/show/145">El Diablo nunca duerme</a> La familia indigena <a href="https://cinegogia.omeka.net/items/show/141">La hora de los hornos</a> <a href="https://cinegogia.omeka.net/items/show/150">La Libertad</a> Me gustan los estudiantes Mosaico Criollo Muerte al invasor <a href="https://cinegogia.omeka.net/items/show/854">Mujeres unidas</a> <a href="https://cinegogia.omeka.net/items/show/342">Now!</a> Operaciones del Dr. Posadas <a href="https://cinegogia.omeka.net/items/show/149">Papá Iván</a> <a href="https://cinegogia.omeka.net/items/show/231">Rio, 40 Graus</a> <a href="https://cinegogia.omeka.net/items/show/148">Los rubios</a> <a href="https://cinegogia.omeka.net/items/show/230">Tire dié</a> <a href="https://cinegogia.omeka.net/items/show/232">Um passaporte húngaro</a> <a href="https://cinegogia.omeka.net/items/show/146">Vámanos con Pancho Villa</a> <a href="https://cinegogia.omeka.net/items/show/251">La vendedora de rosas</a> La vida de mujer en resistencia Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource El impulso documental en el cine latinoamericano Description An account of the resource 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. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/9b97df28ad8fe90e76254ba917c1e161.pdf?Expires=1773878400&Signature=fXOU%7E5RrWr7rxMgOzecAD5mVdzOwkwt0HvlxqQUXqsjzktiwefD2j5owkGHdnlyr6p9BTsORV2q0ZQ-0f-k3my3Jtc9Luxz80qKGdY9zwKQkJgKu0GZaPtRG2AUVPA3D3cnGyth5Kz9NhdITLgwf-RYp4N9vE%7EBHnuiF%7EmaC8VUlnT%7EO8bAIUwX5LeRaPTX1bPFTHez4ZjjDfFvu5pe0hNCtYRvdZRGifKnrPKOrrcEizMVB9EYoT7f0upEU0LRNX2ykRI%7EjQBd2kYp8BMsN5Mf1KwfhdpcEvRoBqKYw-mCCFtFMsOw9vOhnB8AlzE%7EMpjAJg-xaH4HZVVjKBdj7cQ__&Key-Pair-Id=K6UGZS9ZTDSZM 903750c4cdb02a0f80567a36a85a7d5e PDF Text Text SPAN-456/656.001 & LIT 446/646.002, Fall 2015 Thursdays, 5:30-8:00 PM Professor Jeffrey Middents Battelle-Tompkins 221, x2979, middents@american.edu, @middento Office hours: Mondays and Thursdays 12:30-3:00PM, or via Skype by appointment (Skype: middento) ¡Fílmame esto, Néstor! – from Relatos salvajes, 2015 The silent period where Pancho Villa becomes a movie star, the Golden Age of Mexican Cinema in the 1940s, the innovative Cinema Novo in 1950s Brazil, the militant New Latin American Cinema of Cuba, Argentina, Chile and Bolivia of the 1970s: we could say that Latin American Cinema has arrived in the 2000s, but cinema has long been a part of the region’s culture. Since the year 2000, cinema has become even more globalized – and yet if we examine our most contemporary films from the region, we will still find distinctive reflections of local history and culture. Relatos salvajes may be an international hit, complete with an Oscar nomination, and yet we know that this is also a very “Argentine” film. 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. At the end of this course, you will be able to:   Apply theoretical and practical contexts to examine “contemporary Latin American cinema” as a broad concept; Explain contemporary trends and discussions concerning Latin American cinema; and �Cine contemporáneo latinoamericano, otoño 2015 – 2  Use research and analytical skills to write analytically using proper film terminology in Spanish. Your grade will be assessed using the following components:      A research essay on a contemporary Latin American film topic of your choice, which includes a brief, in-class final presentation of your work, worth 45% total; A shorter essay on a film screened at the Latin American film festival,* worth 20%; Participation on the course Blackboard discussion boards, worth 15-17% total; Participation on the course Facebook page, worth 2% total; and Class participation, attendance and attitude, worth 20%. *: Graduate and Honors students will supplement their work in this section by doing a second paper related to the Buenos Aires Film Festival; please see Appendix B for more information. Please note that the grade outlined above already adds up to more than 100%. This means that extra credit is already built into the course design. There is already a lot to do for the course; please do not ask for any additional work. Within the Curriculum Within the Department of World Languages and Cultures: The Department of World Languages and Cultures offers a B.A. program in Spanish Studies and a minor in Spanish language, as well as three joint programs in conjunction with other schools: in Language and Area Studies with the School of International Service; in Foreign Language and Communication Media with the School of Communication; and in Business, Language and Culture Studies with the Kogod School of Business. For students interested in learning more about these programs, please contact Núria Vilanova at vilanova@american.edu. Within all of those undergraduate program, SPAN-456 counts as a Topics course or as a 300-or-above level class counted toward your degree. (Within the Language and Area Studies program, this course would count toward your group of humanities-oriented courses.) Within the Foreign Language and Communication Media program, this course might instead count toward the Contemporary Culture component; ask your advisor for more information on this possibility. The department also offers an M.A. program in Latin American Studies, a combined BA/MA in Spanish and Latin American Studies and a Graduate Certificate in Spanish Translation. For all of these programs, SPAN-656 counts as either a topics course or as an elective. Within the Literature Department: The Department of Literature offers a BA with tracks in Literary Studies, Cinema Studies, Creative Writing and Global Cultural Studies; there are also minors in each of the first three tracks listed above. If you would like more information about the B.A. or the minor in Literature, I happen to be the Faculty advisor for the undergraduate programs! Please see me in office hours and I would be happy to offer more information on any of these options. LIT-446 fulfills the following requirements within the major:    Within the Literary Studies track, this fulfills the “Film, Creative Writing or World Literature” requirement. Within the Cinema Studies track and minor, this fulfills one of the “Topics in Film Studies” requirements. Within all tracks and minors, this counts as an elective if the above requirements are already fulfilled. �Cine contemporáneo latinoamericano, otoño 2015 – 3  For the MFA in Creative Writing, LIT-646 fulfills one of the Literature courses required outside of writing workshops. As in all LIT courses numbered at the 400 and 600 levels, this course has also been designed specifically to hone your skills in research and writing. Undergraduate majors may apply methodologies learned in this course toward your capstone these written during your last year in the program; MFA students may apply research techniques toward their own writing projects; and MA students will learn strategies that can be applied toward both the comprehensive exam, the mentored scholarly essay and the thesis options. Texts All secondary materials will be available in the “E-Reservas” tab of the course Blackboard page. There are at least two reading selections for every class, and you will need to read and comment on them 24 hours beforehand. Also, don’t forget about… The Films In addition to secondary readings, you will be required to watch two films per week. There is no special projection time or place which you must attend; instead, it is your responsibility to find and watch the material when you have time. All the films are available (and placed on reserve) at the Media Services desk in Bender Library – but a good portion of the films are also available through a variety of home streaming formats like Netflix, YouTube or even through Blackboard. (There are a few films that are only available at the library.) I have noted how you can access each film (as of August 1, 2015) within the grid below. You will also have to watch a film as part of the Latin American Film Festival put on by the Inter-American Development Bank and the American Film Institute Silver Theater in Silver Spring in September. Plan for it now! The Facebook Group We want to ensure that we stay up to date on everything that is happening in the region, and perhaps the best way to do this is to each keep track of local news and reports about film. Film festivals occur throughout the world, local newspapers and blogs keep track of local productions (some of which we who are outside those countries will never get to see) and there are often many local cine-clubs and magazines. Most of these can also be accessed now via the Internet – and, since nearly all are in Spanish, they are perfect for this class! At the beginning of the semester, you will be randomly assigned a country. (No more than two people will have the same country, and some will only have one representative.) Your job at that point is quite simple: keep track of anything you read about film happening in your country, and post the material on the course Facebook page. The material can be in English or Spanish. You can post about production (films being made, how films get made, why films are not being made, etc.), distribution (how and what films get marketed, etc.) or exhibition (how films get seen in your country, in theaters or otherwise, etc.). Sometimes, the material is not so obvious: for example, a recent piece from Deadline notes that, of all places, Mexico is a sure-fire international location for Adam Sandler movies to make a lot of money. You do want to make sure that this material is up-to-the-moment: posting about the success of Asu Mare (or even Asu Mare 2) from the blog Cinencuentro is old news, indeed. And keeping track of this may be as simple as regularly reading a blog or event setting up a Google alert. The assessment for this is very simple: post regularly! You will earn a ½-point for each quarter of the semester; post at least four times (hopefully, there will be more!) and you will earn the maximum of 2 points. �Cine contemporáneo latinoamericano, otoño 2015 – 4 Essays and Written work There are weekly written assignments throughout the course, along with two more formal essays – one short one due near the beginning about a film screened at the AFI Latin American Film Festival, and a much longer one due toward the end of the semester on a topic of your choice. Instructions for both the weekly discussion board assignments as well as both essays can be found in the appendices toward the end of this syllabus:    Appendix A: The Blackboard Discussion Boards Appendix B: Short Essay about the Latin American Film Festival Appendix C: Long Research Essay A Rough Grading Rubric In general, here is a rough idea concerning how I will assess your written work; a more detailed breakdown of assessment for the discussion boards can be found in Appendix B:      “A” work seriously delves, interacts and/or engages with the texts, readings and/or discussions. Risks are taken with your chosen topic, but the paper is executed successfully. (As an analogy, think of Olympic gymnastics, diving or figure skating here: for a perfect score, the routine must not only be executed flawlessly but also must have a significantly high degree of difficulty.) Questions are raised, considered, explored and (if possible) answered concerning specific issues raised by the work itself. Arguments not only exist, but are backed up with sufficient evidence from primary and/or secondary material. The work is also concise and clear, not relying on jargon “B” work touches on interesting issues and topics related to the texts, readings and/or discussions and delves into them somewhat, but lacks an in-depth analysis. There is a strong argument with some evidence from primary and/or secondary material. . Risks may be taken, but not executed as elegantly – or the topic is executed well, but is relatively “safe.” Writing is clear and effective. A so-called “good paper” will fall into this range. “C” work will brush upon topics relating to the texts, but not explore them in any depth. There is an argument, but it might be confused or insufficiently grounded by (or is lacking) primary and/or secondary material. Missing information makes comprehension difficult for anyone who is unfamiliar with the primary texts. Writing serves to obscure somewhat rather than illuminate. “D” work references the texts and/or topics related to the texts without any sense of synthesis. Evidence of an argument might have existed at some point but is now lost. No reference is made to either primary or secondary material. Comprehension is difficult even for those familiar with primary texts. Most of your writing seems to have more “fluff” than function. Do you really want information on what a failing paper looks like? Please. Attendance Attendance to classes and screenings is mandatory. We only meet once a week, so you must do your best to show up. You cannot participate in the class if you are not there, so diminished attendance affects that part of your grade. You should be aware that your participation grade will start to drop to a maximum of 16 after two (2) absences and will drop significantly after three (3) absences to a maximum of 14. With your fourth absence, the grade will drop automatically to a failing grade of 11 and then another full point for every subsequent missed class. Arriving more 20 minutes after the start of class or leaving more than 20 minutes before the end of class for any reason whatsoever constitutes a half-absence. Please be aware: If you have to miss a class for some reason, don’t worry or freak out. You are sick, childcare falls through, there is an accient, you have another essay that is due, you are invited to dinner with Michelle Obama/Gael García Bernal/etc.: I realize these things happen. I don’t have to know why you were out; for me, there is no difference between �Cine contemporáneo latinoamericano, otoño 2015 – 5 an unexcused or an excused absence. If you’re going to be absent for a significant period of time (particularly if this involves an illness), please contact me. I am more amenable to you talking to me before you hit the fourth absence than after you’ve reached that point. Asynchronous Classes (Planned and unplanned) Unfortunately, it happens to be me who will be missing class first this semester – indeed, I will be missing the very first class, since I will be attending (and working at) the Telluride Film Festival in Colorado. (Fingers crossed that there will be some Latin American cinema there! Last year, the Argentine hit Relatos salvajes – which you will be watching later this semester – was one of the biggest hits.) We can at least plan for this circumstance. Then there is the concept of the unplanned interruption of classes – particular due to bad weather. The University makes a particular effort to ensure that classes will still continue even if the physical campus has to close (due to snow, extreme cold, hurricane, swine flu, presidential candidate visit, etc.). Here is the official statement concerning the possibility of an emergency closing: “Should the university be required to close for a period of time, we are committed to ensuring that all aspects of our educational programs will be delivered to our students. These may include altering and extending the duration of the traditional term schedule to complete essential instruction in the traditional format and/or use of distance instructional methods. Specific strategies will vary from class to class, depending on the format of the course and the timing of the emergency. Faculty will communicate class-specific information to students via AU e-mail and Blackboard, while students must inform their faculty immediately of any absence due to illness. Students are responsible for checking their AU e-mail regularly and keeping themselves informed of emergencies. In the event of a declared pandemic or other emergency, students should refer to the AU Web site (www.prepared.american.edu) and the AU information line at (202) 885-1100 for general university-wide information, as well as contact their faculty and/or respective dean’s office for course and school/collegespecific information.” In the case of both the planned and unplanned class interruptions, we will follow the same protocol: you will have already participated within the discussion boards within your groups referring to screenings and readings for that class. To earn attendance credit for that day, you must now post at least a second time as a participant within the conversation, this time within an hour (before or after, i.e. between 4:30 and 9:00pm) from the time our class would have met. We will then continue the topic of the conversation in class whenever we meet next. (Since the planned class happens to be the first class, there will be a few other things you should do – but I will get to that in the video I will send. Stay tuned.) Participation and Attitude I expect your consistent participation throughout various elements of the course, primarily in an attempt to foster a sense of an engaged community. Be prepared to discuss, having thought about the television shows and the readings. (Yes, you should do the readings. I will assume you have read what you need to read by the specified class date. Having to post about them beforehand on the discussion boards will help.) The more you participate, the better the class will be. I also expect a respectful, if critical, attitude to permeate the class as well. Arguments and disagreements are encouraged, just be respectful as you are disproving your classmate’s (or my) idea. Just to be clear, forms of unacceptable attitude include: sleeping, doing other work or studying for other classes, slouching under the chairs, being unwilling to participate in small group activities, excessive sarcasm, negative comments, etc. The grading rubric for participation is very similar to the rubric below for written work: “A”-quality participation involves thoughtful, sustained interaction and/or engagement with the texts (even if such positions involve taking a risk), provocative questions and continued involvement throughout the semester. “B”-quality participation finds you touching on interesting �Cine contemporáneo latinoamericano, otoño 2015 – 6 issues and topics and occasionally delving into them further but you are timid in approaching larger issues within discussion. “C”-quality participation occasionally finds you participating in discussions, but generally you are staying on the surface and are unwilling to take any risks. “D”-quality participation lets me know you’ve seen the films – and that’s it. (I will also consider excessively negative attitude to fall in “D” range.) A failing participation grade will be given if you never contribute to class discussions or have such a negative attitude that it affects the class. Modern Technology Under normal circumstances, I ban electronics of all sorts in class. There is statistical evidence now that laptops in class actually harm your learning, and most social media just distracts. At the same time, all the readings are online and will be much easier to access if you have an electronic device in front of you. So for this semester, I am being flexible – with a caveat: if you have an electronic device in front of you, I understand that you have it open and you are using it to work and that you are working on this class. If you are distracted (or if your activities distract others, which is worse), I would simply prefer you to leave the class – and I will be happy to tell you to do so. As for cell phones and text messaging: In general: turn off everything and pay attention for two and a half hours. If it’s that important to check a message, do so quickly and discreetly. If you need to take a call, just leave the classroom. You are adults, you know manners, so use them. Academic Integrity Standards of academic conduct are set forth in the University’s Academic Integrity Code. By registering, you have acknowledged your awareness of the AIC and you are obliged to become familiar with your rights and responsibilities as defined by the Code. I take violations of the AIC extremely seriously and disciplinary actions will be taken should such violations occur. Please realize that plagiarism and other forms of dishonesty (including poorly or inappropriately cited work) are unacceptable at all times. If I believe academic integrity has been compromised in any of the assignments, I will proceed immediately to an AIC violation hearing and will not approach you first. I will also ask for the highest disciplinary action possible, which is failure with notation on transcript. (Graduate students should note that any AIC violation results in immediate dismissal from your graduate program.) Please see me if you have any questions about the academic violations described in the Code in general or as they relate to particular requirements of this course. As long as you’re diligently doing your own work, you should be fine. Thinking about handing in something late? Don’t. I hate late work. After I’m done with assessing an assignment, I’m done. Late work makes me grumpy. I reserve the right to refuse to grade or even look at work that is handed in past the deadline. On a very, very occasional basis, I might be willing to grant an extension, but you will only get one during the semester. Meeting with me …is strongly encouraged. Despite the severe tone of the syllabus, I am really quite approachable and welcome you to come to my office hours or to make an appointment. This is particularly true is you feel that something is going wrong during the semester; do not hesitate to inform me if there is a problem that you foresee will cause problems in finishing your work. My office is at 221 Battelle-Tompkins, often the only one with the Pandora station set to play quite a bit of Of Monsters and Men and Imogen Heap. (Plus: as the undergraduate advisor for the Literature major, I generally have snacks.) As a general rule, I will be more available to meet before class than afterwards, although I am willing to stay for a short while. �Cine contemporáneo latinoamericano, otoño 2015 – 7 Schedule of Readings and Assignments Please note that this schedule may be altered or updated with some notice given. The latest version of the syllabus will be found on Blackboard. Fecha 3 set 10 set 17 set 24 set Temas/Películas y trabajo para el día de clase OJO: Hoy es día de una clase asíncrona. Les daré instrucciones más específicas para sus postings en la última semana de agosto. Igual, para ese día, habrá que ver y leer lo siguiente: Películas para hoy:  Diarios de motocicleta (Argentina/EEUU/Chile/Perú/Brasil/Reino Unido/Alemania/Francia, Walter Salles, 2004, 126m) – Vimeo, iTunes ($), DVD 1299  Revolución (México, Mariana Chenillo/Fernando Eimbcke/Amat Escalante/Gael García Bernal/Rodrigo Garcís/Diego Luna/Gerardo Naranjo/Rodrigo Plá/Carlos Reygadas/Patricia Riggen, 2010, 105m) – DVD 10332 Leer para hoy:  Rojas Bez, José, “Los planos y el montaje en el arte del cine,” 49-94  Middents, Jeffrey, “The first rule of Latin American cinema is you do not talk about Latin American cinema: Notes on discussing a sense of place in contemporary cinema,” 147-164  Folletín de Cartilla de cine, “Dirección general de cinematografía” 2001 en México Películas para hoy:  Amores perros (México, Alejandro González Iñárritu, 2000, 154m) – DVD 262  Y tu mamá también (México, Alfonso Cuarón, 2001, 106m) – Netflix, Hulu Plus, DVD 454 Leer para hoy:  Sisk, Christina, “Entre el cha cha chá y el Estado: El cine nacional mexicano y sus arquetipos,” 163-182  Menne, “A Mexican Nouvelle Vague: The Logic of New Waves under Globalization,” 70-92 Cine de festival Películas para hoy:  Miss Bala (México/EEUU, Gerardo Naranjo, 2011, 113m) – DVD 10557  La teta asustada (Perú/España, Claudia Llosa, 2009, 94m) – Netflix, DVD 8084 Leer para hoy:  Lillo, Gastón, “La teta asustada de Claudia Llosa: ¿Memoria u olvido?,” 421-446  Sautto, Isalia y Paola Uribe, “Gerardo Naranjo entre drama y explosión”  Falicov, Tamara, “‘Cine en Construcción’/’Films in Progress’: How Spanish and Latin American film-makers negotiate the construction of a globalized art-house aesthetic,” 253-271 ESCOJE TU PELÍCULA PARA EL ENSAYO DEL FESTIVAL DE CINE PARA HOY. Cine de autor Películas para hoy:  Temporada de patos (México/EEUU, Fernando Eimbcke, 2004, 90m) – DVD 2114  Club Sándwich (México/Francia, Fernando Eimbcke, 2013, 82m) – DVD MIDDENTS (es mi copia, pregúntalo por mi nombre) Leer para hoy:  Valdez, Hugo, “Los cinefotógrafos: Creadores de la imagen fílmica en México,” 113-120  Bonfil, Carlos, “La renovación artística del cine mexicano,” 34-45  Wood, David, “Utopías y maneras de ver en Tlatelolco: Temporada de patos”  Albarrán Torres, “Los domingos de Fernando Eimbcke” �Cine contemporáneo latinoamericano, otoño 2015 – 8 1 oct 8 oct vier. 9 oct 15 oct 22 oct mar. 27 oct mier. 28 oct 29 oct  Entrevista con Fernando Eimbcke en CinemaNET Cine popular: El Santos contra la Tetona Mendoza/Asu Mare Películas para hoy:  Don Gato y su pandilla (México/Argentina, Alberto Mar, 2013, 85m) – Netflix, iTunes, DVD  ¡Asu Mare! (Perú, Ricardo Maldonado, 2013, 100m) – Leer para hoy:  Beteta, Juan José, “¡Asu Mare!: La exitosa comedia de un macho light”  Fraga, Rodrigo, “10 motivos para ver el Santos vs. La Tetona Mendoza”  Wiener, Christian, “El cine peruano no puede reducirse a Asu Mare o La teta asustada” Argentina: La niña santa/El secreto de sus ojos Películas para hoy:  La niña santa (Argentina/España/Italia/Países bajos, Lucretia Martel, 2004, 106m) – DVD 1624  El secreto de sus ojos (Argentina/España, Juan José Campanella, 2009) -- Amazon, iTunes ($), DVD 1704 Leer para hoy:  Moraña, Ana, “Memoria e impunidad a través del imaginario cinematográfico: La mujer sin cabeza (Lucrecia Martel, 2008) y El secreto de sus ojos (Juan José Campanella, 2009),” 377-400  Oubiña, David, “La vocación de alteridad (Festivales, críticos y subdidios del Nuevo Cine Argentino”  Quintín, “El mainstream y el off: Un mapa alternativo del cine argentino”  Iñiguez Mendoza, Ulises, “La estrategia del suspenso en La niña santa,” 431-449 Entrega el ensayo del festival de cine hoy para las 11:59pm por el Buzón Digital Brazil: Madame Sata/Tropa de Elite Películas para hoy –OJO QUE LAS PELÍCULAS PARA HOY ESTÁN EN PORTUGUÉS; BUSCA CÓPIAS SUBTITULADAS EN INGLÉS O ESPAÑOL:  Madame Satã (Brasil/Francia, Karim Aïnouz, 2002, 105m) – DVD 966  Tropa de Elite 2: O Inimigo Agora é Outro (Tropa de élite 2Brasil, José Padilha, 2010, 115m) – Netflix, DVD 6271 Leer para hoy:  Jesus, Diego Santos Vieira de, “Sons of the Fatherland: Brazilian Masculinities in Tropa de Elite and Praia do Futuro”  Butcher, Pedro, “Breve introducción al cine brasileño de hoy,” 47-71 Chile: Tony Manero/Gloria Películas para hoy:  Post Mortem (Chile/México/Alemania, Pablo Larraín, 2010, 98m) – YouTube, DVD 10867  Gloria (Chile/España, Sebastián Leilo, 2013, 110m) – Netflix, Amazon, DVD 12258 Leer para hoy:  Bello, María José, “Nuevos autores para el cine chileno,” 4-11  Saavedra, Carlos, “La sobreeexposición del yo,” 21-42  Urrutia, Carolina, “Post Mortem y Tony Manero: Memoria centrífuga de un pasado político,” 6576 Entrega la bibliografía preliminar y párrafo sobre el tema de su ensayo hoy para las 11:59pm por el Buzón Digital Charla en la tarde con Directora Guita Schyfter, auspiciada por CLALS (Center for Latin American and Latino Studies)! Hora y aula pendiente – ¡y habrá comida también! Invitado especial: Director Mexicana Guita Schyfter Películas para hoy: �Cine contemporáneo latinoamericano, otoño 2015 – 9   5 nov 12 nov 19 nov miér. 25 oct 26 nov 3 dic 10 dic Novia que te vea (México, Guita Schyfter, 1995, 114m) – DVD 9750 Las cara de la luna (México, Guita Schyfter, 2002, 112m) – BIBLIOTECA (todavía no tiene número) Leer para hoy:  Mennell, D. Jan, “Memoria, midrash y metamófosis en Novia que te vea de Guita Schyfter: Un diálogo textual-visual”  Entrevista con Guita Schyfter por CinemaNET Región andina: ¿Quién mató a la llamita blanca?/Crónicas Películas para hoy:  ¿Quién mató a la llamita blanca?, Bolivia, Rodrigo Bellott, 2007, 112m – YouTube, DVD 11923  Crónicas, Ecuador/México, Sebastián Cordero, 2004, 108m – DVD 2950 Leer para hoy:  Cordero, Marcelo, “Bolivia: Hacia la construcción de una industria audiovisual propia”  Alemán, Gabriela, “An Intentional Conspiracy: Ecuadorian Cinema in the 60s and 70s” Caribe y Centroamérica: Suite Habana/Gasolina Películas para hoy:  Suite Habana, Cuba, Fernando Pérez, 2003, 80m – DVD 7332  La Yuma, Nicaragua/France/Spain/México, Florence Jaguey, 2009, 90m -- BIBLIOTECA (todavía no tiene número) Leer para hoy:  Young, Eliot, “Between the Market and a Hard Place: Fernando Pérez’s Suite Habana in a PostUtopian Cuba,” 26-49.  Cortés, María Lourdes, “El renacer del cine centroamericano,” 59-64 Cine queer Películas para hoy:  XXY, Argentina/España/Francia, Lucía Puenzo, 2007, 96m – Hulu, Amazon, AU Streaming, DVD 4085  Contracorriente, Peru/Colombia/Francia/Alemania, Javier Fuentes-León, 2009, 100m – Netflix, Hulu , DVD 8696 Leer para hoy:  Amicola, José, “Las huellas del presente y el mundo queer de XXY”  Ruffinelli, Jorge, “Dime tu sexo y diré quién eres: La diversidad sexual en el cine latinoamericano,” 58-71 Entrega el ensayo de investigación hoy para las 11:59pm por el Buzón Digital ¡¡DÍA DE LA GRACIA!! Ahora mismo: Instructions Not Included/Relatos salvajes Películas para hoy:  No se aceptan devoluciones, México, Eugenio Derbez, 2013, 122m – Netflix, iTunes, DVD 11221  Relatos salvajes, Argentina/España, Damián Szifrón, 2014, 122m – iTunes, DVD 12261 Leer para hoy:  Ruiz, Héctor, “Imágenes imaginadas: Imaginario nacional en el cine latinoamericano contemporáneo,” 160-169  ¡A escoger! Búsca una página de la red o de un blog sobre cualquier de esas películas, y anótala. Periodo de Examenes Finales: Presentaciones de trabajos semestrales! �Cine contemporáneo latinoamericano, otoño 2015 – 10 Appendix A the Blackboard Discussion Boards My classes tend toward extensive use of the discussion board function within Blackboard. I use them for two primary reasons: (1) this allows for a more holistic “reading check” instead of more directed quizzes and the like; and (2) this allows us to start discussion on particular readings ahead of time, which permits more efficient use of face-time in class for more problematic/detailed discussions. There are particular elements of certain readings that may not be covered during class, or perhaps you would like to further discuss certain parts of them in more detail. Hence, I would like you to continue your thoughts and ideas (or, indeed, spark them while you’re reading) on the discussion board. The way that this works best is to make a regular habit of checking and posting to the discussion boards. While posting to the boards is relatively easy, I will also expect you to keep checking regularly even after you have posted so that you may be involved in the discussion that ensues. (Hence the word: discussion!) For class purposes, I will assume that you have read your peers’ postings before coming to class. This means that some topics, specifically pertaining to the readings, may not surface during class because they will have played out on the discussion boards; this does not mean that you are not responsible for these readings, nor that you should be careless in your interactions with them. I will say that this is the easiest portion of your grade to complete since in theory you will already be doing the readings. Failure to post anything, however, will result in a loss of the full number of points, which is a significant blow to your grade. (I say this since in the past a portion of the class failed to do this and their grades were severely affected.) Upon entering the discussion board section of Blackboard, you will find a discussion board already generated for each class period for which there are readings. There are also two special boards detailed below. Feel free to add new threads within these boards; the flow of the discussion should come from you. I will be monitoring (though not necessarily moderating) the threads and your response will steer in-class lectures in a particular direction if there is enough interest generated about a certain topic. Participation in the discussion boards comprises 13% of your grade. The evaluation of these elements, however, is slightly complicated:  The first thing you should know is that the class has been randomly split into one of two discussion groups, each containing roughly 9-10 people. (All graduate students are in the same group.) That is in order to keep discussions at a manageable level for yourselves, particularly so you are not stepping on each other’s toes; the number and composition of the groups may change if the composition of the class changes. For your own reference, the groups are named for two heroes of the Mexican lucha libre films of the 1970s: El Santo and Blue Demon. (We have many movies featuring El Santo in the library – go check them out!) �Cine contemporáneo latinoamericano, otoño 2015 – 11       At the beginning of the semester, you will each be assigned one reading date from the semester. For that assigned date, you will be the discussion leader and are responsible for posting 24 hours before class time on the reading(s) and screening(s) for that day. DO NOT BE LATE; IF YOU ARE LATE, ONE OF YOUR CLASSMATES CAN STEAL YOUR EXTRA POINTS. (See below for more on this.) These posts should not summarize material, but rather engage with the readings: your goal is to start discussion about the readings. You should reference all readings and at least one of the episodes for that class. Toward this end, you might: ask questions; highlight particular passages that were interesting/enlightening/confusing (note the multiple “passages”; working off a single passage, unless you do a great job explaining why, is not good enough); relate concepts between different readings within the same week (or from before); discuss the relevance of the readings with regard to particular textual examples; etc. Questions should concern aspects of the readings. (In other words, questions like “¿Cómo refleja los valores que Saavedra nota sobre el uso de primer planos existen en cine chileno en la película Gloria?” are better than “¿Por qué creen que Pasternak hizo lo que hizo en Relatos salvajes?”) Feel free to explore issues of narrative, theme, characterization, style and history – and be ready to discuss these topics yourself. These initial postings should be at least 300 words long. The rest of the group are contributors. The nature of your posts should be participatory and meant to be in the spirit of discussion. Up until two hours before class, contributors should return to the discussion board and comment on other responses; feel free to respond to what other people have said about your posting as well. A well-written discussion post should generate a conversation, so part of the assessment will include how people have commented on your original posting – as well as how often you post to those written by others. Responses should reference the previous postings, and also at least one each of the screenings and the readings. Please reply by 9:00AM on the day of class. This will allow everyone (including me!) to read everyone’s comments before class. Please note that contributors do not necessarily need to wait for leaders to post, and can take the initiative early and often. Just be sure to come back and read that day’s discussion as well. Note that terse postings that invoke information gathering, non-sequiturs or rudeness will not be counted and may count against you in terms of your general attitude portion of the grade. You may continue to post to the discussion boards following the class period the discussion is due (including at this point bringing up elements discussed in class), although I will assume that no one (including myself) will be checking those boards two days following the reading. I will move the discussion board to the bottom of the page after the second day, unless discussion is so heated it merits continual observation; if you are still interested in the earlier discussions, they can be found by scrolling to the bottom of the page. The discussion period will officially end (for credit purposes) at noon on the day of class. At that point, I will assess the discussion boards using the following rubric adapted from a rubric by Laura L. Bush): o Excellent work (2 points for leaders; 1-point for responders):  Leader posts an initial message of more than 300 words on time; posting generates comments from at least four other members of the group. Responder replies in meaningful and extended ways  Demonstrates excellent critical thinking skills, including logical analysis, synthesis and interpretation of the texts (both readings and episodes); provides sufficient and persuasive evidence for support.  Offers prompt, timely and relevant contributions to the conversation, voluntarily moderating, playing devil’s advocate, or synthesizing ideas and parts of the conversation as needed, including from texts beyond the immediate class  Writing is clear and understandable o Satisfactory work (1.5points for leaders; 2/3-point for responders):  Leader posts an initial message of three hundred words on time; posting generates comments from at least five other members of the group OR Excellent work above generates fewer than four additional comments. Responder replies, going through the motions, but does not really enter into the discussion; comment does not address other postings, which could be evident by parroting positions already stated without developing them further. �Cine contemporáneo latinoamericano, otoño 2015 – 12  o o Demonstrates fair critical thinking skills by analyzing, synthesizing and interpreting although post tends somewhat toward summary; offers evidence for support, although it may be sometimes insufficient or unpersuasive. References most but not all of the readings and screenings.  Keeps up somewhat with discussion and does not dominate, but establishes a discernable presence  Writing is mostly clear and understandable Insufficient work (1 point for leaders; ½-point for responders):  Leader posts an initial message of under three hundred words, OR posts late, BUT posting still generates more than four comments from other members of the group; OR Satisfactory work described above generates fewer than four comments from other members of the group  Summarizes rather than analyzes, evidence is absent or insufficient; responders struggle to maintain discussion or change topic to do so. References only one reading when there are multiple assigned. Questions pursued do not explicitly reference text. (In other words, only asking something like “¿Cuáles otras películas nominadas por un Oscar han visto?” would fall into this category, as it does not explicitly allow others to engage with the texts.)  Responders parrot previous positions in posting board or do not address either the readings or the questions provoked.  Writing is somewhat understandable, but grammar issues impede meaning significantly Deficient work (0 points for both leaders and responders):  Leader does not post OR Insufficient work described above generates fewer than four comments from other members of the group. Responders either do not respond, or say little more than variations of “I agree,” “Good point” or “I disagree”  Grammar issues impede meaning so much that responders have a difficult time responding appropriately One other thing to note: There will be several discussion boards that will not have a leader assigned because they went unclaimed at the beginning. If there is not one assigned for that date, you may claim the extra points for that day by becoming the leader yourself. In essence, these are bonus points that can be claimed by the first person who fulfills the leader role for that day. This is also the case if, for some reason or another, someone is late or has forgotten to post for that day: if the posting time passes, do not wait for them to post! Become the leader yourself and you will steal their leader points for the day. (The regular leader can still earn participator points by joining into the discussion.) You may earn these extra points (either by claiming unclaimed dates or by posting when someone has neglected to do so) up to twice during the semester, for a possible extra two points toward your grade. A truly earned bonus! Please note that there is also a discussion board titled Suggestion Box. Feel free to get your feelings about the class off your chest in an anonymous fashion – what you like about the class, how you feel it can be improved, what really didn’t work, etc. I will monitor this board in particular and try to address whatever issues there are as they develop, hopefully in order to correct matters before the semester ends. (Posting here obviously does not count toward your grade, as participation here in anonymous.) For your information, the Blackboard site will also have the most updated versions of the syllabus and all assignments, as well as screening guides for all the films and some secondary readings as noted in the class reading schedule. �Cine contemporáneo latinoamericano, otoño 2015 – 13 Timeline:  Film Festival occurs September 17th through October 7th  Claim film to be viewed by September 17th  Short Essay due electronically via Digital Dropbox by 11:59PM on Friday, October 9th Now in its 26th year, the Latin American Film Festival at the American Film Institute Silver Theater in Silver Spring, MD brings together recent films from all over the continents (along with Spain and Portugal!) that we might not otherwise get to see in the DC area. This is not a typical “prestige” festival, in that there is no competition either in getting in or during the screening; it is quite literally a cultural event, and often brings films from countries that are otherwise overlooked at other festivals (such as several Central American and Caribbean countries). It’s a grand opportunity and usually a very popular event – and it fits right in with the general themes of this course! Your job is simple: pick one of the films screened during the festival and write an essay on any topic of your choice about that film. There are two caveats to this paper (which will be further outlined below): (1) no more than two people may write about the same film, and (2) your paper must include at least some analysis of aesthetic qualities in the film that also properly uses film terminology. �Cine contemporáneo latinoamericano, otoño 2015 – 14 PART 1: CLAIMING YOUR FILM Information about the festival can be found at the website http://afi.com/silver/laff/. (At the moment, there is still just a partial roster, but more information and the full list and schedule of films will appear in early September.) Look them over carefully and identify a film that you think you will enjoy or find interesting. You must claim a film by the first day of the festival (which happens to be September 17th, a day we meet in class). You may claim a film at any point before then, however, simply by emailing me your choice. The requests will be processed on a first-come, first-served basis and I will continuously update a space on Blackboard that shows which films have been claimed. Please note: Just because you have claimed a film does not mean you must write about that film: as long as someone else has not claimed a film, you may choose another; if you choose to not pursue your film, however, please let me (and everyone else) know as soon as possible, so that someone else may have the opportunity, should they have the desire. Before you go, you might want to check out the materials I have supplied for you online with regard to film terminology. I have provided at least two resources about basic film terms in Spanish, along with a link to Yale’s excellent site (in English) which reviews basic terms. If you have questions about some of these terms, do not hesitate to bring them up in class and/or to see me in office hours and I will be happy to explain them more fully. Then, view the film! Take notes, if you want, and be sure to note specific aesthetic qualities. Some things you might consider:     How does the camera present what the movie is trying to accomplish? What are the specific visuals that accompany the telling of the story? Why does the film look the way it does? (For example, if we were to write about Y tu mamá también, you would note that the entire movie is shot with a hand-held camera. How does that aesthetic choice color the movie as a whole?) What do casting choices do for the film? Do you recognize the people in the movie? (Should you?) Where is the film set? How do you know? Do you believe that? Why is that important? How does the film convince you of where it is? (This most often makes use of something called mise-en-scène (“puesta en escena”). Look that up, if you don’t know the term. Why does the film sound the way it does? What music accompanies it? What accents? PART 2: WRITING THE PAPER After your viewing, write a short 4-6 page essay (in Spanish, of course) using the film as the primary subject. Will have to analyze some visual element about the film in the process and must use some film terminology in your essay. The ultimate subject of the essay, however, is up to you. Paper may also bring in elements from secondary sources and/or other film, but this is unnecessary and the primary focus should be on the film you have selected.   Essays should be roughly 4-7 double-spaced pages in length, though that is only meant as a guideline as to how complex I think your argument should be. I prefer a shorter paper to one that adds “filler” to pad a paper to the page limit; then again, if your paper is significantly shorter – say, three pages – you may wish to consider whether you have developed a strong enough argument. Remember that a paper of this length means that you cannot encompass everything about your topic; rather, by necessity, you will only be able to go into depth about one or two aspects of it. Secondary sources are not necessary for this essay. The focus should, indeed, be on the film itself and there is no need to go further. I am more interested that you provide an aesthetic analysis that properly uses film terminology. That said, if you feel that adding material from any secondary sources (or additional films) will help your argument, feel free to bring in some research. Use MLA citation style, please, both in considering in-text parenthetical citations and the obligatory bibliography that will follow. �Cine contemporáneo latinoamericano, otoño 2015 – 15    Use support to develop your argument. This means that you will be citing passages through extensive description of shots and sequences from the films (which is how you cite a visual source). This can only help your argument – think about such support as a foundation upon which you can build a strong argument. Don’t be scarce. I am here to help. If you start with a general idea, please feel free to come in and I’d be more than happy to help you out with finding sources, narrowing your topic, helping with an argument. You know when the office hours are, so make me work. This paper should not require revision; if the paper is severely lacking, however, I reserve the right to ask you to revise it before administering a failing grade. I anticipate this might be caused by inexperience – either with using film terminology properly or with writing a paper in Spanish. If I return it to you without a grade, it will be due back to me again exactly a week after its return, again through Blackboard. FOR GRAD STUDENTS AND HONORS STUDENTS ONLY – THE BIFICI ESSAY For grad students and those students still under the “old Honors” system, your work will be held to a slightly higher standard – and you will actually write a second festival piece. But your second one comes from a different festival entirely: the famous Buenos Aires Film Festival (known as “BIFICI”) has graciously put a number of films up on the website cinemargentino for free for a limited time. You job is very simple: repeat the above exercise with another film taken from their website. You may use any film up on the site. But hurry: it is entirely unclear how long the website will stay up – so you might want to do this exercise first in order to make sure you get it done! Your grade will simply be split in half: each of these papers will be worth 10% instead of 20%. You may turn the BIFICI essay at any point up to the date the LAFF paper is due. �Cine contemporáneo latinoamericano, otoño 2015 – 16 Appendix c The Research Esaay Timeline:  Preliminary Bibliography and Topic Idea due electronically via Digital Dropbox on Tuesday, October 27th at 11:59PM  Final Essay due electronically via Digital Dropbox on Wednesday, November 25th at 11:59PM (worth 40%)  Final Presentation at Final Exam date December 10th at 5:30PM (worth 5%) The prompt for the longer paper is very simple: I ask you to consider tropes and issues concerning any aspect of your choice on contemporary Latin American cinema. You must examine at least one film that we are screening for class, and you must use at least one secondary source from the articles that we are reading; from there, however, you have free range as to the number of films you may examine, and you can also go outside the boundaries of this class to develop your paper topic. The specific argument is entirely up to you. (Yes, your paper should have an argument. Make it clear and effective. This should go without saying, but I’ll say it anyway…) Since this is a research paper, secondary sources are a necessity. All papers must contain at least four secondary sources; for those taking this course as SPAN-656 or LIT-646, you must have double that number. Papers should be roughly 6-10 pages in length, but that is only a guideline as to how complex I think your argument should be. (For those taking LIT-646 or for Honors credit, your paper might be a little longer, but I am looking more for quality than quantity. I expect that your argument will be sufficiently complex; you should expect to be held to a higher standard than the rest of the class.) THE PRELIMINARY BIBLIOGRAPHY AND TOPIC �Cine contemporáneo latinoamericano, otoño 2015 – 17 After spring break, you should have a clearer idea of what your television series is about, and perhaps what you would like to write about. Please see me during office hours after spring break so that I can help you hone your ideas. By 11:59PM on Tuesday, October 27th, you should be ready to submit a preliminary topic idea, as well as a preliminary bibliography of outside sources for your project. Note the following:    Your bibliography should consist of at least ten sources. Please arrange the entries alphabetically by author’s last name, as you would for a regular bibliography. For full credit, these entries should be submitted in MLA style. Please note that at least seven of these sources should be scholarly. (Exceptions might be made here for more obscure topics; please see me more for information about this before you start research if you think this applies to you.) Also note that neither Wikipedia nor IMDB are ever a proper source, at least not in this class. Each entry should also contain 1-2 sentences maximum about what you hope to learn from this source. You do not have to have already read any of these sources, but you should have an idea as to why you are looking at it in the first place. The bibliography should be accompanied by a paragraph detailing your ideas for this essay. This does not need to be your final argument, but you should articulate it as best as you can with the research you have done thus far. I will help you refine the argument and perhaps offer advice for further avenues of research or inquiry to pursue. This assignment does not count toward your grade – but will help toward your research project, so take advantage of it! GENERAL GUIDELINES FOR THE ESSAY ITSELF         Essays should be roughly 10-15 double-spaced pages in length, though that is only meant as a guideline as to how complex I think your argument should be. I prefer a shorter paper to one that adds “filler” to pad a paper to the page limit; then again, if your paper is significantly shorter – say, seven pages – you may wish to consider whether you have developed a strong enough argument. Remember that a paper of this length means that you should not try to encompass everything about your topic; rather, by necessity, you will only be able to go into depth about certain aspects of it. MLA style please, both in considering in-text parenthetical citations and the accompanying bibliography. Papers should be written entirely in Spanish. Do not translate sources originally written in English (or French, for that matter); leave such citations in the original language. Don’t be scarce. I am here to help. If you start with a general idea, please feel free to come in and I’d be more than happy to help you out with finding sources, narrowing your topic, helping with an argument. You know when the office hours are, so make me work. Please realize that there is absolutely no way you can get all of this done the night before each assignment is due. You must pace yourself accordingly just to do the legwork in getting all of the materials. Use the library as a resource. They can help you with many aspects of this process, so please take advantage of them. Use support to develop your argument. This means that you will be citing passages from secondary sources in addition to extensive description of shots and sequences from the films (which is how you cite a visual source). This can only help your argument – think about textual support as a foundation upon which you can build a strong paper. The final project may not be revised. Hence, take advantage of all the time beforehand to seek out help from me, the Writing Center, the Library and any and all other options. THE FINAL PRESENTATION During the final exam period on December 10th, you will briefly present to the class what you have discovered about your aspect of national cinema over the course of your study. You will have only 7-8 minutes to present, but no more than that. Please be prepared, and try to offer us something quick and visual (which may not be a clip, given time constraints). If you need something taken out of the library ahead of time, please give me at least 12 hours notice so that I can prepare accordingly. �Cine contemporáneo latinoamericano, otoño 2015 – 18 This portion of your grade consists of 5 points, broken down as follows:   4 points for content – the information you present, the relevance of your presentation to the course, the strength of your argument, the clarity of your position, etc. 1 point for presentation – the manner in which you present, staying within the time constraints, entertainment value/ability to keep class awake and/or interested, etc. (Please note that going more than two minutes over the time limit will forfeit any points for this section, including technological snafus.) One more thing: have fun with this! And good luck! �Cine contemporáneo latinoamericano, otoño 2015 – 19 Apéndice D Películas para una historia de cine Latinoamericano Hay muchas cosas que tenemos que hacer este semestre, y una de las cosas que no tenemos tiempo de hacer es hacer un reencuentro con la gran historia del cine latinoamericano. Es grande y múltiple, y si tuviéramos una semestre entera para la historia del cine latinoamericano, no sería suficiente. (He tratado de enseñar una clase así hace varios años, y hay demasiados películas ahora. Era un fracaso total y completo.) Les doy abajo unas sugerencias si quieren explorar un poco de la historia del cine latinoamericano. Todas estas películas son opcionales. Tenemos todas por DVD en la biblioteca – pero igual la mayor parte también puede encontrar por YouTube y Vimeo, e incluyo dónde se puede ubicar por el Internet aquí. También hay dos libros que les puedo recomendar que les darán un buen resúmen:  Magical Reels: A History of Cinema in Latin America, escrito por John King. PN 1993.5.L3 K45 2000.  24 Frames: The Cinema of Latin America, editado por Alberto Elena y Marina Díaz López. PN 1993.5.L3 C56 2003. 10 películas claves de la historia del cine latinoamericano  María Candelaria, de Emilio “El Indio” Fernández, México, 1943. Hay varias películas de la “época de oro” de cine mexicano, establecida durante la Segunda Guerra Mundial cuando había poco celuloide en el mundo y los Estados Unidos favoreció México para cuidar su industria cinematográfica. Ésta es una de las primeras con la actriz Dolores del Rio y el cinematógrafo Gabriel Figueroa. Con esta melodrama y Flor silvestre del mismo año, ellos establecieron un estilo que sería copiado e imitado por todo México. Otras melodramas merecidas de este periodo incluyen Doña Bárbara (con la otra reina del cine mexicano, María Félix) y Aventurera (una “cabaretera,” un género bien mexicana con la bailarina cubana Ninón Sevilla). DVD 1467, YouTube.  Deus e o Diabo na Terra do sol (Dios y el Diablo en la Tierra del Sol), de Glauber Rocha, Brazil, 1964. Película clave del “Cinema Nôvo,” un movimiento de cine brasileño inspirada por el cine neo-realisto italiano. Extrañisimo, pero también muestra un ejemplo de lo que Rocha llamó “la estética del hambre.” DVD 1474, YouTube.  Los Olvidados, de Luis Buñuel, México, 1950. Buñuel nació en España, pero se exilió al Nuevo Mundo cuando entró Franco y dejó a Hollywood cuando se enteraron que era comunista. Hizo varias melodramas típicas de la Época de Oro cuando por fin juntó suficiente plata para hacer Los Olvidados, también con el gran cinematógrafo Figueroa. Esa película brutal y seria (con rasgos del surrealismo) sobre la pobreza histórica en la Ciudad de México inspiró un gran parte del Nuevo Cine Latinoamericano. La carrera mexicana de Buñuel resulta en sus películas más interesantes, como Él, Viridiana y El ángel extrminador. DVD 7008, Vimeo.  Muerte de un burócrata de Tomás Gutiérrez Alea, Cuba, 1962. El primer largometraje que sale del ICAIC (el Instituto Cubano de Artes e Industrias Cinematográficas) es una verdadera comedia que mezcla cine política de Italia con el entretenimiento de Hollywood. DVD 9559, Vimeo.  La hora de los hornos de Grupo Liberación/Fernando Solánas y Octavio Getino, Argentina, 1974. Solanas y Getino, los dos hombres grandes del Grupo Liberación, publicaron un manifiesto llamado “Hacia un tercer cine” que intentó unir �Cine contemporáneo latinoamericano, otoño 2015 – 20      cines de todo el mundo, y mostró la necesidad de un cine militante para combatir el “primer cine” neocolonial de Hollywood y Europa. La hora de los hornos es la muestra de cómo hacer este cine, entre documental y ficción y con una estética realmente combatiente. La versión entera dura 4 ½ horas en tres partes; basta solamente ver la primera parte. DVD 3118, YouTube. La batalla de Chile: La lucha de un pueblo sin armas (Parte 1) de Patricio Guzmán, Chile/Francia, 1975. Cuando Guzmán y los miembros de ChileFilms (también, como ICAIC, parte del gobierno del Salvador Allende) comenzaron hacer su película, intentaron hacer un documental sobre un paro. Terminaron filmando el golpe de estado de Pinochet, y lo que inmediatamente pasó después. En 1997, Guzmán hizo Chile, la memoria obstinada sobre qué pasó cuando regresó clandestinamente a Chile con una copia de la película y la mostró a una generación que nunca ha escuchado esta historia. AU Streaming Video. Memorias del subdesarrollo de Tomás Gutiérrez Alea, Cuba, 1968. El décimo aniversario de la Revolución Cubana de 1958 resultó en una variedad de largometrajes impresionantes del ICAIC, como Lucía de Humberto Solás, pero Memorias es la joya de ese periódo y regularmente es considerado como la mejor película latinoamericana de todos tiempos. Entre documental y ficción, la película examina las respuestas posibles al pregunta, “¿Qué puede hacer el intelectual por la Revolución?” DVD 429, YouTube. Santo y Blue Demon contra Drácula y el Hombre Lobo de Miguel Delgado, México, 1973. Quizás una selección polémica para esta lista, pero creo que es importante considerar el cine popular, y no hay nada más popular que las películas de “explotación” con el famoso Santo, el rey de la lucha libre. Puede escoger a cualquier de esas películas realmente ridículas de los años 70 (una época baja de producción mexicana), pero aquí Santo y su mejor amigo Blue Demon trata de resolver el misterio de Drácula y el Hombre Lobo (usando chompa con cuello alto) en una forma medioScooby Doo. Se va a reír a carcajadas. DVD 3538. La historia oficial de Luis Puenzo, Argentina, 1985. Ganador del Oscar por película extranjera, esta es una de las primeras películas argentinas que hizo el esfuerzo de discutir algo sobre la Guerra Sucia. DVD 44, YouTube. Danzón de María Novaro, México, 1991. La historia del cine latinoamericano es dominado, como la mayor parte de Latinoamérica, por hombres. En los años 90, hay varias mujeres (como María Luisa Bemberg en Argentina o Fina Torres en Venezuela) que están saliendo con buenas películas en la región. Ésta es una de las mejores, siguiendo una mujer que viaja hasta Veracruz para encontrar su pareja…de baile. DVD 5797, YouTube. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Syllabi Syllabus Title / Título (Original) A name given to the resources. El nombre original del recurso. Cine contemporáneo latinoamericano Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. 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. Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Argentina Bolivia Brazil / Brasil Chile Colombia Cuba Mexico / México Peru / Perú Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Latin America / Latinoamérica Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Films taught / Películas <a href="https://cinegogia.omeka.net/items/show/25">Amores perros</a> <a href="https://cinegogia.omeka.net/items/show/186">¡Asu Mare!</a> <a href="https://cinegogia.omeka.net/items/show/178">Las caras de la luna</a> <a href="https://cinegogia.omeka.net/items/show/280">Club Sándwich</a> <a href="https://cinegogia.omeka.net/items/show/75">Contracorriente</a> <a href="https://cinegogia.omeka.net/items/show/180">Crónicas</a> <a href="https://cinegogia.omeka.net/items/show/174">Diarios de motocicleta</a> <a href="https://cinegogia.omeka.net/items/show/185">Don Gato y su pandilla</a> <a href="https://cinegogia.omeka.net/items/show/191">Gloria</a> <a href="https://cinegogia.omeka.net/items/show/189">Madame Satã</a> <a href="https://cinegogia.omeka.net/items/show/203">Miss Bala</a> <a href="https://cinegogia.omeka.net/items/show/187">La niña santa</a> <a href="https://cinegogia.omeka.net/items/show/192">No se aceptan devoluciones</a> <a href="https://cinegogia.omeka.net/items/show/177">Novia que te vea</a> <a href="https://cinegogia.omeka.net/items/show/190">Post Mortem</a> <a href="https://cinegogia.omeka.net/items/show/179">¿Quién mató a la llamita blanca?</a> <a href="https://cinegogia.omeka.net/items/show/175">Revolución</a> <a href="https://cinegogia.omeka.net/items/show/193">Relatos salvajes</a> <a href="https://cinegogia.omeka.net/items/show/188">El secreto de sus ojos</a> <a href="https://cinegogia.omeka.net/items/show/103">Suite Habana</a> <a href="https://cinegogia.omeka.net/items/show/184">Temporada de patos</a> <a href="https://cinegogia.omeka.net/items/show/183">La teta asustada</a> <a href="https://cinegogia.omeka.net/items/show/84">Tropa de Élite</a> <a href="https://cinegogia.omeka.net/items/show/182">XXY</a> <a href="https://cinegogia.omeka.net/items/show/176">Y tu mamá también</a> <a href="https://cinegogia.omeka.net/items/show/181">La Yuma</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Jeffrey Middents, American University Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cine contemporáneo latinoamericano Description An account of the resource 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. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/e3c0df3a2a12e8eea63561a774560cd2.jpg?Expires=1773878400&Signature=Vlkq7R4ZJFIenSim8nebMr6oRTJfnGNtyVr6T8aFABqjHq3BExQLZmM2QZ4r3lObTppuhnB0rVO4F8ozZSI2xCK2sim5iFuPhpBKpssssWtadoG5KqiwcyRs4Kc9NqIaBoBrsNtaV0alnK%7EvRPftyy2sQnZGy-J8j9kMnQtrbilqMVh70ca6Cy2fuwSJWo%7EoIa9fUOzmIVNSzzL%7Eh4pWYFY-30owfxIOdqoIEvxEkOpCWrOMO7FvXwQwbXGZBcnKAn07Hm%7E6D0IZ0UAjClIjdNap38haSbfsCys2SfkcUMJkIk%7EvFyBuRIh7mQPGdYpxi0gnhyJPLnUzLrbDZ1sL7w__&Key-Pair-Id=K6UGZS9ZTDSZM e0c8ac1586b6d8f8e1f85400b2642003 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. ¿Quién mató a la llamita blanca? Title Who Killed the White Llama? Director The director of the film. El/La director/a de la película. Rodrigo Bellott Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2006 Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Buena Onda Films (United Kingdom) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. In the snowy mountains of Bolivia, in the highest city in the world, an infamous Indian crime duo known as "Los Tortolitos" agrees to transport 50 kilograms of cocaine to the Brazilian Amazon for a shadowy figure named "El Negro." The couple's journey takes them through deserts, valleys, and cities and into the heart of Bolivia, a world rich in color, music, and joy on the one hand and poverty, corruption, and racial marginalization on the other....Equal parts road movie, crime drama, and social critique. (Josh Rosenblatt, <a href="http://www.austinchronicle.com/" target="_blank" rel="noreferrer noopener">The Austin Chronicle)</a> En las montañas frías de Bolivia, en la ciudad más alta del mundo, los famosos criminales indígenas, conocidos como “Los Tortolitos”, deciden transportar 50 kilos de cocaína a la amazonia Brasilera. Lo hacen por orden del “Negro” un hombre muy sospechoso. Su jornada los lleva por desiertos, valles y ciudades en el centro de Bolivia, un país lleno de gozo y música pero a la misma vez lleno de pobreza, corrupción, y marginación racial. Un road movie, drama criminal y crítica social todo a la misma vez. (Translation by Jessica Batista) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Comedy films / comedia Drama Road films / road movie Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Drug traffic / Narcotráfico Social inequality / Desigualdad social Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Film Guide / Guía de película Add link to related film guide <a href="https://cinegogia.omeka.net/items/show/394">https://cinegogia.omeka.net/items/show/394</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource ¿Quién mató a la llamita blanca? Description An account of the resource "In the snowy mountains of Bolivia, in the highest city in the world, an infamous Indian crime duo known as "Los Tortolitos" agrees to transport 50 kilograms of cocaine to the Brazilian Amazon for a shadowy figure named 'El Negro'. The couple's journey takes them through deserts, valleys, and cities and into the heart of Bolivia, a world rich in color, music, and joy on the one hand and poverty, corruption, and racial marginalization on the other....Equal parts road movie, crime drama, and social critique." (Josh Rosenblatt, The Austin Chronicle) https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/c7ab92412477bd1005896a6f3ca3ff02.jpg?Expires=1773878400&Signature=Q5GFOJVcm9kFKM35ESaV-IF4L7exh7r79MxcY2xQFYgMrBGeulApZ64eTvLZz2NpO2qVCJ2h59IgPuTlDKup0sbzJa%7EfE5ISdED0q8hTqOWVJIPGalBWnxm88cmMsNWCFq1mwDuofw6f874zYz8nj500XaldwGVUU5I1WDuAR0bK3kbBF8a1NzL1gqqW0TLjRIMET2kGWhtHqQJx4eJqWfukVQpsPBm53YOONjGyGM8x0RKQ8o2oKKmfxXsENljMqFHcja6LTMVUEi0sCQxR3ikyYWnSwTjIkdbkcvkkDpCNnQ77qmagcg9z5lOmmvs5a7Y9k2tJ4Toa508G3fpyYw__&Key-Pair-Id=K6UGZS9ZTDSZM 246adab20b1551e43009858a8e6a5439 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. También la lluvia Title Even the Rain Director The director of the film. El/La director/a de la película. Icíar Bollaín Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2010 Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Mexico / México Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. AXN (Spain) Alebrije Cine y Video (Mexico) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Costa y Sebastián trabajan juntos en un proyecto ambicioso que van a rodar en Bolivia. La cinta que van a filmar tratará sobre la llegada de los españoles a América poniendo el acento en la brutalidad de su empresa y en el coraje de varios miembros de la iglesia que se enfrentaron con palabras a las espadas y las cadenas. Pero Costa y Sebastián no pueden imaginar, que en Bolivia, donde han decidido instalar su Santo Domingo Cinematográfico, les espera un desafío que les hará tambalearse hasta lo más profundo. Tan pronto como estalla la Guerra del Agua (abril 2000) las convicciones de uno y el desapego del otro comienzan a resquebrajarse, obligándoles a hacer un viaje emocional en sentidos opuestos. (<a href="http://www.filmografiamexicana.unam.mx" target="_blank" rel="noreferrer noopener">Filmoteca UNAM</a>) Costa and Sebastian work together on an ambitious project that they will film in Bolivia. The movie they are going to film will deal with the arrival of the Spaniards to America with emphasis on the brutality of that enterprise and the courage of several church members who fought the swords and chains with words. But Costa and Sebastian cannot imagine that in Bolivia, where they have decided to create their Santo Domingo film, a challenge awaits them that will make them stagger into the deepest depths. As soon as the Water War breaks out (April 2000) one’s convictions and the other’s detachment begin to crumble, forcing them to take an emotional journey in opposite directions. (Translation by Jessica Batista) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Historical films / cine histórico Drama Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Human Rights / Derechos humanos Indigenous peoples / Pueblos indígenas Social inequality / Desigualdad social Underdevelopment / Subdesarrollo Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / español Indigenous / indígena Related Course Materials / Materiales relacionados Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live. <a href="https://cinegogia.omeka.net/items/show/310">Film Guide</a> Film Guide / Guía de película Add link to related film guide Guía en español: <a href="https://cinegogia.omeka.net/items/show/751">cinegogia.omeka.net/items/show/751</a> Guide in English: <a href="https://cinegogia.omeka.net/items/show/310">cinegogia.omeka.net/items/show/310</a> Available at Website, streaming service, distributor Pragda, <a href="https://pragda.com/film/even-the-rain" target="_blank" rel="noreferrer noopener">https://pragda.com/film/even-the-rain</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource También la lluvia Description An account of the resource Costa y Sebastián trabajan juntos en un proyecto ambicioso que van a rodar en Bolivia. La cinta que van a filmar tratará sobre la llegada de los españoles a América poniendo el acento en la brutalidad de su empresa y en el coraje de varios miembros de la iglesia que se enfrentaron con palabras a las espadas y las cadenas. Pero Costa y Sebastián no pueden imaginar, que en Bolivia, donde han decidido instalar su Santo Domingo Cinematográfico, les espera un desafío que les hará tambalearse hasta lo más profundo. Tan pronto como estalla la Guerra del Agua (abril 2000) las convicciones de uno y el desapego del otro comienzan a resquebrajarse, obligándoles a hacer un viaje emocional en sentidos opuestos. (Filmoteca UNAM) https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/dfaa060852480010f69730cc9b1e1f38.jpg?Expires=1773878400&Signature=IrLFnjYuBYd3THx8b3DJ30gfbilJu45c0SLoxJ4qLlVncqs66i%7E3Bd2-Dn9HwFOfEMa67THaGcRFKBI9KegzuN6radWpfmljQs%7EMwnp%7ESwFIQKsKZ572d6YWLDiL84P3-VRMfTeDWwNc5H%7EJ%7Ew4Ns1fQYqEC-wsCt2f2h5AcfWnvAAGYJLOjLJcNycnOcI%7EvoYEVtzuYGtZnH79xib9zExCetCHgpxUP8seLEYJ1IZmWYLod83NlBFFGlYw7vVMAMPHnsCufjPj-KfDdUX5T9-IAHxibPK96Pg-hSiUZR-zApUCjFEGqsiMLg9M6uv3HQ5GeA0Bng3EeGvsobGbing__&Key-Pair-Id=K6UGZS9ZTDSZM 8a9a34569542c7b4642e454ff68239dc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Vuelve, Sebastiana Title Come Back, Sebatiana! Director The director of the film. El/La director/a de la película. Jorge Ruiz Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1953 Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Bolivian Films (Bolivia) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Shows daily life of a group of Chipaya Indians in Bolivia in the early 1950s, when drought made food production very difficult. (<a href="http://www.worldcat.org/" target="_blank" rel="noreferrer noopener">Worldcat</a>) Muestra la vida cotidiana de un grupo de indios chipaya en Bolivia a principios de los años 50, cuando la sequía dificultó la producción de alimentos. (Translation by Jessica Batista) Category / Categoría A broad category or mode of cinematographic production. Documentary Films / Cine documental Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Docu-drama Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Indigenous peoples / Pueblos indígenas Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. New Latin American Cinema / Nuevo Cine Latinoamericano Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vuelve, Sebastiana Description An account of the resource Shows daily life of a group of Chipaya Indians in Bolivia in the early 1950s, when drought made food production very difficult. (Worldcat) Chipaya Short Film / cortometraje https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/acf01ed1366e595d8884444bb89c3ab4.jpg?Expires=1773878400&Signature=XY8ijxmNendMxg2mfG9LcXp9DPsD1JwnsF9NRS7D8xnwN7ltrrGuuS2VJ0dpiiegYdmZ1YXsJoLTgd8aeiTWtca2TmeRHpgNT2ntry3FOqZ9wkH6sWO1Oi61%7EAYAIMHTymflhnN5aPdn6rRhzHBJhGM6DQJtu0YzzCQVPCCZIJ4x1xxNV2FP-8UodlvOlwj9RNIzo87zhH6Zgrc2Zjf07k-c9PTKKTUx0hLAlSNq2KHWn7dYMeSTd2hHhvYHGo6eF2KnG2KL3Yg33TMKVVJ4mMIEpA6nFjDWj2Ra2R9Ab7Yf8vnOn4K5DakV81etlpSCL4EU0K-B76BkTvwDn3a%7EFg__&Key-Pair-Id=K6UGZS9ZTDSZM 311c788c864897bba0c05da0d6674277 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. La Nación Clandestina Title The Secret Nation Director The director of the film. El/La director/a de la película. Jorge Sanjinés Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1989 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / Español Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Channel Four Films (Great Britain) Television Española (España) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. "La nación clandestina" es un drama político en el que Sebastián Mamani, un campesino que reniega de su clase, regresa a su lugar de origen para asumir su castigo por haber prestado servicio como represor durante la dictadura. Bailando hasta la muerte la danza del Danzanti, espera poder borrar su pasado y así poder renacer. (<a href="http://www.sensacine.com" target="_blank">Sensa Cine</a>) The Secret Nation is a political drama in which Sebastián Mamani, a farmer who rejects his class status, returns home to be punished for his repressive actions during the dictatorship. Dancing the Danzanti until his death, Sebastián hopes to erase his past and be reborn. (Translation by Angel Carrillo) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Social inequality / Desigualdad social Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Nación Clandestina Description An account of the resource The Secret Nation is a political drama in which Sebastián Mamani, a farmer who rejects his class status, returns home to be punished for his repressive actions during the dictatorship. Dancing the Danzanti until his death, Sebastián hopes to erase his past and be reborn. (Translation by Angel Carrillo) https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/2695329575de0a305cec5d0584d29873.jpg?Expires=1773878400&Signature=dHIZTyGL4wc-1Rif%7EADhK2KimCxzd5QGY0mAxwyaIO8uAX%7EmxvxjZbg9k9KNpldMjAxr9tSdXsII0liu1p5NDmQSJOF5roUh2PY92wcfKmnkhLrm%7EhQDK0ncdOlxbwk9M-J6EraTLTkCU0GO23kSiaEGjv%7EO56KZFoYzktwo%7EAv3wzcEB89lZZOzkshoMhsxFsDGBrdpiKOyyDOxSOEQOac7f9ebhS7VtPjSt8iUmlhS1ZXe99vB2ndOBs14o6O97rM8tXDKlBtphv-lCPHQCbAICR6UyBnp20nVfet7fzE0%7EY11fHlSSCJQFEye1ktdoW6ExraXhuyQySXFit0sKw__&Key-Pair-Id=K6UGZS9ZTDSZM 76316e78bff40d182d95bc4477d8e82b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Yawar Mallku (Sangre de Cóndor) Title Blood of the Condor Director The director of the film. El/La director/a de la película. Jorge Sanjinés Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1969 Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Ukamau Group (Bolivia) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. En una comunidad campesina del altiplano, la desgracia se ha cernido sobre una pareja que, tras la pérdida de sus hijos, al intentar tener otros, descubre que la mujer, como muchas otras, está imposibilitada de engendrar. Algunas sospechas apuntan al hospital de maternidad que los gringos del Cuerpo de Progreso han instalado en el pueblo cercano. (<a href="https://www.Cinelatinoamericano.org" target="_blank" rel="noreferrer noopener">Cine Latinoamericano</a>) In a peasant community in the Altiplano, tragedy looms over a couple whom after the loss of their children, in their attempt to have more, discover the woman, like many others, is unable to get pregnant. Many suspect the nearby maternity hospital created by the gringos from "Cuerpo de Progreso." (Translation by Jeimy Hernández) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Docu-drama Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Human Rights / Derechos humanos Indigenous peoples / Pueblos indígenas Underdevelopment / Subdesarrollo Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. New Latin American Cinema / Nuevo Cine Latinoamericano Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yawar Mallku (Sangre de Cóndor) Description An account of the resource In a peasant community in the Altiplano, tragedy looms over a couple whom after the loss of their children, in their attempt to have more, discover the woman, like many others, is unable to get pregnant. Many suspect the nearby maternity hospital created by the gringos from "Cuerpo de Progreso." (Translation by Jeimy Hernández) https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/24447c8c328d7f73a15a7da3a8b17b03.pdf?Expires=1773878400&Signature=jgmUsy-FtBUf6yihV9vyg6kURPTKeT11GtFwnbmz-EM4NjTR0pdp6wn9omK1gmddkxCzeXLiWmE0G%7EUUyH8W0NVs9ce9PzmpfIs1OYXBe72bXUD4xBhm%7EPF3HwUhV-X77VeSEoenZ8cfgKrVLiWPqsVPc%7EAv3DLbA7j3quSo6HQQSgy4Oo9t-w1FFYeQTLQgP1-jC2sV%7EsHzQPhzGK5nlppAwjgMe0jknPLYiX26ozke77tu3qMYBRqVrAR5EUYim4vv3Hb1Jq7xCoWcLGKrSe6b3qkTWx223qJsNImmiLTbJv9nObOR8ent-ONixPnRq%7E9f3M9yIYPTqJyL79gtbQ__&Key-Pair-Id=K6UGZS9ZTDSZM add102f4ac580e4145f4f5741cd18354 PDF Text Text Contributed by Prof. Cynthia Stone, College of the Holy Cross SPAN 304 Cultura Hispanoamericana Prof. Cynthia L. Stone. Stein 459. Tel: (508) 793-2272 cstone (at) holycross (dot) edu Spring 2017: Stein 202, 9:30-10:45, martes y jueves Horas de oficina: miércoles 12-2, jueves 2-3, o con cita Descripción del Curso Enfoques metodológicos 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) Ojo: Este curso participa en el programa de CBL (aprendizaje en la comunidad) de Holy Cross, Donelan Office of Community-Based Learning, en la categoría de project-based learning.* Además, cumple el requisito de un curso en área tres para la especialización en español. Al mismo tiempo, cuenta para la concentración y la especialización en estudios latinos y latinoamericanos. Para más información, ver Spanish Major Requirements / Latin American and Latino Studies Requirements Requisitos Participación/Asistencia: 12.5% de la nota final. o Participación: La calidad y la frecuencia de los comentarios en clase formarán la base de esta nota. Ustedes deben apuntar previamente algunas ideas para compartir en cada clase para garantizar una buena nota de participación. o Asistencia: se espera que los estudiantes falten lo menos posible a clase; solamente en casos excepcionales se aceptarán más de dos ausencias durante el semestre. Para garantizar una nota óptima de asistencia, pueden usar uno o dos eventos extracurriculares no obligatorios para suplir estas ausencias. Es obligatoria la asistencia a varios eventos co-curriculares del Latino History Project of Worcester (LHPW) como parte del proyecto de aprendizaje comunitario (CBL). Eventos que complementan el material cubierto en clase se incluirán en una lista de eventos extracurriculares en Moodle; para más información sobre los eventos co-curriculares, ver el apartado sobre el portafolio. Prueba de geografía: 2.5% de la nota final. Habrá una prueba de países, gentilicios y regiones geográficas el jueves, 2 de febrero. La información incluida está en la hoja de repaso para la prueba de geografía . Tareas virtuales: 5% de la nota final. Hay tareas virtuales en el Companion Website para el libro de texto de Fox, Latinoamérica, presente y pasado, el cual se encuentra en la siguiente dirección electrónica: �http://wps.prenhall.com/wl_fox_latinoamerica_4/ . Después de terminar un capítulo del texto, hagan clic en el número del capítulo para acceder a los ejercicios de repaso. Hay que mandar las respuestas electrónicamente a spancultura304@gmail.com antes de la medianoche en las fechas incluidas en el Horario Semanal. No se olviden de incluir sus nombres y direcciones electrónicas en el mensaje para asegurar que reciban crédito. Las tareas virtuales se calificarán según las siguientes categorías: sobresaliente (9-10), bien (8-8.9), regular (7-7.9), necesita mejorar (6-6.9), suspenso (menos de 6). Las tareas mandadas tarde se aceptarán, pero llevarán una penalidad de 10%. Presentaciones orales: 5% de la nota final. Habrá varias oportunidades para cada estudiante de hacer presentaciones orales en grupos de 3 o 4. La primera será sobre el movimiento chicano de derechos civiles, el 9 de febrero. La segunda será sobre la presencia afroamericana en la historia cubana, el 11 de abril. Ensayos: 45% de la nota final. Dos veces durante el semestre habrá ensayos sobre temas relacionados con las películas y lecturas asignadas para la clase. Al final de la unidad 1 sobre “Hispanohablantes en Estados Unidos”, se escribirán unos mini-ensayos de unas 4 páginas en total, con fecha límite del 21 de febrero. Al final de la unidad 2 sobre “Las Américas como cruce de caminos cultural”, se escribirán unos mini-ensayos de unas 5 páginas en total, con fecha límite del 18 de abril. Los primeros contarán por 20% de la nota final; los segundos contarán por 25%. Las notas en los ensayos se calcularán según los siguientes criterios: 1. claridad de la tesis; 2. argumentación persuasiva en apoyo de la tesis; 3. uso preciso de información sobre el tema sacada de varias fuentes primarias y secundarias (el libro de texto, las lecturas virtuales y en Moodle, las películas, las experiencias en la comunidad, los eventos extra- y co-curriculares); 4. dominio de la lengua, tanto vocabulario como gramática y sintaxis. Unas observaciones sobre la integridad académica: Todos tienen completa libertad para conversar sobre el tema y la tesis de sus ensayos con quienquiera; también pueden hacer preguntas específicas sobre dudas de gramática o vocabulario. Además, antes de entregar los ensayos, es indispensable que usen un programa de corrección de ortografía. Lo que no deben hacer es pedirle a nadie que corrija sus ensayos antes de entregarlos. También es muy importante citar con fidelidad sus fuentes para evitar el plagio. Según la definición de academic honesty en el Catálogo de Holy Cross: “Plagiarism is the act of taking the words, ideas, data, illustrative material, or statements of someone else, without full and proper acknowledgment, and presenting them as one’s own. Cheating is the use of improper means or subterfuge to gain credit or advantage. Forms of cheating include the use, attempted use, or improper possession of unauthorized aids in any examination or other academic exercise submitted for evaluation; the fabrication or falsification of data; misrepresentation of academic or extracurricular credentials; and deceitful performance on placement examinations. It is also cheating to submit the same work for credit in more than one course, except as authorized in advance by the course instructors. Collusion is assisting or attempting to assist another student in an act of academic dishonesty.” Portafolio del proyecto de aprendizaje en la comunidad:* 30% de la nota final. Nosotros colaboraremos con el Proyecto de Historia Latina de Worcester (LHPW), un grupo que está trabajando con el Museo Histórico de Worcester para montar una serie de exhibiciones sobre la experiencia latina en la ciudad. A lo largo del semestre, ustedes: a. participarán en un “Discovery Day” fuera de clase donde se catalogarán artefactos traídos por miembros de la comunidad; b. asistirán a una de las exhibiciones portátiles del LHPW anunciadas de antemano; c. completarán un entrenamiento, en clase, sobre la metodología y la práctica de la historia oral; d. harán varias entrevistas orales, fuera de clase, con miembros de la comunidad latina de Worcester; e. practicarán el proceso de transcripción de entrevistas orales; f. reflexionarán, dentro y fuera de clase, sobre la historia oral como complemento de la historia escrita tradicional. �El portafolio del proyecto de historia oral y aprendizaje en la comunidad incluirá los cinco componentes siguientes (para subir a Moodle para el 13 de mayo): 1. audio de dos entrevistas para el Proyecto de Historia Latina de Worcester; 2. copias de la hoja de información biográfica y el permiso de entrevista oral para las dos entrevistas; 3. resúmenes y listas de nombres propios (proper names) y temas tratados en las dos entrevistas; 4. copia de la presentación oral sobre el proyecto (presentada oralmente en clase el 2 o 4 de mayo); 5. transcripción completa de una de las dos entrevistas para el LHPW. * Háblenme lo antes posible si necesitan modificar de alguna manera su participación en este proyecto de aprendizaje en la comunidad. Textos Arturo A. Fox, Latinoamérica: Presente y pasado, 4a edición, Prentice Hall, 2011 y Companion Website al libro de texto. También deben tener un buen diccionario español/inglés, como The Oxford Spanish Dictionary o Harpercollins Unabridged Spanish Dictionary. Algunas referencias electrónicas útiles incluyen: Word Reference (www.wordreference.com/); Diccionario Linguee (www.linguee.es/); Word Magic (www.wordmagicsoft.com/dictionary/tools/index.php); Diccionarios Online (www.diccionarios.com/) Opcional: Emily Spinelli, English Grammar for Students of Spanish. Para información sobre el contenido del libro, ver los ejercicios de repaso en http://www.oliviahill.com/pdf/spanish/spanish_review.pdf Películas Espejos del corazón, aka Mirrors of the Heart: Race and Identity. Dir. Lourdes Portillo. #4 de la Serie Américas (PBS/WGBH). Estados Unidos, 1992. Documental. 60 minutos. Chicano! History of the Mexican American Civil Rights Movement. Dir. Héctor Galán. Estados Unidos, 1995. Documental. 4 partes, 60 minutos cada una. Balseros. Dirs. Carlos Bosch y Josep Domenech. España, 2002. Documental. 120 minutos. Dossier de prensa: http://www.bausanfilms.com/archivos/266379020_DOSSIER%20DE%20PRENSA%20WEB2.pdf Renacimiento de los Mayas (versión en español). Dir. Dawn Engle, Ivan Suvanjieff. Estados Unidos y Guatemala, 2012. Documental. 69 minutos. El pueblo mexicano que camina, aka Long Journey to Guadalupe. Dir. Juan Francisco Urrusti, México: Instituto Nacional Indigenista, 1995. Documental. 97 minutos Fiesta transnacional, aka, Transnational Fiesta. Wilton Martínez & Paul Gelles. Estados Unidos, 1993. Documental. 60 minutos. 1912, Voces para un silencio, aka 1912, Breaking the Silence. Dir. Gloria Rolando. Cuba, 2010. Documental. 3 partes. 60 minutos cada una. Evita La Tumba Sin Paz. Dirección Tristán Bauer; Investigación y guion Miguel Bonasso; Narrado por Inda Ledesma. Argentina, 1997. Documental. 56 minutos. Bolivia. Dir. y script, Adrián Caetano. Argentina, 2001. Película de ficción. 75 minutos. Notas A 94-100 A- 90-93.9 B+ 87-89.9 B 84-86.9 B- 80-83.9 C+ 77-79.9 C 74-76.9 C- 70-73.9 D+ 67-69.9 D 60-66.9 F 0-59.9 �Horario semanal 1a semana: Introducción INTRODUCCIÓN: PANORAMA DE LAS AMÉRICAS DE HABLA HISPANA 24 de enero (martes): Introducción al curso En clase: Repaso del sílabo (la información de clase y el horario semanal) 26 de enero (jueves): Cuestiones de terminología Yepes, Enrique. “América Latina, Un concepto difuso y en constante revisión”. Revista Nossa America 50 (2014): 82-88. http://www.memorial.org.br/wp-content/uploads/2007/03/revista50esp.pdf Lagos, Eduardo. "Estados Unidos hispanos". Enciclopedia del español en los Estados Unidos, 23-26. Madrid: Instituto Cervantes, Santillana, 2008. http://cvc.cervantes.es/lengua/anuario/anuario_08/pdf/preliminares_02.pdf Hendra, Max. “Hispano o latino: ¿Cuál es el problema de una simple etiqueta?” Trad. Laura Castellón. Borderzine: Reporting Across Fronteras. 1 July 2010. http://borderzine.com/2010/07/hispano-o-latino/ Fuente: http://www.creativemethods.com/espanol/temas/Poder_e_influencia_de_hispanos_en_Estados_Unidos.htm UNIDAD 1: HISPANOHABLANTES EN ESTADOS UNIDOS 2 semana: Hispanohablantes en Estados Unidos 31 de enero (martes): Regiones geográficas y territorios nacionales Leer Fox, Arturo. Latinoamérica, capítulo 8, 109-131 ("Latinoamérica a vista de pájaro") y completar los ejercicios de repaso (tres en total: sinónimos, definiciones, identificaciones) en el Companion Website (para recibir crédito completo hay que mandar los resultados a spancultura304@gmail.com antes de la medianoche del 31 de enero; No se olviden de incluir sus nombres y direcciones electrónicas en el mensaje) En clase: Mapas mundiales; Mapas de las Américas �2 de febrero (jueves): Índices de lo hispano en Estados Unidos PRUEBA DE GEOGRAFÍA 1: PAÍSES, GENTILICIOS, REGIONES Leer Fox, Arturo. Latinoamérica, capítulo 17, 357-377 ("Los hispanos en los Estados Unidos") y completar los ejercicios de repaso (todos menos la “Prueba Cultural”) en el Companion Website (para recibir crédito completo, hay que mandar los resultados a spancultura304@gmail.com antes de la medianoche) En clase: Cifras de hispanohablantes en Estados Unidos Otros materiales: La población hispana en el censo de EU de 2010 3a semana: Hispanohablantes en Estados Unidos 7 de febrero (martes): La raza como construcción cultural Fox, Arturo. Latinoamérica, capítulo 13.2, 235-241 ("Haití y la República Dominicana") Américas # 4: Espejos del corazón: Raza e identidad, aka Mirrors of the Heart: Race and Identity. Dir. Lourdes Portillo. Estados Unidos, 1992. Documental. 60 minutos En clase: Discusión de diferencias culturales en la categorización racial (hoja de repaso). Distribución de los temas para los mini-ensayos de mediosemestre Otros materiales: o Bello, Álvaro, y Marta Rangel. Etnicidad, “raza” y equidad en América Latina y el Caribe, 1-3 (Introducción), 4-8 (Planteamiento y desarrollo general del problema). CEPAL (Comisión Económica para América Latina y el Caribe), 2000. http://alertacontraelracismo.pe/wpcontent/uploads/2013/01/Etnicidadrazayequidad-en-america-latina-y-el-caribe.pdf o Amnistía Internacional. "Una suerte incierta: Personas dominicanas de ascendencia haitiana, en peligro de ser expulsadas de República Dominicana" (junio, 2015) o El sistema de castas colonial (Wikipedia) o mapa de la República Dominicana (HRW ATLAS MUNDIAL) o características lingüísticas del español dominicano (Centro Virtual Cervantes) �9 de febrero (jueves): Experiencias mexicano-americanas Ortega, José, “Los Chicanos en Estados Unidos”. La Palabra y el Hombre 88 (1993): 13-21. http://cdigital.uv.mx/handle/123456789/1425 Hernández, Priscilla, “La evolución de la protesta estudiantil chicana: de la Segunda Guerra Mundial a los ‘Walkouts’ del ‘68”. Revista Theomai 18 (2008): 156-166. http://www.redalyc.org/articulo.oa?id=12401811 Kanopy streaming, ver una de las cuatro partes de Chicano! History of the Mexican American Civil Rights Movement. Dir. Héctor Galán. 1995. Documental. Parte 1, La búsqueda de una patria, aka Quest for a Homeland; Parte 2, La lucha en los campos, aka The Struggle in the Fields; Parte 3, Retomando las escuelas, aka Taking Back the Schools); Parte 4, Luchando por poder político, aka Fighting for Political Power) En clase: Presentaciones estudiantiles sobre El Movimiento. Favor de subir una copia de las presentaciones orales a Moodle después de las presentaciones orales. 4a semana: Hispanohablantes en Estados Unidos 14 de febrero (martes): Experiencias cubano-americanas Kanopy streaming, Balseros. Documental largometraje. España, 2002. Dirs. Carlos Bosch, Josep M. Doménech. 120 minutos En clase: Discusión de experiencias cubanoamericanas Otros materiales: o hoja de repaso sobre las relaciones políticas entre Cuba y EU (C. Stone) o Perdorno Aguilera, Alejandro. “La singularidad de la migración cubana en EE.UU”. América Latina en movimiento (2016). http://www.alainet.org o mapa de Cuba (HRW ATLAS MUNDIAL) o características lingüísticas del español cubano (Catálogo de Voces Hispánicas, Centro Virtual Cervantes) 16 de febrero (jueves): Taller sobre mini-ensayos Llevar a clase un borrador de los mini-ensayos sobre experiencias de hispanohablantes en Estados Unidos para comentar oralmente. Hay que entregar la versión revisada en clase el martes 21 de febrero y subir una copia electrónica a Moodle para la misma fecha. 5a semana: Hispanohablantes en Estados Unidos 21 de febrero (martes): Taller de Historia Oral (Día 1) Vídeo promocional para el Proyecto de Historia Latina de Worcester (13 minutos) https://drive.google.com/a/g.holycross.edu/file/d/0B7htKP3WU4xcdlRUa0VfMEx1YU0/view?u sp=sharing Rodríguez García, Antonio M., et. al., “Usos y Beneficios de la Historia Oral”. ReiDoCrea: Revista electrónica de investigación y Docencia Creativa 3 (2014): 193-200. http://digibug.ugr.es/bitstream/10481/32326/6/ReiDoCrea3-A24.pdf �Peppino Barale, Ana María. “El papel de la memoria oral para determinar la identidad local” (2005). Revista Casa del Tiempo 77 (2005): 6-11. http://www.difusioncultural.uam.mx/revista/junio2005/06.pdf Granberry, Phillip, y Sarah Rustan. "Latinos in Massachusetts Selected Areas: Worcester" Gastón Institute Publications. Paper 49. 2010. http://scholarworks.umb.edu/gaston_pubs/49 En clase: Taller de Historia Oral 23 de febrero (jueves): Taller de Historia Oral (Día 2) Latino History Project of Worcester. “La experiencia latina”. Worcester Historical Museum. Exhibición. Ejemplos de transcripciones orales del LHPW (Moodle: Latino History Project of Worcester) En clase: Taller de Historia Oral Ojo: Antes de salir de clase, deben compartir información de contacto con un@ compañer@ de clase para entrevistarse mutuamente (media hora cada un@). El audio de las entrevistas debe subirse a Moodle para el sábado, 25 de febrero. Formato para seguir al nombrar los archivos de historia oral: NarratorLastName_FirstInitial_DateofinterviewYYMMDD_InterviewLocation_InterviewerInitialLastN ame_Format (ej. Cruz_M_20160825_Worcester_CStone_Audio) 6a semana: Las Américas como cruce de caminos cultural UNIDAD 2: LAS AMÉRICAS COMO CRUCE DE CAMINOS CULTURAL 28 de febrero (martes): Materiales suplementarios para entrevistas orales Fecha de entrega de un resumen breve (unos dos párrafos) y transcripciones de los primeros veinte minutos de unas entrevistas de práctica con sus compañer@s de clase. Hay que llevar a clase una copia en papel y subir una copia electrónica a Moodle después de clase En clase: Repaso de los resúmenes y transcripciones. También, práctica del proceso de hacer las listas de nombres propios (proper nouns) y temas. Reflexiones sobre lo aprendido por la experiencia de hacer historias orales 2 de marzo (jueves): Sustratos culturales indígenas en Mesoamérica Fox, Arturo. Latinoamérica, capítulo 1, 3-17 ("Las grandes civilizaciones precolombinas”) y completar los ejercicios de repaso en el Companion Website (hay que mandar los resultados a spancultura304@gmail.com) En clase: Presentación sobre culturas prehispánicas mesoamericanas (C. Stone) Otros materiales: o Mónica Bruckmann. “El movimiento indígena”. América Latina en movimiento. 2009. http://www.alainet.org/es/active/32149 (hoja de repaso sobre este artículo) o Mapas de pueblos indígenas de las Américas 7a semana: Vacaciones de primavera �8a semana: Las Américas como cruce de caminos cultural 14 de marzo (martes): Pueblos centroamericanos: Los mayas (Guatemala) Fox, Arturo. Latinoamérica, capítulo 12.1, 201-217 ("Centroamérica") Kanopy streaming, Renacimiento de los Mayas (versión en español). Dir. Dawn Engle, Ivan Suvanjieff. Estados Unidos y Guatemala, 2012. Documental. 69 minutos En clase: Discusión sobre movimientos indígenas desde el Quinto Centenario de la conquista española (hoja sobre el documental) Otros materiales: o préstamos indígenas al español caribeño y mesoamericano (C. Stone) o mapa de Guatemala (HRW ATLAS MUNDIAL) o características lingüísticas del español guatemalteco (Centro Virtual Cervantes) 16 de marzo (jueves): Los devotos a la Virgen de Guadalupe Fox, Arturo. Latinoamérica, capítulo 12.2, 217-223 ("México") Kanopy streaming, El pueblo mexicano que camina, aka Long Journey to Guadalupe. Dir. Juan Francisco Urrusti. México, 1995. Documental. 97 minutos En clase: Discusión sobre el proceso de cristianización en las Américas (hoja sobre el documental) Otros materiales: o préstamos indígenas al español caribeño y mesoamericano (C. Stone) o mapa de México (HRW ATLAS MUNDIAL) o características lingüísticas del español mexicano (Centro Virtual Cervantes) 9a semana: Las Américas como cruce de caminos cultural 28 de marzo (martes): Sustratos culturales indígenas en los Andes Fox, Arturo. Latinoamérica, capítulo 2, 19-31 ("Las grandes civilizaciones precolombinas"), y completar los ejercicios de repaso en el Companion Website (hay que mandar los resultados a spancultura304@gmail.com) En clase: Presentación sobre culturas andinas ancestrales (C. Stone) 30 de marzo (jueves): Entrevistas orales y conceptos claves Para esta clase, ustedes deben indicar dónde, cuándo y con quién han hecho o van a hacer la primera entrevista para LHPW En clase: o Presentación de los conceptos de transculturación y transnacionalización (Szurmuk, Mónica, Robert M. K. Irwin, and Silvana Rabinovich. Diccionario De Estudios Culturales Latinoamericanos. México, D.F: Instituto Mora, 2009) o Distribución de los temas para los mini-ensayos (hay que traer un borrador a clase el 13 de abril y subir la versión definitiva a Moodle el 18 de abril) �10a semana: Las Américas como cruce de caminos cultural 4 de abril (martes): Pueblos andinos (Perú) Fox, Arturo. Latinoamérica, capítulo 14.3, 261-265 (“Perú”) Fiesta transnacional, aka, Transnational Fiesta. Wilton Martínez & Paul Gelles. Estados Unidos, 1993. Documental. 60 minutos. En clase: Discusión sobre la manera en que la familia Quispe ejemplifica los conceptos de transnacionalismo y transculturación (hoja de repaso sobre el documental) Otros materiales: o préstamos indígenas al español andino y sureño (C. Stone) o mapa del Perú (HRW ATLAS MUNDIAL) o características lingüísticas del español peruano (Catálogo de Voces Hispánicas, Centro Virtual Cervantes) 6 de abril (jueves): Presencia afrolatina en el Caribe Yepes, Enrique. “La presencia del ancestro africano en América Latina”. Revista Universidad de Antioquia 112 (2005): 3-10. http://aprendeenlinea.udea.edu.co/revistas/index.php/almamater/article/view/15933/13812 Fox, Arturo. Latinoamérica, capítulo 13.3, 241-256 ("Cuba") y completar los ejercicios de repaso en el Companion Website (hay que mandar los resultados a spancultura304@gmail.com) Ramos, Julio. “¿Un cine afrocubano? Conversación con Gloria Rolando en la Habana Vieja”. Cuadernos de Literatura 18, 35 (2014): 285-298. http://revistas.javeriana.edu.co/index.php/cualit/article/viewFile/8597/6891 11a semana: Las Américas como cruce de caminos cultural 11 de abril (martes): Ausencia afrolatina de la historia oficial (Cuba) 1912, Voces para un silencio, aka 1912, Breaking the Silence). Dir. Gloria Rolando. Cuba, 20102014. Documental en tres partes. 60 minutos cada parte. Moodle Panopto Focus En clase: Presentaciones estudiantiles sobre 1912: Voces para un silencio Otros materiales: o mapa de Cuba (HRW ATLAS MUNDIAL) o características lingüísticas del español cubano (Catálogo de Voces Hispánicas, Centro Virtual Cervantes) 13 de abril (jueves): Taller sobre mini-ensayos En clase: Discusión a base de los borradores de los mini-ensayos sobre experiencias indígenas americanas (hay que subir la versión definitiva a Moodle el 18 de abril) �12a semana: Entre las Américas y Europa 18 de abril (martes): La colonización europea Fox, Arturo. Latinoamérica, capítulo 5, 63-73 ("El sistema colonial") y completar los ejercicios de repaso en el Companion Website (hay que mandar los resultados a spancultura304@gmail.com) Presentación sobre la vida colonial hispanoamericana (C. Stone) 20 de abril (jueves): Entrevistas orales (continuación) Para esta clase, hay que: a. preparar los materiales suplementarios para la primera entrevista de LHPW (resumen, listas de nombres propios y temas, primera parte de la transcripción); b. entregar la hoja de información biográfica y el permiso de entrevista oral para la primera entrevista; c. indicar dónde, cuándo y con quién han hecho o van a hacer la segunda entrevista para LHPW En clase: Reflexiones sobre el proceso de hacer historia oral 13a semana: Entre las Américas y Europa 25 de abril (martes): Luchas independentistas (siglo diecinueve al presente) Fox, Arturo. Latinoamérica, cap. 7, 91-105 (“El Siglo XIX: la Independencia y sus consecuencias”) y completar los ejercicios de repaso en el Companion Website (hay que mandar los resultados a spancultura304@gmail.com) Duany, Jorge. "Nación, migración, identidad: Sobre el transnacionalismo a propósito de Puerto Rico". Nueva Sociedad 178 (2002): 58-69. http://nuso.org/media/articles/downloads/3042_1.pdf En clase: Discusión del estado político ambiguo de Puerto Rico (hoja de repaso) Otros materiales: o mapa de Puerto Rico (HRW ATLAS MUNDIAL) o características lingüísticas del español puertorriqueño (Catálogo de Voces Hispánicas, Centro Virtual Cervantes) 27 de abril (jueves): Movimientos populistas (El peronismo argentino) Fox, Arturo. Latinoamérica, cap. 15, 293-295 y 302-316 (“Los países del cono sur” ) YouTube, Evita La Tumba Sin Paz. Dirección Tristán Bauer; Investigación y guion Miguel Bonasso; Narrado por Inda Ledesma. Argentina, 1997. Documental. 56 minutos Otros materiales: o mapa de la Argentina (HRW ATLAS MUNDIAL) o características linguísticas del español argentino (Catálogo de Voces Hispánicas, Centro Virtual Cervantes) �Últimas semanas 2 de mayo (martes): Presentaciones orales sobre el proyecto de aprendizaje en la comunidad En clase: Unos 7 minutos por presentación (con 3 minutos para preguntas/comentarios después de cada presentación). Hay que mandar sus presentaciones a la profesora antes de la clase para no perder tiempo en acceder a ellas 4 de mayo (jueves): Presentaciones orales sobre el proyecto de aprendizaje en la comunidad En clase: Unos 7 minutos por presentación (con 3 minutos para preguntas/comentarios después de cada presentación). Hay que mandar sus presentaciones a la profesora antes de la clase para no perder tiempo en acceder a ellas 13 de mayo (viernes): Fecha de subida a Moodle del portafolio El portafolio del proyecto de historia oral y aprendizaje en la comunidad incluirá los cinco componentes siguientes: o 1. audio de dos entrevistas para el Proyecto de Historia Latina de Worcester o 2. copias de la hoja de información biográfica y el permiso de entrevista oral para las dos entrevistas o 3. resúmenes y listas de nombres propios (proper names) y temas tratados en las dos entrevistas o 4. copia de la presentación oral sobre el proyecto (presentada oralmente en clase el 2 o 4 de mayo) o 5. transcripción completa de una de las dos entrevistas para el LHPW � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Syllabi Syllabus Title / Título (Original) A name given to the resources. El nombre original del recurso. Cultura Hispanoamericana Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. "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). " Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Cuba Dominican Republic / República Dominicana Mexico / México Bolivia Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Latin America / Latinoamérica Central America / Centroamérica Caribbean / Caribe Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo New Latin American Cinema / Nuevo Cine Latinoamericano Films taught / Películas <a href="https://cinegogia.omeka.net/items/show/338">1912, Voces para un silencio</a> <a href="https://cinegogia.omeka.net/items/show/348">Balseros</a> <a href="https://cinegogia.omeka.net/items/show/282">Bolivia</a> Espejos del corazón <a href="https://cinegogia.omeka.net/items/show/283">Evita, una tumba sin paz</a> <a href="https://cinegogia.omeka.net/items/show/284">El pueblo mexicano que camina</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Cynthia Stone Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial - NonDerivs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cultura Hispanoamericana Description An account of the resource "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). " https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/cf32d9f6ef9b708d08287f02190e1d88.pdf?Expires=1773878400&Signature=euG%7E6B9uTbisfovE6WV1d%7E8gxPbOGpOe1Ec7E-TaiIDlLrlmsY1nO3tPo4Pwm2%7EYKfDF4iUB4SUd0eQEi0EChwt6FqXSE61xxS-yepPRAZLlVSdKaJyVB05hkLXA4mLGczQFBqAqcjxfNlh-mgdFd3gg24AtgLifzF-EJsftMT3mlNZg9d%7E%7E-TVQQNt5IA-Wqf38ULp%7E-LN9uQRAE%7EESXUsEL7LzV57jMsw9in3sNY1rEAOSOt5BSCNefU1Yb9sukqOxnor%7EkqPwB3fsE8489nSt-o50%7EiR3SxUJVxANZmVtFMwfhI65OSpbMMEfB5eCDVSSf5VUrPQt5ojhN1AU4A__&Key-Pair-Id=K6UGZS9ZTDSZM c19b1dd0f28533c3740decb3d228c18e PDF Text Text Contributed by Lisa M. Rabin, George Mason University SPAN 575: Spanish-language Film, Television, and/or Digital Media Lisa M. Rabin – Department of Modern & Classical Languages George Mason University Gabriel Figueroa, from La Perla (Emilio Fernández, México, 1947) i Course description: 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. Learning objectives: To learn basic concepts and a working vocabulary of film and television show interpretation; to gain expertise in the analysis of film and TV form; to gain a good understanding of the historical and current trends in the academic disciplines of film and television studies; to situate 20 th and 21st-century movements and individual works of Latin American film and television production in their historical contexts. Course requirements: This class is a seminar, which means that all participants will be asked to help construct class learning through their active and creative engagement with the course material. To this end, each student will also be asked to �contribute one oral report over the course of the semester on a course reading. Specific guidelines for this report will be posted under “Assignments” early in the semester. Students must also commit to diligently watching assigned films and shows online or in the library before they are discussed in class, and to carefully complete the assigned readings and written assignments. I have structured the class for you to have frequent non-graded homework assignments on your viewing and reading. These informal assignments can be done in longhand, but they should be brought to class, where you will use them in small group work and larger class discussion. Occasionally, I will collect and look over the assignments. Please remember that this homework – which can be measured in how you contribute to discussion – is part of your overall participation grade. Your larger written assignments are two short papers over the course of the semester and one final research project (20-25 pp. for graduates and 10-15 pp. for undergraduates). You will provide a proposal and annotated bibliography for your research project due after spring break. Detailed instructions on these assignments will be posted on Blackboard with ample time in advance. Class readings: Required textbooks available in bookstore: Stephen M. Hart, Latin American Cinema. Reaktion Books (June 15, 2015) ISBN-10: 1780233655. [“LAC” in the syllabus] John Sinclair and Joseph Straubhaar, Latin American Television Industries. [“LATI” in the syllabus]. London: British Film Institute, 2013. ISBN-10: 1844573885. Paul Schroeder-Rodríguez, Latin American Cinema: A History. [“LACCH” in the syllabus]. Berkeley: U of California P, 2016. Required supplemental readings for class and oral reports: All of the following are posted as files corresponding to class dates under “Content” on Blackboard [“Bb” in the syllabus]. Australian Broadcasting Network RN. "Philospher's Zone: Gilles Deleuze (part II), April 2, 2011. Web (audio). Available: http://mpegmedia.abc.net.au/rn/podcast/2011/04/pze_20110402 .mp3. Transcript of available: �http://www.abc.net.au/radionational/programs/philosopherszone/at-themovies-with-gilles-deleuze-part-2/3012248#transcript) [Bb] Bazin, André. Chapters 1-6 in Bazin, What Is Cinema? Vol. II, trans. Hugh Gray. Berkeley: U of California P, 1971. Pp. 1-101. Available: https://archive.org/details/Bazin_Andre_What_Is_Cinema_Volume_2 [Bb] Benavides, O. Hugo. Introduction, Chapter 1, and Postscript: Ugly Betty, in Benavides, Drugs, Thugs, and Divas: Telenovelas and Narcodramas in Latin America. Austin: U of Texas P, 2008. Pp. 1-24, 25-45 and 211-216. Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction." In Hannah Arendt, ed., Illuminations, trans. Harry Zohn. New York: Random House, 1968. Pp. 217-252. Available: https://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.ht m [Bb] Bourdieu, Pierre. “On Television.” In Meenakshi Gigi Durham and Douglas M. Kellner, eds., Media Studies: Keyworks. New Jersey: Wiley, 2013. Pp. 253-259 [Bb]. Burton, Julianne. "Towards a History of the Social Documentary in Latin America." In Julianne Burton, ed., The Social Documentary in Latin America. Pittsburgh: U of Pittsburgh P, 1990). Pp. 3-30. [Bb] García, Desiree J. "The Soul of a People": Mexican Ranchera Spectatorship and the Transnational Comedy." Journal of American Ethnic History 30.1 (2010): 7298. Web. http://doi.org/10.5406/jamerethnhist.30.1.0072. Bb] Gunning, Tom. "The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde." Wide Angle 8.3 & 4 (1986): 65-68. Available: http://www.columbia.edu/itc/film/gaines/historiography/Gunning.pdf [Bb] Horton, Justin. "Mental Landscapes: Bazin, Deleuze, and Neorealism, Then and Now." Cinema Journal 52.2 (2013): pp. 230-45. Available: https://www.academia.edu/2535088/Mental_Landscapes_Bazin_Deleuze_and_Neore alism_Then_and_Now_. [Bb] López, Ana. "Early Cinema and Modernity." Cinema Journal 40.1 (2000): 48-78. Web. DOI: 10.1353 / cj.2000.0020. Available: http://muse.jhu.edu/journals/cinema_journal/v040/40.1lopez.pdf. [Bb] �---. "Tears and Desire: Women and Melodrama in the 'Old' Mexican Cinema." In Ana River, Alicia Rios and Abril Trigo, eds., The Latin American Cultural Studies Reader. Durham: Duke UP, 2004. Pp. 441-458. [Bb] Martín-Barbero, Jesús. “Memory and Form in the Latin American Soap Opera.” In Robert Allen, ed., To Be Continued . . .: Soap Operas Around The World (London: Routledge, 1995), 286-285 [Bb] ---. “Narratives of Identity and Media Genres.” In Geoffrey Kantaris and Rory O’Brien, eds. Latin American Popular Culture: Politics, Media, Affect. Woodbridge, UK: Tamesis, 2013. 141-166. [Bb]. Mulvey, Laura. "Visual Pleasure and Narrative Cinema.” Screen 16.3 (1975): 6-18. Available: http://imlportfolio.usc.edu/ctcs505/mulveyVisualPleasureNarrativeCinema.pd f. [Bb] Pick, Zusana. "Gendered Identities and Femininity." Chapter 3, The New Latin American Cinema: A Continental Project. Austin: U of Texas P, 1993. Pp. 6696 [Bb] Podalsky, Laura. Introduction and Chapter 1, Passion, Aesthetics, and Politics: Rethinking the New Latin American Cinema. New York: Palgrave, 2011. Pp. 1-58. [Bb] ---. “Los ricos también lloran: Mexican telenovelas and the geographical imagination.” In Stephen Hart and Richard Young, eds., Contemporary Latin American Cultural Studies. London: Arnold, 2003 [2014]). Pp.151-166 [Bb]. Ramírez Berg, Charles. "The Cinematic Invention of Mexico: The Politics of the Fernández Unit Style." Chapter 6 in Berg, Classical Mexican Cinema: The Poetics of the Classical Golden Age (Austin: U of Texas P, 2015). Pp. 91-132 [Bb] Singer, Ben. "The Ambimodernity of Early Cinema: Problems and Paradoxes in the Film and Modernity Discourse." In Klaus Kreimeier and Annemone Ligensa, eds., Film 1900: Technology, Perception, Culture. Bloomington: Indiana UP, 2009. Pp. 37-52. [Bb]. Strongly recommended supplemental texts (available on Amazon, etc.): Timothy Corrigan and Patricia White, The Film Experience. 4th Edition. Boston: Bedford/St. Martin’s, 2015. �Timothy Corrigan, A Short Guide to Writing About Film (Boston: Pearson, 2015, 9th edition). We will also be frequently accessing this website on Spanish-language terms of film art: Cineglos. Available at: http://college.holycross.edu/projects/cineglos/ Most of the films are available on the web for free (links posted on syllabus). An account with Netflix is recommended to occasionally access those films not available on the web; otherwise I will make the film available on reserve in the Johnson Center Library. Grade distribution: Attendance and participation: 20% Oral report: 10% Short papers: 15% x 2 = 30% Proposal and annotated bibliography for final research project: 15% Final research project: 25% Overall percents translated into letter grades: 90 -100% = A 80 - 89% = B 70 - 79% = C 60 - 69% = D 59% and below = F Honor Code: All work must be your own. Please do not have others edit your papers. You are expected to abide by the Honor System and Code as it appears in the George Mason University Undergraduate Catalog. Honor Code violations will not be tolerated. If I think your paper has been edited by another speaker of Spanish, I am obligated to report it to the Honor Code. Consult the GMU Honor Code for information at http://jiju.gmu.edu/catalog/apolicies/index/html Disability Support Services: If you are student with a disability and you need academic accommodations, please see me and contact the Office of Disability Resources at 703-993-2474. All academic accommodations must be arranged through that office. Important Enrollment Information: Students are responsible for verifying their enrollment in this class. Schedule adjustments should be made by the deadlines published in the Schedule of Classes. (Deadlines each semester are published in the Schedule of Classes available from the Registrar's Website: registrar.gmu.edu.) Last Day to Add ________ �Last Day to Drop ________ After the last day to drop a class, withdrawing from this class requires the approval of the dean and is only allowed for nonacademic reasons. Class schedule (tentative): Week 1 Introduction to the scope of the class. Goal # 1: Develop a critical language for “reading” films and television shows. Goal # 2: Situate Latin American cinema in its historical context. Goal # 3: Become familiar with current methodologies of film and television studies. Introduction to film form. Introduction to the early history of Latin American cinema, and the "thesis of modernity" in film studies. Clips from several silent "classic" movies, and activity in the interpretation of their filmic form: Nobleza Gaucha (Eduardo Martinez de la Pera, Ernesto Gunch, & Humberto Cairo, Argentina, 1915), https://www.youtube.com/watch?v=gfQ09kiPFXg The last malón (Alcides Greca, 1917), https://www.youtube.com/watch?v=dBcaKbx9bY El automóvil gris (Enrique Rosas, Mexico, 1919), https://www.youtube.com/watch?v=Lpjj4CQC7P0 and Limite (Mário Peixoto, Brazil, 1929), https://www.youtube.com/watch?v=8o5idn067DA HOMEWORK: Read: 1. LAC, Introduction and chapter 1, pp. 12-22 2. Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Hannah Arendt, ed., Illuminations, trans. Harry Zohn (New York: Random House, 1968), pp. 217-252). Available: https://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm [Bb] 3. Tom Gunning, "The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde," Wide Angle, 8.3 & 4 (1986): 65-68. Available: http://www.columbia.edu/itc/film/gaines/historiography/Gunning.pdf [Bb] �4. Australian Broadcasting Network RN, "Philospher's Zone: Gilles Deleuze (part II), April 2, 2011, web (audio). Available: http://mpegmedia.abc.net.au/rn/podcast/2011/04/pze_20110402 .mp3 (The transcript of this issue is here: http://www.abc.net.au/radionational/programs/philosopherszone/at-the-movies-withgilles-deleuze-part-2/3012248#transcript) [Bb] Student groups will watch and report on: El automóvil gris (Enrique Rosas, Mexico, 1919), https://www.youtube.com/watch?v=Lpjj4CQC7P0 Limite (Mário Peixoto, Brazil, 1929), https://www.youtube.com/watch?v=8o5idn067DA ¡Viva Mexico! (Sergei Eisenstein, Mexico, 1931), https://archive.org/details/QuevivaMexico El Húsar de la muerte (Pedro Sienna, Chile, 1925) https://www.youtube.com/watch?v=r2aWYoFR4sQ Luis Pardo (Enrique Cornejo Villanueva, Peru, 1927), https://www.youtube.com/watch?v=VRz8Tnb9A0o Brasa dormida (Humberto Mauro, Brazil, 1928), https://www.youtube.com/watch?v=WOWKK3VdfkA OJO: Please look to Blackboard for questions on these films coordinate with the readings. We will use the questions as guiding points for class discussion. Week 2 Discussion of readings and films. Oral reports: Ben Singer, "The Ambimodernity of Early Cinema: Problems and Paradoxes in the Film and Modernity Discourse," in Klaus Kreimeier and Annemone Ligensa, Film 1900: Technology, Perception, Culture (Bloomington: Indiana UP, 2009), pp 37-52 [Bb]. Ana Lopez, "Early Cinema and Modernity," Cinema Journal 40.1 (2000): 48-78, web, DOI: 10.1353 / cj.2000.0020, accessible: http://muse.jhu.edu/journals/cinema_journal/v040/40.1lopez.pdf �The coming of sound! Case History: Mexico. Introduction to narrative form in film. The coming of sound and the "classical narrative." The beginning of the "Golden Age” of the Mexican film industry. Watch: Allá en el Rancho Grande (Fernando de Fuentes, Mexico, 1936), https://www.youtube.com/watch?v=CT5U7BVJWr0 HOMEWORK: Read: 1. LAC, chapter 1, pp. 22-31 2. Ana M. López, "Tears and Desire: Women and Melodrama in the 'Old' Mexican Cinema," in Ana River, Alicia Rios and Abril Trigo, The Latin American Cultural Studies Reader (Durham: Duke UP, 2004), pp. 441-458 [Bb] 3. Charles Ramirez Berg, "The Cinematic Invention of Mexico: The Politics of the Fernández Unit Style," in Classical Mexican Cinema: The Poetics of the Classical Golden Age (Austin: U of Texas P, 2015), pp. 91-132 [Bb] 4. Garcia, Desiree J. "The Soul of a People": Mexican Ranchera Spectatorship and the Transnational Comedy," Journal of American Ethnic History 30.1 (2010). 72-98. http://doi.org/10.5406/jamerethnhist.30.1.0072 [Bb] Individual groups will watch and prepare for discussion on one: La mujer del puerto (Arcady Boytler, Mexico, 1936), https://www.youtube.com/watch?v=m5NgGUyo7jY Flor Silvestre (Emilio Fernandez, Mexico, 1943), https://www.youtube.com/watch?v=qwYOtZ7cBMA Maria Candelaria (Emilio Fernandez, Mexico, 1943), https://www.youtube.com/watch?v=P0i-yu87FkA Enamorada (Emilio Fernandez, Mexico, 1946), https://www.youtube.com/watch?v=qIvh-NOiVDA Nosotros los pobres (Ismael Rodriguez, Mexico, 1946) https://www.youtube.com/watch?v=dvjyyvSVJbg �Río Escondido (Emilio Fernandez, Mexico, 1948), https://www.youtube.com/watch?v=DwNxUR5dN1g Week 3 Discussion of the readings and films. Oral reports: Laura Mulvey, "Visual Pleasure and Narrative Cinema, Screen 16.3 (1975): 6-18. Accessible: http://imlportfolio.usc.edu/ctcs505/mulveyVisualPleasureNarrativeCinema.pdf Lecture on mise-en-scène and cinematography. Clips from the team of Fernández and Figueroa. Steps toward a new language for film: Los olvidados (Luis Buñuel, Mexico, 1950), at: http://vimeo.com/57837968 HOMEWORK: Read: LAC, pp. 32-46. André Bazin, What Is Cinema? Vol. II, trans. Hugh Gray, pp chapters. 1-101. Web. Available: https://archive.org/details/Bazin_Andre_What_Is_Cinema_Volume_2 [Bb] Watch (all): Roberto Rossellini, Roma, Città Aperta (Italy, 1945) https://www.youtube.com/watch?v=gxCV0euA__o (click "CC" in right-hand corner for Spanish subtitles) Luchino Visconti, The Bicycle Thieves (Italy, 1948) Nelson Pereira dos Santos, Río 100 Degrees, https://www.youtube.com/watch?v=HwNJn0QMhoU Fernando Birri, Throw a Dice (Argentina, 1955), https://www.youtube.com/watch?v=QWnUdTVFVlk Julio Garcia Espinosa and Tomas Gutierrez Alea, The Charcoal Worker, https://www.youtube.com/watch?v=bzBsw58u0rI Margot Benacarraf, Araya (Venezuela, 1959), https://www.youtube.com/watch?v=OhE-ZUcRhWc �Week 4 Discussion on readings and films. Oral report: Justin Horton, "Mental Landscapes: Bazin, Deleuze, and Neorealism, Then and Now," Cinema Journal 52.2 (2013): pp. 230-45. Accessible: https://www.academia.edu/2535088/Mental_Landscapes_Bazin_Deleuze_and_Neore alism_Then_and_Now_ [Bb] Discussion of the first paper, due in person and in class Week 6. Introduction to the New Latin American Cinema. Influences of the Griersonian “social” documentary, Italian neorealism and the "French New Wave." Lecture on film editing. HOMEWORK: Read: LAC, pp. 46-64 Fernando Solanas and Octavio Getino, "Towards a Third Cinema," Tricontinental 14, (octubre, 1969), 107-132. Watch (all): Tomas Gutierrez Alea, Memorias del subdesarrollo (Memories of Underdevelopment, Cuba, 1968), https://www.youtube.com/watch?v=37PS0A_chbc Jorge Sanjinés, Yawar Mallku (The Blood of the Condor) (Bolivia, 1969) https://www.youtube.com/watch?v=f51nkM1jt64 Fernando Solanas and Octavio Getino, La hora de los hornos (The Hour of the Furnaces, Argentina, 1964), part 1. Individual groups watch one of the following: Glauber Rocha, Deus e o Diabo (God or the Devil, Brazil, 1964), https://www.youtube.com/watch?v=yax2nV8YtR4 Patricio Guzman, The Battle of Chile (Chile/Cuba, 1975, 1976, 1979), https://www.youtube.com/watch?v=71o4pSUqpUw (all three parts) Sara Gómez, One Way or Another (Cuba, 1973) https://www.youtube.com/watch?v=FjBNyMWg87c (all parts) �Respond to questions under "Announcements." Week 5 Discussion on the readings and films. Reports: Zusana Pick, "Gendered Identities and Femininity," chapter 3 of The New Latin American Cinema: A Continental Project (Austin: U of Texas P, 1993), pp. 6696 [Bb] Julianne Burton, "Towards a History of the Social Documentary in Latin America," in Julianne Burton, ed. The Social Documentary in Latin America (Pittsburgh: U of Pittsburgh P, 1990), pp. 3-30 [Bb] The New Latin American Cinema, con: the genre of documentary genre. Jorge Silva and Marta Rodriguez, Chircales (The Brick Workers, Colombia, 19641971), https://www.youtube.com/watch?v=YwDR-eU8XuM HOMEWORK: Your focus for next week is to finish the first paper, due in class in person. Week 6 Turn in first paper. Latin American cinema of the 1970s-1990s. Clips from Jorge Sanjinés, La nación clandestina (The Hidden Nation (Bolivia, 1989), HOMEWORK: Read: LAC, 65-83 Report: Paul Schroeder-Rodriguez, "New Latin American Cinema," LACCH, 163-243 Watch: Fernando Solanas, Sur (The South, Argentina-France, 1988), https://www.youtube.com/watch?v=GuMKHrYJcfw �Arturo Ripstein, El lugar sin límites (The Place Without Limits, https://www.youtube.com/watch?v=OgG_dceLqSw Daniel Diaz Torres, Alicia en el pueblo de maravillas (Alice in Wondertown, Cuba, 1991), https://www.youtube.com/watch?v=uB1vizQbPKQ Week 7 Discussion of reading and films. Latin American “melorealist” cinema of the contemporary period. Clips from Luis Puenzo, La historia oficial (The Official Story, Argentina, 1985) HOMEWORK: Read: LAC, 83-104 Watch: Maria Luisa Bemberg, De eso no se habla (I Don’t Want to Talk About It, Argentina, 1993), https://www.youtube.com/watch?v=Fk-4snPox3w Maria Navarro, Danzón (Mexico, 1991) Tomas Gutierrez Alea, Fresa y chocolate (Strawberry and Chocolate, Cuba-SpainMexico, 1993), https://www.youtube.com/watch?v=q9RVwP8mbcw Walter Salles, Central do Brasil (Central Station, Brazil, 1998), https://www.youtube.com/watch?v=LzlamJXfllM Respond to questions under "Announcements." Tuesday, March 8 Discussion of reading and films. Oral report: Laura Podalsky, Introduction and Chapter 1, Passion, Aesthetics, and Politics: Rethinking the New Latin American Cinema (New York: Palgrave, 2011), pp. 1-58 [Bb] Latin American cinema of the 2000-. Clips from Fernando Mireilles and Kátia Lund, Cidade de Deus (City of God, Brazil-France, 2002) �HOMEWORK: Write the first draft of the proposal and bibliography for your final research paper, due in class Week 9 in person. Individual groups watch one: Lucrecia Martel, La ciénaga (The Swamp, Argentina, 2002), https://www.youtube.com/watch?v=I8WD0Nc9sBY Alejandro Gonzalez Iñárritu, Amores perros (Life’s A Bitch, Mexico, 2000) Fernando Mireilles and Kátia Lund, Cidade de Deus (City of God, Brazil-France, 2002) Francisco Vargas Quevedo, El violín (The Violin, Mexico, 2005), https://www.youtube.com/watch?v=lhz573klQ8Y Week 9 Turn in the first draft of the proposal and bibliography for your final research paper. Discussion of the films. Discuss instructions for the second paper, due in class Week 11 in person. Introduction to Television Studies as a discipline. Introduction to the history of television in Latin America. Case study: the early radiodrama in Cuba: the migrations of El derecho de nacer (The Right to Be Born, Félix B. Caignet, Cuba, 1948) from radiodrama to telenovela. Audio clips from El derecho de nacer. HOMEWORK: Read: LATI, Introduction and Chapter 1. Jesús Martín-Barbero, “Narratives of Identity and Media Genres,” in Latin American Popular Culture: Politics, Media, Affect, eds. Geoffrey Kantaris and Rory O’Brien (Woodbridge, UK: Tamesis, 2013), 141-166 [Bb]. Watch: El derecho de nacer (México, 1966), https://www.youtube.com/watch?v=_jIoum9jL-g �Week 10 Discussion of the reading and telenovela. Oral report: Pierre Bourdieu, “On Television,” in Meenakshi Gigi Durham and Douglas M. Kellner, Media Studies: Keyworks (New Jersey: Wiley, 2013), 253-259 [Bb]. Oral report: Jesús Martín-Barbero, “Memory and Form in the Latin American Soap Opera,” in Robert Allen, To Be Continued . . .: Soap Operas Around The World (London: Routledge, 1995), 286-285 [Bb] The rise of the telenovela industry in Mexico. Clips from Rafael Banquells, Los ricos también lloran (The Rich Also Cry, México, 1984), https://www.youtube.com/watch?v=ptyKTmhU670 HOMEWORK: Finish the second paper, due in class Week 11 in person. Week 11 Turn in second paper. The rise of the Brazilian telenovela industry. Watch clips from Walter Avancini, Xica da Silva (Chica da Silva, Brazil, 1996) HOMEWORK: Read: LATI, chapter 2. Laura Podalsky, “Los ricos también lloran: Mexican telenovelas and the geographical imagination,” in Stephen Hart and Richard Young, Contemporary Latin American Cultural Studies (London: Arnold, 2003 [2014]), 151166 [Bb]. Watch one episode from each telenovela: Jayme Monjardim, Terra Nostra (Our Land, Brazil, 1999), https://www.youtube.com/watch?v=I05jR8La1Fc �Gonzalo Martínez Ortega, Jorge Fons and Claudio Reyes, El vuelo del águila (The Flight of the Eagle, México, 1994-1995), https://www.youtube.com/watch?v=bY83gJbK5x4&list=PLCB5A07AC8EB62F2A Walter Doehner, Zapata, amor en rebeldía (Zapata, Love In Rebellion, México, 2004), https://www.youtube.com/watch?v=NqAMcHJl_Kw Week 12 Discussion of readings and telenovelas. Oral report: O. Hugo Benavides, Introduction and Chapter 1, Drugs, Thugs, and Divas: Telenovelas and Narcodramas in Latin America (U of Texas P, 2008) The morphing of the contemporary telenovela in content and form. HOMEWORK: LATI, 3-4 O. Hugo Benavides, “Ugly Betty,” in Drugs, Thugs, and Divas: Telenovelas and Narco-Dramas in Latin America (Austin: U of Texas P, 2008), 211-216 [Bb]. Watch episodes from Mario Ribeiro Ferreira, Yo Soy Betty La Fea (I Am Ugly Betty, Colombia, 1999-2001), https://www.youtube.com/watch?v=QHowDtMsx4E and Fernando Gaitán, Ugly Betty (USA, 2006-2010), https://www.youtube.com/watch?v=PwtHCc1Yjeg Week 13 Discuss reading and telenovelas. The contemporary telenovela: narcodramas and recent US adaptations. Clips from Mauricio Cruz and Walter Doehner, La reina del sur (The Queen of the South, México, 2011) and Jenny Snyder Urman, Jane the Virgin (USA, 2014-) HOMEWORK: Finish writing your research project, due next week in class and in person. �Week 14 – final class Turn in final project. Taking the long view: Latin American film and television studies -- history, aesthetics, popular culture. i Screenshot of film La perla http://cinemexicano.mty.itesm.mx/imagenes/perla.jpg, Web, accessed 24 April 2017, https://en.wikipedia.org/wiki/File:La_perla.PNG#Licensing. Fair use: though this image is subject to copyright, its use is covered by the U.S. fair use laws because: 1. The screenshot is of lower resolution and quality than the original video (copies made from it will be of inferior quality). 2. No free or public domain images have been located for this content. 3. The screenshot does not limit the copyright owners' rights to distribute the show or DVDs in any way. 4. The screenshot is intended to represent the nature of the show. Its inclusion in the document is important as an example of the material covered in the syllabus. 5. The screenshot is being used for informational purposes only, and its use is not believed to detract from the original show or DVD in any way. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Syllabi Syllabus Title / Título (Original) A name given to the resources. El nombre original del recurso. Latin American Film & Television Studies / Introducción a los estudios latinoamericanos fílmicos y televisivos Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. 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. Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Argentina Bolivia Brazil / Brasil Chile Cuba Mexico / México Peru / Perú Venezuela Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Latin America / Latinoamérica Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Silent Cinema / Cine mudo Studio Cinema / Cine clásico de estudio New Latin American Cinema / Nuevo Cine Latinoamericano Contemporary / Contemporáneo Films taught / Películas <a href="https://cinegogia.omeka.net/items/show/109">Araya</a> <a href="https://cinegogia.omeka.net/items/show/73">Alicia en el pueblo de maravillas</a> <a href="https://cinegogia.omeka.net/items/show/165">Allá en el Rancho Grande</a> <a href="https://cinegogia.omeka.net/items/show/25">Amores perros</a> <a href="https://cinegogia.omeka.net/items/show/162">El automóvil gris</a> <a href="https://cinegogia.omeka.net/items/show/105">La batalla de Chile: Lucha de un pueblo sin armas</a> <a href="https://cinegogia.omeka.net/items/show/703">Braza dormida</a> <a href="https://cinegogia.omeka.net/items/show/28">Central do Brasil</a> <a href="https://cinegogia.omeka.net/items/show/239">Chircales</a> <a href="https://cinegogia.omeka.net/items/show/491">Cidade de dues</a> <a href="https://cinegogia.omeka.net/items/show/262">La ciénaga</a> <a href="https://cinegogia.omeka.net/items/show/272">Danzón</a> <a href="https://cinegogia.omeka.net/items/show/270">De cierta manera</a> <a href="https://cinegogia.omeka.net/items/show/725">De eso no se habla</a> <a href="https://cinegogia.omeka.net/items/show/403">Dues e o Diablo</a> <a href="https://cinegogia.omeka.net/items/show/273">Enamorada</a> <a href="https://cinegogia.omeka.net/items/show/729">Flor Silvestre</a> <a href="https://cinegogia.omeka.net/items/show/79">Fresa y chocolate</a> <a href="https://cinegogia.omeka.net/items/show/141">La hora de los hornos</a> <a href="https://cinegogia.omeka.net/items/show/72">La historia oficial</a> <a href="https://cinegogia.omeka.net/items/show/727">El lugar sin limites</a> <a href="https://cinegogia.omeka.net/items/show/804">El húsar de la muerte</a> <a href="https://cinegogia.omeka.net/items/show/730">Luís Pardo</a> <a href="https://cinegogia.omeka.net/items/show/163">Limite</a> <a href="https://cinegogia.omeka.net/items/show/114">María Candelaría</a> <a href="https://cinegogia.omeka.net/items/show/242">El Mégano</a> <a href="https://cinegogia.omeka.net/items/show/34">Memorias del subdesarrollo</a> <a href="https://cinegogia.omeka.net/items/show/278">Nosotros los pobres</a> <a href="https://cinegogia.omeka.net/items/show/692">La mujer del puerto</a> <a href="https://cinegogia.omeka.net/items/show/260">La nacíon clandenista</a> <a href="https://cinegogia.omeka.net/items/show/271">Los olvidados</a> <a href="https://cinegogia.omeka.net/items/show/112">¡Que viva México!</a> <a href="https://cinegogia.omeka.net/items/show/231">Río, 40 graus</a> <a href="https://cinegogia.omeka.net/items/show/167">Río Escondido</a> <a href="https://cinegogia.omeka.net/items/show/206">Sur</a> <a href="https://cinegogia.omeka.net/items/show/230">Tire dié</a> <a href="https://cinegogia.omeka.net/items/show/417">El último málon</a> <a href="https://cinegogia.omeka.net/items/show/77">El violín</a> <a href="https://cinegogia.omeka.net/items/show/265">Yawar Mallku (Sangre de Cóndor)</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Lisa M. Rabin, George Mason University Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Related Course Materials / Materials relacionados Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live. <a href="https://cinegogia.omeka.net/items/show/295">Directrices para exámenes y ensayos</a> Related Course Materials / Materiales relacionados Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live. <a href="https://cinegogia.omeka.net/items/show/295">Essay and Exam Instructions / Directrices para exámenes y ensayos</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Latin American Film & Television Studies Description An account of the resource 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. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/bc7d17cbfa353acd52e3402734c9a9b5.pdf?Expires=1773878400&Signature=Aiwssg4NI9DvQcVHkC7smplnZy%7E0bODUXmkjoXXWuyhwDiho2XLg2y85WLBZZluYo-o%7EjHheM%7E4xcCkFAGZG1f1xxO%7EY5vcatIU6HpKQupergw8MmDZdWR%7EpeaExs-7rfsxJ9%7EEd73V-MnAeezHrdEKCEAs2hq88FxZTSvrc-M%7EJ3V3vZzIYwPnRmKRokfFD33%7EV4YPg1LJImwoFT%7EXT9DRXpJaS3yv8IhsXUaQoBaJ4rdo36ilcFX91i6hQJV3c-DhjQOaQ%7EKibRCEJnJ7C3dn4ghthAfUDC1okK-NOISR1IamV9KQqB1%7EZjSIbyG9J0RBJqnzdP0NFxEFCEVNpNA__&Key-Pair-Id=K6UGZS9ZTDSZM 05836650b345bc4088d788b3bca1dac6 PDF Text Text SPAN 375 -- Introduction to Spanish-Language Film Spring 2017 - TR 10:30-11:45 p.m. – Thompson Hall 1018 Professor Lisa Rabin (with thanks to Eleana Velasco for her keen editor’s eye) lrabin@gmu.edu Course taught in Spanish Gabriel Figueroa, fotograma de Río Escondido (Emilio Fernández, México, 1948)1, “Cine como sueño, cine como música. No hay arte que, como el cine, se dirija a través de nuestra conciencia diurna directamente a nuestros sentimientos, hasta lo más profundo de la oscuridad del alma.” Ingmar Bergman2 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 El Museo del Barrio, Web, accedido http://www.elmuseo.org/wpcontent/uploads/2014/01/Maria_en_desierto_Rio_Escon.jpg 2 The Magic Lantern: An Autobiography (Chicago: Chicago UP, [1987] 2007), 84; trad. Marcos Azzam Gómez, La música en el cine de Ingmar Bergman, diss. (Salamanca: Ediciones Universidad de Salamanca, 1914), 104. 1 �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. Office hours: Thursdays 1:30-3:30 or by appointment Aquia Building 327 Learning objectives: To learn basic concepts and a working vocabulary of film interpretation; to gain expertise in the analysis of film form; to gain a basic understanding of the interdisciplinary and theoretical nature of film studies; to become familiar with some of the most striking Latin American film productions and genres of the 20th and 21st century. Course requirements: This class is labor intensive, requiring the student to diligently and consistently watch the assigned films on YouTube or in the library before they are discussed in class and to carefully complete the assigned readings, written assignments, and oral reports. I have structured the class for you to have frequent homework assignments concerning your reading and viewing posted on Blackboard under “Assignments.” You should complete and turn in these informal assignments on Blackboard before the class for which they are due. We will be using these assignments to launch small group work and larger class discussion. Although I will not be grading these assignments like formal papers, they are mandatory, and you must complete them with correct grammar, punctuation and style. Your larger written assignments are three short papers over the course of the semester, due February 21, March 21 and April 20; and one final essay, due the last day of class on May 4. You will prepare first drafts of each of these papers to share with classmates during class before you submit their final versions on Blackboard. There is no final exam. Detailed instructions on the four papers will be posted on Blackboard well in advance of their due date. Grade distribution: Attendance and participation: 17½ % Homework: 17½ % Short papers: 15% x 3 = 45% Final critical essay: 20% Class readings: Available in the bookstore: �Timothy Corrigan, A Short Guide to Writing About Film (Boston: Pearson, 2015, 9th edition). *REFERENCED in syllabus as ASG* We will also be frequently accessing this website on Spanish-language terms of film art: Cineglos, http://sites.holycross.edu/cineglos/ All of the films assigned for class are available on the web for free (links posted on syllabus). Some of the films suggested for your written papers may not be available for free but can be rented for a small cost or accessed at the Johnson Center Library. Other materials: We will often be consulting the online teaching site on Spanish-language film http://sites.holycross.edu/cineglos/. Supplemental readings may be required and if so, will be posted on Blackboard. In addition, you should have in your possession a good Spanish dictionary. The following Spanish-Spanish dictionaries are recommended: the Real Academia Española de la Lengua’s Diccionario de la lengua española or María Moliner’s Diccionario de uso del español. You may also consult the online Spanish dictionary http://www.spanishdict.com/. Please also be prepared to access the Spanish synonyms option on http://www.wordreference.com/. E-mail Mason account and access to the Internet. Notes about your writing assignments: Papers must be submitted to Blackboard on time the day that they are due. Papers received more than 24 hours after the due date will be penalized one letter grade (10 points) per day. No paper will be received 3 days after it is late. Late homework will be penalized 5 points per day; no homework will be received one week after it is due. In the interest of fairness for all students, I must adhere strictly to this policy. Presentation of papers: All papers must be typed according to the following guidelines: • Use font Times New Roman 12 pt. and one-inch margins all around. • Include as a header on the first page: name, course number, the date, and a title. • Double-space the text and use standard 8 ½ by 11 paper and legible black ink. • If you use citations, be sure to use the proper MLA format for citations (For a quick reference guide check: http://writingcenter.gmu.edu/?p=530. �• Do not plagiarize, use translation programs, or turn in work used for previous classes. • Do not ask a native speaker or a more advanced student to correct your compositions. • Do not submit a paper without accents. NOTE: YOU MUST PROOFREAD YOUR PAPER CAREFULLY FOR GRAMMAR, PUNCTUATION AND STYLISTIC ERRORS. IN MICROSOFT WORD SET THE PROOFREADING FUNCTION TO HELP YOU SIMULTANEOUSLY EDIT YOUR WORK AS YOU WRITE. THE PROGRAM WILL UNDERLINE YOUR ERROR. RIGHT-CLICK TWICE ON THE ERROR AND YOU WILL RECEIVE AN EXPLANATION. You can set the proofreading function in Word by selecting “Set Language” or “Thesaurus” (in the “Proofing” area to the left) from the “Review” tab, then selecting “Spanish” (it doesn’t matter which sort). • For PCs, Accents using Alt + number pad: á = alt + 160 ü = alt + 129 é = alt + 130 ñ = alt + 164 í = alt + 161 ¡ = alt + 173 ó = alt + 162 ¿ = alt + 168 ú = alt + 163 • Mac Users: Hold down the Option key, and while holding it down, type the letter e; then release those keys and type the letter that you want the accent to appear on: á = Opt + e, then a é = Opt + e, then e í = Opt + e, then i ó = Opt + e, then o ú = Opt + e, then u Statement on the Honor Code and Academic Integrity: “The integrity of the University community is affected by the individual choices made by each of us. GMU has an Honor Code (see http://jiju.gmu.edu/catalog/apolicies/index/html) with clear guidelines regarding academic integrity. Three fundamental and rather simple principles to follow at all times are that: (1) all work submitted be your own; (2) when using the work or ideas of others, including fellow students, give full credit through accurate citations; and (3) if you are uncertain about the ground rules on a particular assignment, ask for clarification. Some projects are designed to be undertaken individually. For these projects, you may discuss your ideas with others or ask for feedback; however, it is not appropriate to give your paper to someone else to revise. Using someone else’s words or ideas without giving them credit is plagiarism, a very serious offense. It is very important to understand how to prevent committing plagiarism when using material from a source. If you wish to quote verbatim, you must use the exact words (including punctuation) just as it appears in the original and you must use quotation marks and page number(s) in your citation. If you want to paraphrase ideas from a source, that is, convey the author’s ideas in your own words -- you must still cite the source, using MLA or APA format. The re-use of papers, presentations, etc., from one course in another course is not appropriate. In every course, faculty expect that work that is submitted has been done only for that class. An exception is made for materials included within course and year-end portfolios.” �In this course, you are not allowed to have a Spanish native speaker or a more advanced student correct your papers. You are also not allowed to use any translation programs. You are strongly encouraged to read the Writing Center’s online guide for avoiding plagiarism (http://writingcenter.gmu.edu/?p=499 ). Refer to the University Catalog for a full description of the code and the honor committee process (http://www.gmu.edu/academics/catalog/9798/honorcod.html). Another aspect of academic integrity is the free play of ideas. Vigorous discussion and debate are encouraged in this course, with the firm expectation that all aspects of the class will be conducted with civility and respect for differing ideas, perspectives, and traditions. When in doubt (of any kind) please ask for guidance and clarification. Commitment to Inclusive Classroom at George Mason University: “This class will be conducted as an intentionally inclusive community that celebrates diversity and welcomes the participation in the life of the university of faculty, staff and students who reflect the diversity of our plural society. All may feel free to speak and to be heard without fear that the content of the opinions they express will bias the evaluation of their academic performance or hinder their opportunities for participation in class activities. In turn, all are expected to be respectful of each other without regard to race, class, linguistic background, religion, political beliefs, gender identity, sex, sexual orientation, ethnicity, age, veteran’s status, or physical ability.” Challenges to Learning: If you are challenged in a way that affects your learning outcomes please contact Disability Support Services in SUB I Suite 2500 or at 993-2474 as well as your instructors. All accommodations must be arranged through this office. Additional Resources: Professor Rabin’s homepage: http://mcl.gmu.edu/people/lrabin MCL’s homepage: http://mcl.gmu.edu Counseling and Psychological Services: http://www.gmu.edu/departments/csdc/ Classroom Policies: For the course to run smoothly, you are expected to come to class on time with the materials needed (textbooks, notebook, pencils, etc), having completed the assigned activities and prepared to participate in class discussion and group work. Please turn off and put away any cell phone, pager, computer, PDA, iPod, MP3 player before entering class. Do not read or send text messages during class. Laptops or tablets (e.g. iPads) are permitted for taking notes and activities related to class. Engaging in activities not related to the course (e.g. gaming, email, chat, etc.) will affect your participation grade. �GMU email accounts: Students must use their Mason email accounts to receive important University information, including messages related to this class. See http://masonlive.gmu.edu for more information. Other Useful Campus Resources: • • • • • • • • Writing Center: Robinson Hall A114, 703-993-1200, http://writingcenter.gmu.edu University Libraries: “Ask a Librarian” http://library.gmu.edu/mudge/IM/IMRef.html Learning Services: SUBI Room 3129, 703-993-2999, http://caps.gmu.edu/learningservices/ r Tutor Referral: 703-993-2999, http://caps.gmu.edu/learningservices/tutorreferral.php Counseling and Psychological Services (CAPS): 703- 993-2380, http://caps.gmu.edu Student Health Services: SUBI, Room 2300, 703-993-2135, http://shs.gmu.edu/ University Policies and Catalog: The University Catalog, http://catalog.gmu.edu, is the central resource for university policies affecting student, faculty, and staff conduct in university affairs. Other policies are available at http://universitypolicy.gmu.edu/. All members of the university community are responsible for knowing and following established policies. Important Dates on University Calendar: First day of class January 24 Last day to add classes—all individualized section forms due Last day to drop with no tuition penalty January 30 Last day to drop with a 33% tuition penalty February 13 Final Drop Deadline (67% tuition penalty) February 24 Selective Withdrawal Period (undergraduate students only) February 27 – March 31 Spring Break March 13 – March 19 Incomplete work from spring/summer 2016 due March 31 Incomplete grade changes from spring/summer 2016 due to Registrar April 07 Last day of classes May 06 Reading Days May 8 – 9 May 9 �Martes, 24 de enero Introducción al arte fílmico y su historia en Latinoamérica. Fragmentos de películas “de carretera” (road movies) latinoamericanas. Tarea: Leer: capítulo 1, ASG. Ver: Una noche, https://www.youtube.com/watch?v=zl3WEV8Krac Escribir: Sigue las directrices en [Bb] bajo “Assignments” y escribe una “pequeña crítica de cine” sobre los elementos del filme “de carretera” con el que te identifiques. Jueves, 26 de enero Discusión de las críticas de cine. Introducción a la forma fílmica y los patrones fílmicos. Tarea: Read: ASG, chapter 2. Ver: toda la clásica María Candelaria en YouTube: http://www.youtube.com/watch?v=P0i-yu87FkA Escribir: Antes de ver la película, busca y lee una crítica en la red de la película (escribe el título en los buscadores). Luego, lee “Writing Cue” en la página 23 de ASG y escribe tres o cuatro expectativas que tienes sobre esta peli basadas en tu nuevo conocimiento de su trama. Mientras la ves, toma apuntes siguiendo las preguntas en las pp. 25-26 in ASG. Escribe todos estos apuntes en [Bb]. Martes, 31 de enero Discusión de las expectativas, los patrones y las secuencias en María Candelaria. Introducción a la narrativa fílmica y sus elementos mayores: 1. La historia vs. la trama 2. Las narrativas lineales 3. La narración o el punto de vista 4. El desarrollo de l@s personajes �Tarea: Leer: ASG, pp. 38-50. Esta sección repasa los elementos narrativos que discutimos en clase y presenta otros. Ver: Redes (Fred Zinnemann, Mexico, 1936), https://www.youtube.com/watch?v=_bK54w6hkuY Escribir: Responde a las preguntas en [Bb] sobre la forma y la función narrativa de esta película. Jueves, 02 de febrero Discusión de la película. Conferencia: la narrativa lineal y no-lineal en el cine latinoamericano. La narrativa enmarcada (frame narrative). Tarea: Ver: El secreto de sus ojos (Juan José Campanella, Argentina, 1999), https://www.youtube.com/watch?v=AgSx8qmT19w Escribir: responde a las preguntas sobre esta película en [Bb]. Martes, 07 de febrero Discusión de la película. Conferencia: la película “rompecabezas.” Tarea: Ver: Amores Perros (Alejandro González Iñárritu, México, 2000), https://www.youtube.com/watch?v=w_dyEYVO5N4 Escribir: responde a las preguntas en [Bb] sobre la perspectiva narrativa, la historia vs. la trama y el desarrollo de l@s personajes en esta película. Jueves, 09 de febrero Discusión de la película. �Conferencia: la historia y la narrativa en el cine latinoamericano. Tarea: Ver: estas dos películas mexicanas con tramas parecidas, pero de épocas diferentes: Río Escondido (Emilio Fernández, Mexico, 1948), https://www.youtube.com/watch?v=DwNxUR5dN1g y La ley de Herodes (México, 1999), https://www.youtube.com/watch?v=LhmdS8eiwXU Escribir: responde a las preguntas en [Bb] comparando y contrastando la forma y la función narrativa de estas dos películas. Martes, 14 de febrero Discusión de las películas. Repaso de los conceptos relacionados a la forma y la función narrativa. Discusión del primer trabajo sobre la narrativa fílmica, para entregar en [Bb] antes de clase el 21 de febrero. Introducción a la toma (the shot), 1: el concepto y el uso de mise-en-scène. Los encuadres, los sets, los accesorios, l@s actores, el vestuario y la iluminación. Tarea: Sigue las directrices en [Bb] sobre el primer trabajo. Elige la película y el tema que vas a analizar para el trabajo, ve la película y escribe un borrador del trabajo que debes traer a la próxima clase el jueves. Recuerda leer ASG, pp. 112-130 como apoyo para el desarrollo de tu tesis y la escritura de tu trabajo. Jueves, 16 de febrero Revisar los borradores del primer trabajo. Mise-en-scène, a continuación. Tarea: Escribir el primer trabajo. Recuerda leer ASG, pp. 112-130 como apoyo para el desarrollo de tu tesis y la escritura de tu trabajo. �Martes, 21 de febrero Se debe entregar el primer trabajo por [Bb] antes de la clase. Conferencia: mise-en-scène naturalista: lo histórico. Cidade de deus (Fernando Mireilles & Kátia Lund, Brazil, 2002). Tarea: Leer: ASG, pp. 51-60. Ver: Umberto D. (Vittorio di Sica, Italia, 1952), https://www.youtube.com/watch?v=npqZnCwfTuw Escribir: Responde a las preguntas en [Bb] sobre la mise-en-scène de la película. Jueves, 23 de febrero Discusión de la película. Conferencia: mise-en-scène, naturalista: lo diario. El neorrealismo. El espacio profundo (deep space). Tarea: Ver: Rodrigo D, No Futuro (Victor Gaviria, Colombia, 1990), https://www.youtube.com/watch?v=zALEvrIEZ54 Escribir: Responde a las preguntas en [Bb] sobre esta película. Martes, 28 de febrero Discusión de la película. Conferencia: mise-en-scène teatral. Comparar y contrastar la mise-en-scène en Quilombo (Carlos Diegues, 1984), https://www.youtube.com/watch?v=SQEMAPIa6uk y Maluala (Sergio Giral, Cuba, 1979), https://www.youtube.com/watch?v=ZdGL2qfeNj4 Introducción a la toma, 2: la cinematografía. El encuadramiento (framing) y el foco profundo (deep focus) �Tarea: Leer: ASG, pp. 60-66. Ver: sigue mis directrices en [Bb] para estudiar la cinematografía en los fragmentos de CINEGLOS (ell@s lo llaman: “camarografía”), http://sites.holycross.edu/cineglos/ Escribir: Responder a las preguntas en [Bb] sobre estos fragmentos. Jueves, 02 de marzo Discusión de la asignatura. Cinematografía, (continuación): el contraste y el color; el movimiento. Tarea: Ver: sigue mis directrices en [Bb] para estudiar más elementos de la cinematografía en los fragmentos que señalo de CINEGLOS, http://college.holycross.edu/projects/cineglos/. Escribir: Responder a las preguntas en [Bb] sobre estos fragmentos. Martes, 07 de marzo Discusión de la asignatura. Repaso de la toma: mise-en-scène y la cinematografía. Discusión del segundo trabajo: la toma. Tarea: Consulta cuidadosamente las directrices del segundo trabajo en [Bb]. Elige una película y un tema de la lista que he proveído. Ve la película, toma apuntes y escribe un borrador de tu trabajo para traer a la próxima clase el jueves. Como está indicado en las directrices, por favor de leer ASG, pp. 112-130 como apoyo para desarrollar tu tesis y escribir tu trabajo. Jueves, 09 de marzo Compartir y revisar los borradores del segundo trabajo. Repaso de la toma: mise-en-scène y la cinematografía. �Tarea: Escribe la versión final del segundo trabajo, para entregarse en [Bb] antes de clase el 21 de marzo, después de las vacaciones de primavera. Como está indicado en las directrices, por favor de leer ASG, pp. 112-130 como apoyo para desarrollar tu tesis y escribir tu trabajo. 13 de marzo – 19 de marzo VACACIONES DE PRIMAVERA Eric Rohmer, Cuento de primavera (Conte de printemps, France, 1992) Martes, 21 de marzo Se debe entregar la versión final de tu segundo trabajo antes de clase en [Bb]. Introducción a la edición (el montaje). La historia del cine y la edición: el montaje intelectual de los 1920. Tarea: Leer: ASG, pp. 67-85 Ver: elige una película en español que hayas visto (no tiene que ser para la clase) y vuelve a verla, esta vez prestando atención a las opciones de edición (editing choices). �Escribe: Responde a las preguntas en [Bb] sobre tus observaciones de las opciones de edición. Jueves, 23 de marzo NO HAY CLASE. ESTOY EN UN SIMPOSIO DE CINE. Martes, 28 de marzo Discutir la asignatura del martes pasado. La edición de continuidad (continuity editing) de las industrias cinematográficas. Tarea: Ver: Sigue las directrices en [Bb] sobre las opciones de edición en una secuencia de una película. Escribir: Responde a las preguntas en [Bb] sobre la edición de la secuencia. Jueves, 30 de marzo Discusión de la asignatura. Alternativas a la edición de continuidad. Tarea: Ver: Sigue las directrices en [Bb] sobre las opciones de edición en una secuencia de una película. Escribir: Responde a las preguntas en [Bb] sobre la edición de la secuencia. �Martes, 04 de abril Discusión de la asignatura. Conferencia: introducción al sonido en el cine. Tarea: Leer: ASG, pp. 74-81. Ver: Sigue las directrices en [Bb] sobre la identificación de la forma y la función del sonido en una secuencia de una película. Escribe: Responde a las preguntas en [Bb] sobre el sonido en la secuencia. Jueves, 06 de abril Discusión de la asignatura. El sonido, a continuación. Tarea: Ver: Sigue las directrices en [Bb] sobre la identificación de la forma y la función del sonido en una secuencia de una película. Escribe: Responde a las preguntas en [Bb] sobre el sonido en la secuencia. Martes, 11 de abril Discusión de la asignatura. El sonido y el género cinemático: el género musical en Latinoamérica. Tarea: Ver: Allá en el Rancho Grande (Fernando de Fuentes, México, 1936), https://www.youtube.com/watch?v=YwYtjJZgXhk Escribe: Responde a las preguntas en [Bb] sobre el sonido en esta película. Jueves, 13 de abril Discusión de la asignatura. Repaso de la edición y el sonido. �Discusión del tercer trabajo, para entregarse antes de clase en [Bb] el jueves 20 de abril. Tarea: Consulta cuidadosamente las directrices del tercer trabajo en [Bb]. Elige una película y un tema de la lista que he proveído. Ve la película, toma apuntes y escribe un borrador de tu trabajo para traer a clase el martes 18 de abril. Como está indicado en las directrices, por favor lee ASG, pp. 112-130 como apoyo para desarrollar tu tesis y escribir tu trabajo. Martes, 18 de abril Compartir y revisar los borradores del tercer trabajo. Conferencia: introducción a los otros géneros cinemáticos. El género de la comedia. Ver fragmentos de: Ahí está el detalle! (Julio Bustillo Oro, México, 1940), https://www.youtube.com/watch?v=MZyiGt6GE5I Ni sangre ni arena (Alejandro Galindo, México, 1941), https://www.youtube.com/watch?v=94_sQNsGI2M y: El rey del barrio (Gilberto Martínez Solares, México, 1950), https://www.youtube.com/watch?v=qzFgIErZMaQ Tarea: Terminar la versión final de tu tercer trabajo, para entregarse en [Bb] antes de clase el jueves 20 de abril. Jueves, 20 de abril Entregar el trabajo final en [Bb] antes de clase. Conferencia: el documental. Fragmentos de Margot Benacarraf, Araya (Vernezuela, 1959), Fernando Birri, Tire dié (Argentina, 1958), Fernando Solanas & Octavio Getino, La hora de los hornos (Argentina, 1964) Tarea: Ver: Elige y ve UNO de los documentales que he sugerido en [Bb]. �Escribir: Responde a las preguntas en [Bb] sobre el documental que elegiste en concordancia con el género. Martes, 25 de abril Discusión de la asignatura. Ver fragmentos de: Chircales (Colombia, 1964-1971), de Jorge Silva y Marta Rodríguez, https://www.youtube.com/watch?v=YwDR-eU8XuM Discusión del trabajo final, para entregars en [Bb] antes de clase, el último día de clase, 4 de mayo. Homework: Ver: De cierta manera (Sara Gómez, Cuba, 1973), https://www.youtube.com/watch?v=FjBNyMWg87c (las partes que siguen salen en una lista a la derecha de la página). Escribir: Responde a las preguntas en [Bb] sobre esta película. Jueves, 27 de abril Discusión de la película. Introducción a “El Nuevo Cine Latinoamericano.” Tarea: Escribir el primer borrador de tu trabajo final y traerlo a clase el 2 de mayo. Martes, 2 de mayo Compartir y revisar los borradores del trabajo final. Introducción al Neobarroco cinemático latinoamericano. Jueves, 4 de mayo Se debe entregar la versión final de tu trabajo final antes de clase. El melorealismo latinoamericano y el cine contemporáneo. Palabras finales – y sugerencias para un verano ¡lleno de ! � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Syllabi Syllabus Title / Título (Original) A name given to the resources. El nombre original del recurso. Introduction to Spanish-Language Film Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. 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. Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Argentina Bolivia Brazil / Brasil Chile Colombia Cuba Mexico / México Venezuela Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Latin America / Latinoamérica Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Studio Cinema / Cine clásico de estudio New Latin American Cinema / Nuevo Cine Latinoamericano Contemporary / Contemporáneo Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Lisa M. Rabin, George Mason University Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Films taught / Películas <a href="https://cinegogia.omeka.net/items/show/215">Ahí está el detalle</a> <a href="https://cinegogia.omeka.net/items/show/25">Amores perros</a> <a href="https://cinegogia.omeka.net/items/show/109">Araya</a> <a href="https://cinegogia.omeka.net/items/show/491">Cidade de deus</a> <a href="https://cinegogia.omeka.net/items/show/239">Chircales</a> <a href="https://cinegogia.omeka.net/items/show/270">De cierta manera</a> <a href="https://cinegogia.omeka.net/items/show/141">La hora de los hornos</a> <a href="https://cinegogia.omeka.net/items/show/691">La ley de Herodes</a> <a href="https://cinegogia.omeka.net/items/show/345">Maluala</a> <a href="https://cinegogia.omeka.net/items/show/114">María Candelaria</a> Ni sangre ni arena Una noche <a href="https://cinegogia.omeka.net/items/show/521">Quilombo</a> <a href="https://cinegogia.omeka.net/items/show/113">Redes</a> <a href="https://cinegogia.omeka.net/items/show/277">El rey del barrio</a> <a href="https://cinegogia.omeka.net/items/show/167">Río Escondido</a> <a href="https://cinegogia.omeka.net/items/show/380">Rodrigo D: No Futuro</a> <a href="https://cinegogia.omeka.net/items/show/188">El secreto de sus ojos</a> <a href="https://cinegogia.omeka.net/items/show/230">Tire dié</a> Related Course Materials / Materials relacionados Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live. <a href="https://cinegogia.omeka.net/items/show/294">Essay Instructions</a> Related Course Materials / Materiales relacionados Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live. <a href="https://cinegogia.omeka.net/items/show/294">Essay Instructions for Introduction to Spanish-language Film</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Introduction to Spanish-Language Film Description An account of the resource 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. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/2a7e0ae2b38641d18838105242599b1b.pdf?Expires=1773878400&Signature=QC8nghoisEUfCFC3AuFleb2mCtGUQ1w1UWdoQvImjATruEjcaltnx4B7Seyf7vh5GYcZS9C4VZ468LL2fdZ9CcQlJcz0sSrauOnySjVlO9GkhLVjqv1VlWll3nCZu3ln1mYcFNAzcDso-6RNDlxM-KK7cCIRpZ13grNPvfv5mf5Hwnl68yWmf0ZJ9eRtCzAMDq0P-PZq8cRlTlStFBPXNlWYh5s9p%7EJu4yYiqZqQj25cAG4lmQsfNQNnLtGQRopxDd3RvOTTEFV%7EwiYiQe6oDa6Au4NkXVrGEybpC928inhnSi3349PDjD9tGUPiEnyWY8nlmD9R0f2JxC1v5BmB4Q__&Key-Pair-Id=K6UGZS9ZTDSZM 99aae61a47ef78dfbf81714d5f09b1c8 PDF Text Text Contributed by Zulema Moret, Grand Valley State University SPAN 361 Hispanic Cinema and Society: Inmigración en el cine Grand Valley State University Dept. of Modern Languages & Literatures Invierno 2018 Prof. Zulema Moret Tel.: 331-2286 E-mail: moretz@gvsu.edu Off.: Mak B-2-242 Martes y Jueves de 2:30-3:45 pm Office hours: Martes de 4:00-5:00 pm Or by Appointment Deadline to drop with a “W” March 9th, 5:00 p.m. Course description 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. 1 �Objectives of the course: • Students will use language in meaningful way to discuss the different cultural aspects portrayed in the films through listening, speaking, reading and writing. • Students will engage in challenging activities beyond the film, and through discussion and developing critical thinking. • As language and culture are intertwined students will develop meaningful language learning experiences. • Students will be active participants in discussion and oral activities (debates, group discussion) as it is an essential component of language learning developments. • Students will increase their vocabulary and writing skills introducing new cultural elements in their discussion after and before the screening of each film, warming up writing assignments by organizing a few general ideas about the lesson’s film and their cultural context. • Students will be active spectators of the films for foster discussion through comprehension questions, introduction of new vocabulary, phrases, linguistic approach together with the culture that brings each film into the teaching process. By this way students will improve their grammatical skills, their vocabulary and their writing and oral skills. Prerequisite: Spanish 321 Required Texts: The following dictionaries can be useful at the time of preparing for your assignments and final projects: 1. DRAE (Diccionario de la Real Academia Española), available at http://www.rae.es 2. María Moliner, Diccionario de uso del español 3. RAE, Diccionario panhispánico de dudas. Also available at http://www.rae.es • Handout with copies/ Course reserve • Deveny, Thomas. Migration in Contemporary Hispanic Cinema. Scarecrow Press, Inc. 2002. [Bb, few chapters] Grading and Requirements 10 % 40 % 10 % 10 % 10% 10 % 5% 5% Preparedness for Class and Participation in Class Reflections on films (Reviews) in blog (8 x 5% ) Oral assignments [2 presentations, 5 % each one] Quizzes + Exam Final Project [Midterm and Final] Discussion board [2] ( 4 x 2.5 % each one) Blog Portfolio The following grading scale will be used: A = 94-100; A- = 90-93; B+ = 87-89; B = 84-86; B- = 80-83; C+ = 77-79; C = 74-76; C- = 70-73; D+ = 67-69; D= 64-66; F = 0-63 2 �Course Requirements: 10 % Preparedness for Class and Participation in Class. Attendance Preparación y Participación All students must actively participate in class discussions and activities and be ready and willing to work on collaborative projects. Moreover, students must demonstrate a commitment to communicating with others in Spanish at all times during class. Students are expected to prepare all homework assignments, including reading, carefully and regularly. An important part of participation is attendance. Therefore, students are expected to attend every class. If you are absent you are expected to notify the professor before class (via a phone message or email). An absence from an official university event requires written advance notice from the person in charge of the activity (e.g. your coach). Any other absence will be considered unexcused. After two unexcused absences, each unexcused absence will considerably lower your participation grade. The possibility of making up missed class work will be decided by the Professor on a case-by-case basis. Please note that in accordance with the GVSU catalogue (p. 80), an instructor may deny student credit in a course due to excessive absences. The Spanish Section defines “excessive” as 25% of the course. What this means is: any student who misses 7 or more classes for any reason (excused or unexcused) will receive an automatic F in the course. 40 % Reflections, Midterm Essay Midterm Essay (1): the course of the semester you will write 1 essays ranging in length 3 pages. The essay will compare 2 or 3 films shown in class. Reflections for the blog: (6/8) Students will write a short reflection (1 and a half page/ 2 pages, approx.) on each film shown in class (6/8) and this reflection will be included in the blog corrected, without mistakes. Each film entry will include: a) A trailer of the film; b) An interview to the director; c) Other reviews in Spanish language. 10% Oral assigments/ Tareas orales Oral assignments will let students to develop oral skills, preparing critical analysis of different types of texts. New vocabulary, use of different expressions and cultural approaches will be discussed in class as well as cultural context of each film. Students will be presenting information on the director of each film and on other cultural topics connected with the film. There will be group presentations at the end of the semester on other films on migration. Students will organize two presentations. 10% Discussion Board + Dill Students will answer critical points on the society, cultural representation on Sundays, when the question be posted in the discussion board [written x 2] and Dill [oral x 2] 3 �20% midterm exam [10%] and Final project [10%] Students will have a midterm exam [10%] and will present a group final project on a film [10%]. 5% Portfolio and 5 % Blog En el portfolio debes incluir: a) b) c) d) e) Ficha de la película Reseña en castellano sobre la película Vocabulario nuevo en la reseña subrayado y con su significado Principales ideas que has aprendido en la reseña, subrayadas en color. Guía de trabajo para cada película con ejercicios de vocabulario y otros ejercicios. En el blog debes incluir: a) Tu reflexión sobre la película corregida y vuelta a escribir sin errores. b) Trailer de la película c) Enlaces con entrevistas al director, o reseñas en castellano, otros materiales relacionados con la película: inmigración, con cine independiente, con actores, con temas, etc. Academic dishonesty All students are expected to adhere to the GVSU Student Code. Any instance of academic dishonesty, such as cheating or plagiarism, will result in a failing grade on the particular assignment and, at the instructor’s discretion, failure of the course. If you have any doubts concerning what constitutes academic dishonesty, please refer to the Student Code (Section 223.01) or speak to the instructor. ****************************************************************************** NOTE: Because each group is different, the syllabus cannot be but tentative. This means that it may be altered, changed or modified at any moment according to development and needs of the class. Therefore, it will be always be the student’s responsibility to know the changes that have been made. Having been absent will never be a justification to come unprepared to class. 4 �CALENDAR OF CLASSES ***The professor reserves the right to modify the syllabus if necessary for the class. Mes enero Fecha martes 9 En clase Introducción al curso enero jueves 11 enero martes 1 “Inmigración y cine en la ficción cinematográfica española”. Los principales temas Análisis de los principales temas. Preparando la película… Lectura y análisis Presentación Nro. 1 (PI) Iziar Bollarín enero jueves 18 enero martes 23 enero Tareas Vocabulario sobre cine: estudiar el vocabulario requerido. Realizar ejercicios. Leer “Inmigración y cine en la ficción cinematográfica española” (2011-2015) Leer pp. 1-3 Presentación Nro. 1: Iziar Bollarín Guía de análisis Nro. 1 (Bb) Escribir la ficha de la película. Buscar una reseña sobre la película. Vocabulario nuevo, subrayar el vocabulario de la reseña y las ideas más importantes. Traer portfolio a clase. Flores de otro mundo. Ver la película en clase… Guía de análisis Nro. 1 (Bb) Diseñar el blog. Guía de análisis Nro. 1 (Bb) Realizar ejercicios indicados por la profesora Incluir en el blog la información sobre la película: tráiler, entrevista en castellano, otra información relacionada. Presentación Nro. 2: Montxo Armendáriz (1990) Escribir una reflexión sobre Flores de otro mundo, sobre un aspecto que te haya impresionado. (Extensión: Página y media). Fecha de entrega: el martes 30. jueves 25 Las cartas de Alou Presentación Nro. 2/ PI-2 Investigar sobre la inmigración africana en España. Traer artículos de prensa, fotos, información sobre el tema. enero martes 30 Presentación grupal Nro. 1/PG-1, sobre “La inmigración africana en España” Momentos históricos. Guía de análisis Nro. 2 (Bb) Escribir la ficha de la película. Traer reseñas sobre la película con vocabulario e ideas subrayados (en el portfolio) febrero jueves 1 Las cartas de Alou. Vemos la peli en clase… Guía de análisis Nro. 2 (Bb) Escribir la ficha de la película. Traer reseñas sobre la película con vocabulario e ideas subrayados (en el portfolio) 5 �febrero martes 6 Discusión y análisis de la película: modos de representación del conflicto. Los niños inmigrantes: Marruecos, México y Cuba. Al otro lado Escribir la entrada Nro. 2 para el blog. febrero jueves 8 febrero martes 13 Situaciones políticas, sociales y económicas de los tres países: Presentaciones grupales (PG) Presentación individual (PI-3) sobre el director. Escribir la ficha de la película. Traer reseñas sobre la película con vocabulario e ideas subrayados (en el portfolio) Guía de análisis Nro. 3 febrero jueves 15 Discusión y análisis de Al otro lado Guía de análisis Nro. 3 febrero martes 20 febrero jueves 22 Revisión y análisis de las películas mostradas en clase Examen Nro. 1 Discussion Board #1: Para el martes intercambiar opiniones (DB # 1) Escribir entrada Nro. 3 para el blog. Estudiar para Examen Nro. 1 febrero martes 27 El tráfico de personas entre Latinoamérica y España. PG03 marzo jueves 1 Presentación sobre el director. (PI-4) Evelyn marzo lunes 5 a lunes 12 Vacaciones de primavera (Spring Break) marzo martes 13 Discusión sobre Evelyn Comparar ideas sobre la película Escribir la ficha de la película. Traer reseñas sobre la película con vocabulario e ideas subrayados (en el portfolio) Preparar presentación sobre el tráfico humano. Escribir la ficha de la película. Traer reseñas sobre la película con vocabulario e ideas subrayados (en el portfolio) Escribir la ficha de la película. Traer reseñas sobre la película con vocabulario e ideas subrayados (en el portfolio) Escribir la entrada Nro. 4 para el blog Guía de análisis Nro. 4 Leer el ensayo: “La migración en el cine argentino y mexicano”. Escribir la entrada Nro. 5 para el blog s/ Evelyn 6 �marzo jueves 15 Fronteras y migraciones en América marzo martes 20 Bolivia Investigar sobre “El cine argentino independiente”, contexto social y político. Presentación grupal PG-05 Guía de análisis Nro. 5 marzo jueves 22 Bolivia Guía de análisis Nro. 5 Frontera Norte/Sur Escribir la entrada Nro. 6 para el blog (Bolivia) marzo martes 27 México: película a confirmar Frontera Norte/Sur marzo jueves 29 México: película a confirmar Inmigración china en Argentina Guía de análisis Nro. 6 abril martes 3 Un cuento chino Inmigración china en Argentina Guía de análisis Nro. 6 abril jueves 5 Un cuento chino Discusión y análisis Escribir la entrada Nro. 7 para el blog, sobre el film mexicano. abril martes 10 Escritura creativa en clase Discussion Board Nro. 2 Escribir la entrada Nro. 8 para el blog sobre Un cuento chino abril jueves 12 Las presentaciones grupales y el ensayito final. Preparar las presentaciones grupales Entregar el portfolio completo y terminar el blog. abril martes 17 Presentaciones grupales 3 grupos x 3 Preparar las presentaciones grupales abril jueves 18 Presentaciones grupales 3 grupos por 3 Preparar las presentaciones grupales. Examen final: Tuesday, April 24, 4:00 pm - 5:50 pm El día del examen final: Presentaciones grupales/ Compartir el blog con los compañeros. 7 �Listado de los blogs para el curso https://inmigracionporelcine.wordpress.com/ https://los-inmigrantes-en-la-cine.weebly.com/ https://fronteras616.blogspot.com/-https://bloglatino369.blogspot.com/ https://porlosojosdeashley.blogspot.com/ https://hannahrojasviajarparavivir.wordpress.com/ http://cinelatinopardo.blogspot.com/ https://peliculasconunproposito.blogspot.com/ https://peliculasconamandari.wordpress.com/ https://dianaduarte627156074.wordpress.com https://allisonmarshall177612039.wordpress.com http://inmigracionenelmundo.wordpress.com https://comentariosdecorinne.wordpress.com 9 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Syllabi Syllabus Title / Título (Original) A name given to the resources. El nombre original del recurso. Inmigración en el cine Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. 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. Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Argentina Bolivia Cuba Mexico / México Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Spain / España Latin America / Latinoamérica Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Films taught / Películas <a href="https://cinegogia.omeka.net/items/show/373">Al otro lado</a> <a href="https://cinegogia.omeka.net/items/show/282">Bolivia</a> <a href="https://cinegogia.omeka.net/items/show/779">Un cuento chino</a> Evelyn <a href="https://cinegogia.omeka.net/items/show/774">Flores de otro mundo</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Zulema Moret, Grand Valley State University Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Inmigración en el cine Description An account of the resource 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. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/5315e69bab445754f55be74452592e5a.pdf?Expires=1773878400&Signature=YQXA-yFzTeoY%7E79O5YoLvxKPCeKKWLHCWrsapjvWmrfYiNIFxejey0p6-6LgwmbWRabzo0xP1g00E2JUPmGeKubEQVfBeqHLpUk95jpq-9Ll0iFQKQs3ravrqgEEwK1FksK2qa%7Er66x9sd5QLMeY2UnHqa3jlTsMN6f4ImbGdX5MpNj0xKEDFNTyTMEDqisaAj-kxueKSNJLxiF2HkZP6FJAk-EHPvU1t1BOvyTEzcArxDY5WL-kglihpP9YTjMPHnzfQWdLS3aeqHXS6jorUZt0F7BTkoIdRaSm7xiPOgwJQqSP1w-bNW0VdwKxdy7wvAd4T1Nlr6VuioimCroHLA__&Key-Pair-Id=K6UGZS9ZTDSZM 4a72fbe912f83adc9e72021d53424845 PDF Text Text Contributed by Bridget Franco, College of the Holy Cross LATIN AMERICA THROUGH CINEMA (MONT 104G) (Section 01) Tuesday & Thursday, 11:00am-12:15pm (Section 02) Tuesday & Thursday, 12:30-1:45pm Prof. Bridget Franco, Department of Spanish, Office Location: Stein 412 Office Phone: (508) 793-2291; Email: bfranco@holycross.edu Office Hours: Tuesdays & Thursdays 2-3pm, Wednesdays 1:15-2:15pm, or by appointment Course Description Tropical beaches? Spicy tacos? Merengue dancing? Narcotrafficking? What do you think of when you hear “Latin America"? 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. Common Area Designation(s): Arts or Cross-Cultural Major/Concentration Credit: SPAN major (elective); Latin American & Latino Studies (LALS) Global Society Cluster Our Global Society cluster will explore the theme of Identity in Movement and Story from multiple perspectives and approaches, including creative writing, cinema, literature, visual art, history, and theater. Knowledge of the world around us is commonly transmitted through the spoken and written word. Global Society seminars will also engage with other modes of knowing, including practices of movement and the creative arts. How can our understanding of the world deepen when we pay attention to the perspectives of others, rather than responding with a ready-made narrative? What is the difference between choosing silence and being silenced? What are some of the political, economic, and environmental realities that underlie migrant and refugee movement across the globe? When faced with trauma, war and conflict, what kinds of stories do writers, filmmakers, performers, and artists construct about their local communities? In keeping with the Holy Cross Mission Statement, we aim to be patient with ambiguity and uncertainty as we develop a more nuanced understanding of a variety of global and local communities. Cluster co-curricular activities will encourage dialogue, active listening, and reflection on the shared responsibilities of citizens in our interconnected world. Students in the Global Society cluster will have opportunities to explore the Worcester community and to participate in interactive performances and the creative arts. �Global Society Required Common Events Monday, September 2 @ 4:15-5:15pm, Meet & Greet (Brooks Concert Hall) Tuesday, September 10 @ 7:00-8:30pm, FY Book Discussion & Coffeehouse (Loyola Ballroom) Monday, November 18 @ 6:30-8:30pm, Ghana Think Tank (Hogan Ballroom) Global Society Related Events As part of your community classroom grade, you should plan to attend at least one fall semester event that relates to our Global Society Cluster theme. Event dates and more detailed descriptions are available on our Moodle website. Within 48 hours of attending the event, you must hand in a one-paragraph typed reflection with your thoughts about the experience. Reflect on how the event relates to our theme of Identity in Movement & Story. What did you learn? What did you find interesting or confusing? Why? WHAT AM I SUPPOSED TO LEARN HERE? As a Montserrat First-Year Seminar, this course aims to: • • • • develop your foundational skills (critical reading, writing, speaking, and analysis) cultivate your critical intellectual dispositions, habits of inquiry, and openness towards interdisciplinary learning create an intellectual and social community that extends beyond the classroom provide opportunities to reflect critically on your own views and self-understanding and to articulate your sense of what constitutes a life of meaning and value As an offering in the Latin American and Latino Studies program with a Cross-Cultural Studies common requirement, this course features: • • the diversity of Latin American, Latino and Caribbean peoples, cultures, histories, politics, race/ethnicity, languages and religions how Latin American, Latino and Caribbean identities and experiences shape and are shaped by contact and migration processes As a film course with an Arts common requirement, the course is also designed to: • • introduce students to film analysis encourage critical reflection on representation in the arts �REQUIRED TEXTS & FILMS It is expected that Holy Cross students will have textbooks and other required class materials in order to achieve academic success. If you are unable to purchase course materials, please speak to a representative at the Office of Financial Aid for assistance. 1) Corrigan, Timothy. A Short Guide to Writing About Film. 9th ed. Pearson, 2015. 2) Cineglos: http://sites.holycross.edu/cineglos/ (free access) 3) Additional weekly readings posted on Moodle 4) Ten films (see below) available through Kanopy, Swank, Alexander St. Videos (these are all video streaming services accessible via the Holy Cross library catalog) or on our Moodle course page. You are required to attend the Sunday screenings, and you should also plan to view the films and/or specific scenes a 2nd or 3rd time, especially when moderating or reviewing films. Sunday Screening* Film, Director (Country/Region, Year) MODERATORS REVIEWERS Sept 8 Alamar, Pedro González Rubio (Mexico, 2009) – Kanopy n/a ALL STUDENTS, (1st draft due 9/10) Sept 15 Motorcycle Diaries, Walter Salles (Latin America, 2004) – Swank n/a ALL STUDENTS, (1st draft due 9/17) Sept 22 Even the Rain, Iciar Bollaín (Bolivia, 2010) – Moodle 1 6 (due 9/26) Sept 29 The Pearl Button, Patricio Guzmán (Chile, 2014) – Kanopy 2 7 (due 10/3) Oct 6 Pelo malo, Mariana Rondón (Venezuela, 2013) – Kanopy 3 8 (due 10/10) Oct 20 XXY, Lucía Puenzo (Argentina/Uruguay, 2007) – Kanopy 4 1 (due 10/24) Oct 27 The Embrace of the Serpent, Ciro Guerra (Colombia, 2016) – Kanopy 5 2 (due 10/31) Nov 3 Ixcanul, Jayro Bustamante (Guatemala, 2015) – Kanopy 6 3 (due 11/7) Nov 10 Cidade de Deus, Fernando Meirelles & Katia Lund (Brazil, 2002) – Swank 7 4 (due 11/14) Nov 17 Relatos salvajes, Damián Szifron (Argentina, 2014) – (HC catalog) 8 5 (due 11/21) *SCREENING LOCATIONS: For the first five films (from 9/8-10/6), students in section 01 will screen films in the Clark common space and Section 02 will screen films in Stein 133. After fall break, from 10/20-11/17, the sections will switch screening locations. Students must attend the film screening in their designated location. �FILM SCREENING SUNDAYS 3:00-5:00pm We will screen 10 Latin American films this semester, beginning on Sunday, September 8th, at 3:00pm. These films are your primary source “texts” and (as with a novel or story) you should expect to spend dedicated time “reading” not just “watching” these texts. Sunday Screenings are designed to provide you with protected time each week to complete one viewing of the film. However, you will need to watch the film (or key scenes, sequences) at least one more time to properly analyze, critique, and understand the many different layers that the cinematographic production contains. For each film, 2 student moderators will be in charge of setting up the film, providing a printed handout (copies for your peers) with questions, and taking attendance. Please take note of the date that you are assigned to moderate and review films on the previous page and add them to your calendar. More details below in the “Film Moderators” section. Film viewing is a collective experience and all students are expected to attend the Sunday Screenings as part of your classroom community grade. If you are unable to attend for a documented reason, you must let me and the student moderators know and view the film before class. Before fall break, Section 01 will screen films in the Clark common space and Section 02 will screen films in Stein 133. After fall break, the sections will switch screening locations. CLASSROOM COMMUNITY • Attendance Good attendance and punctuality are expected for this class and will strongly affect your grade. If you miss a class, it is your responsibility to borrow the notes from another student, acquire any materials that were handed out, and find out if changes have been made to the syllabus. After the first week of classes, only two (2) unexcused absences from class will be allowed. The third unexcused absence will lower your final semester grade by one half-letter grade, the fourth by one letter grade, and so on. Arriving late disrupts the class as well. Three tardies (arriving after attendance has been recorded) will equal one unexcused absence. Official excuses are those obtained in writing from Health Services, Athletics, or your Class Dean, or by special permission obtained from the professor in advance (48 hrs). • Office Hours Office hour visits should not be a fear-based, last-resort tactic. I enjoy getting to know my students outside of the regular classroom dynamic, and I know that the first year of college can be a very challenging time in your life. If that’s not convincing enough, research shows that taking advantage of office hours during college can result in higher grades and more compelling letters of recommendation, as well as improve your communication and networking skills. If you are still not convinced, attending office hours at least one time during the fall semester one of our course requirements… so please give it a try! �• Participation & Preparation Thoughtful preparation and active participation in class (discussion, pair/group work) is critical to a positive and productive learning environment. You are expected to view the weekly films, read any assigned readings, and prepare any assignments prior to arriving to class. Class meetings will be devoted to a discussion of the films and readings. Be prepared not only to summarize, but also offer interpretative comments. Classroom participation is evaluated based on what you demonstrate in the classroom, not what you know in your head. What you offer to the class is what you and others learn from. In general, please let me know if you feel lost, confused, overwhelmed, or uncomfortable in class. You are not alone! What you may feel is a “wrong” answer is not necessarily so, and asking is the most effective way to clear up doubts. • Extracurricular Events As part of your classroom grade, you are expected to attend all of the weekly Sunday film screenings, the required Global Society Cluster events (listed above), as well as at least one of the fall semester events that relate to our Global Society Cluster theme. Within 48 hours of attending the cluster-related event, you must hand in a one-paragraph typed reflection with your thoughts about the experience. Reflect on how the event relates to our theme of Global Voices: Heard, Seen, Remembered. What did you learn? What did you find interesting or confusing? Why? There is a detailed list of recommended events on Moodle. • Film Moderators This exercise is designed to develop your public speaking skills, to hone your ability to work in groups, and to foster critical thinking skills. In order to lead an interesting and productive discussion with your peers, you must first understand the material well enough to teach someone else. This will require additional screenings of the film to be discussed, as well as careful preparation of readings and a curiosity about the material that will lead you to research additional resources and secondary source documents. You and your partner will be evaluated on how well you execute the following steps. 1. Create a one-page film guide with technical details, a paragraph with a brief synopsis of the film, and 10 open-ended questions about the sociohistorical context, film technique(s), a significant scene or sequence, and the relevant weekly topic. 2. Set film up and complete sound check, 15 minutes before start time. Screen the film on Sunday at 3:00pm in the designated location. 3. Take attendance at the screening and email scanned sheet with names to Prof. Franco by Sunday at 10pm. 4. Moderate a discussion during Tuesday’s class 5. Prepare a sequence analysis for Thursday’s class �WRITING AS A PROCESS WEEKLY WRITING EXERCISES • Screening Notes & Moderators’ Questions (due Tuesday) This weekly exercise will help you to develop note-taking skills and to discern elements of the films that are significant, interesting, or problematic. During or immediately after the Sunday screening, you should write down relevant notes as recommended in Chapter 2, “Beginning to Think, Preparing to Watch, and Starting to Write” (Corrigan). You are also expected to answer the questions on the handout created by each film’s moderators. Bring the handout and your notes to class on Tuesday for discussion. These are part of your classroom grade. Moderators are exempt from this exercise during the relevant week. • Reading Reactions (due Thursday) Every Thursday, there will be an assigned reading(s) about film in general (from the Corrigan textbook), or the specific film we are studying. First, you will provide a written synopsis of the reading (1 paragraph), and then you will react to the questions or main points in the reading, using the weekly film as your reference point (2 paragraphs). Detailed instructions for the Reading Reactions will be distributed in class. These are also part of your classroom grade. NOTE: You are exempt from this assignment during the 2 weeks that you either moderate or review a film. SEQUENCE ANALYSIS We will begin the semester with a sequence analysis to help everyone understand the formal analysis of film. If you have never taken a cinema class before, don’t worry: we will spend time during the first few weeks examining how to do this particular assignment. This exercise will help you to identify the language of cinematography. After learning how to analyze a film sequence or scene, you and your partner will complete a scene analysis for the film that you have been assigned to moderate. This is a written assignment and you will also present a summary of the analysis orally on Thursday as part of your Discussion Leader tasks. MOVIE REVIEWS In addition to the movie review for Motorcycle Diaries (first draft due Sept 17), each student is assigned a film to review from the Sunday Screenings. For both reviews, the first draft is due on the Tuesday after the film is screened and will be peer-reviewed during class. The second and final draft is due to Prof. Franco in class on Thursday for grading. You should schedule a session NOW at the Center for Writing for the relevant Tuesday evening or Wednesday to ensure that you attend a consultation session. This is a required part of the grade for the movie review. “There were no sessions available when I tried to sign up” is not an acceptable excuse. �FINAL FILM PROJECT (ESSAY & ORAL PRESENTATION) For your final project, you will choose a Latin American film that we have not screened or discussed in class and develop a critical film essay. As part of our emphasis on writing as a process, we will invite a librarian and a Center for Writing specialist to class to discuss best practices for researching your topic. In addition, you are required to schedule a separate Personal Research Session (PRS) with the Global Society Cluster Librarian, Eileen Cravedi, during the initial stages of your research process. During the writing process, you must also schedule a consultation session at the Center for Writing to work on any aspect of your final paper (thesis development, organization of ideas, argument, evidence, etc.) As a complement to your critical essay, you will also prepare an oral presentation which will be conducted during the last two weeks of classes. We will work on this project in steps and more detailed instructions will be provided for this assignment after the fall break. CENTER FOR WRITING During the fall semester, you must schedule and attend at least two (2) consultation sessions at the Center for Writing’s “Writer’s Workshop” (link below). One of these sessions must be used to improve the first or second draft of your second movie review. The other session should be used to consult about any aspect of your final critical film essay (thesis development, organization of ideas, arguments, evidence). For both sessions, it is your responsibility to ask the Writer’s Workshop consultant to email a copy of your session report to me. If I do not receive a copy of the session, you will not receive credit for this part of the assignment. https://www.holycross.edu/academics/support-and-resources/center-for-writing/writers-workshop WHAT’S MY GRADE? Film Moderators 15% (Includes all assigned tasks on Sunday, Tuesday, Thursday) Movie Reviews (2) 30% (First review – 10%, Second review – 20%) Review #2, includes documented Center for Writing session Classroom Grade 15% Includes class/screening attendance, preparation (screening notes & reading reactions), class participation, cluster events (2 required, 1 recommended and reflection), minimum one office hours visit Final Film Project 40% (Includes personal research session, one Center for Writing consultation, a sequence analysis, an oral presentation, and the final draft of the critical film essay) GRADING SCALE A 94-100 A- 90-93 B+ 87-89 B 84-86 BD+ 80-83 67-69 C+ D 77-79 60-66 C F 74-76 0-59 C- 70-73 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Syllabi Syllabus Title / Título (Original) A name given to the resources. El nombre original del recurso. Latin America through Cinema Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. 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. Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Argentina Bolivia Brazil / Brasil Chile Colombia Guatemala Mexico / México Venezuela Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Latin America / Latinoamérica Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Films taught / Películas <a href="https://cinegogia.omeka.net/items/show/352">El abrazo de la serpiente</a> <a href="https://cinegogia.omeka.net/items/show/202">Alamar</a> <a href="https://cinegogia.omeka.net/items/show/526">El botón de nácar </a> <a href="https://cinegogia.omeka.net/items/show/491">Cidade de Deus</a> <a href="https://cinegogia.omeka.net/items/show/174"> Diarios de motocicleta</a> <a href="https://cinegogia.omeka.net/items/show/340">Ixcanul </a> <a href="https://cinegogia.omeka.net/items/show/303">Pelo malo</a> <a href="https://cinegogia.omeka.net/items/show/193">Relatos salvajes</a> <a href="https://cinegogia.omeka.net/items/show/213"> También la lluvia </a> <a href="https://cinegogia.omeka.net/items/show/182">XXY</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Bridget Franco, College of the Holy Cross Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Latin America through Cinema Description An account of the resource 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. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/cb13c7b84c5bfa085ac99e7d0749656a.pdf?Expires=1773878400&Signature=BPHmnOvLZXsFjrGp2CmOCMKCKxGYx6sDr0oh1WCsO1aYnZyhhx2q1G3eDxoN5Z4Tzx8lCBHQzUU-6EWXnp9Oh9kAbyU3k5IE3kKPaVz777wrO16T40%7EpGQEukiS7dfDbahb77Vb3rNTQR14JEiTlxHgQby8M9S6ZTLh15TUNx6sWP2DOnNjVPRDq9xgde0lT3EMYICkkNhJo6GNJAc%7Ef%7Ek9JEBCi7sKwuABxBW82H57P9LPI6Hv0Rn2yJ%7ERdWuiqxWTsFHJ48yhcWVIIUGR09%7Em12%7EDyEUxL9Ye1YHAcQt1xCvDRx%7EF4NvvQktrbsifct0UuTlrnrOa00Ztrcsm%7Erg__&Key-Pair-Id=K6UGZS9ZTDSZM 946a2796d419781bc20f78017bfa74a7 PDF Text Text Contributed by Sarah Shamash, Emily Carr University Sarah Shamash Course Syllabus: “Poetry and Politics in Latin American Cinema” Department/ Program: Theatre and Film Year: 2017 Winter Semester, January – April Course title: FIST 434F “Poetry and Politics in Latin American Cinema” Course Schedule Monday (Screening): 18:00 – 20:30 Location: Chan Center 290 (Royal Bank Cinema) Wednesday (Lecture/Seminar): 18:00 – 20:00 Course Instructor: Sarah Shamash Course description: “An underdeveloped country isn’t obliged to have an underdeveloped art.” (Glauber Rocha)1 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. Learning Objectives and Goals: Drawing on fundamental skills in film analyses and research to achieve complex research and analytical skills, by the end of the course, students will have demonstrated the ability to defend a critical position in relation to the ethical, cultural, political, and historical implications of specific film practices by synthesizing a variety of theoretical and critical approaches. Objectives: 1 Rocha, Glauber. “Beginning at Zero: Notes on Cinema and Society”. Trans. Joanne Pottlitzer. MIT Press The Drama Review: TDR, Vol. 14, no. 2. (1970). Web. 12 Dec. 2013 1 �Sarah Shamash Course Syllabus: “Poetry and Politics in Latin American Cinema” 1. Provide students with a historical perspective on major currents in Latin American cinema (New Latin American Cinema / Third Cinema), while learning its history and theory. 2. Investigate the contexts for the emergence and development of Latin American film production and its contribution to an anti-colonial gaze. 3. Apply critical perspectives to critically and creatively engage with the course materials. Outcomes: 1. Summarize critically dense theoretical readings. 2. Apply theoretical approaches in analyzing films. 3. Acquire a broad knowledge of Latin American culture, history, society, and politics. 4. Exercise critical thinking, original research, and interpretation to discuss the films and their theories. 5. Engage in critical in-depth discussions regarding Latin American cultural production, (and Third Cinema) within a local and global context. 6. Defend a critical position in oral discussions and debates. 7. Learn about important theoretical texts, trends, and films in Latin America and articulate critical analyses on the materials. Introduction: This course is intended for fourth year level film and Latin American studies students. From Latin American to Chicano/a films, from Indigenismo in Bolivia, to a tricontinental revolution (Third Cinema movements), to Fourth Cinema aesthetics, this film course bears witness to the cultural, historical, political, social memory of Latin America, spanning from the 1950s to the present. Course format: Students will attend lecture / discussions and screenings. • • Lecture / screenings are used to introduce the screenings and to show supporting film excerpts, while providing historical, social, political, cultural, national, and continental contexts and trends. Each weekly reading is chosen to enhance students’ comprehensive understanding of the social, political contexts of the films and associated cinematic movements and theories, while providing theoretical and analytical frameworks to access the films. 2 �Sarah Shamash Course Syllabus: “Poetry and Politics in Latin American Cinema” • Seminar / discussions are an opportunity for students to participate, share, and engage with the course materials and their classmates, by voicing their responses in a critical discussion of screenings and readings. The pedagogical role will be to facilitate debate, questioning, and discussion of weekly thematic topics related to course materials with a focus on students’ oral expression. Students will be expected to bring discussion questions to stimulate group discussion as part of their participation mark. Students will have the option to hand in a response to the reading or a film analysis, 1-2 pages (double-spaced) due at the end of each module (4 in total). Students will be expected to do a class presentation (15 minutes) and a final paper (approximately 10 pages / 2000 words, double spaced). Assignments for the course must be type written, double spaced and one-sided. Full and proper citations are essential when appropriate. Assignments and Evaluation: 1. Class attendance and participation: 25% Regular attendance and participation in screenings, and lecture / seminars will constitute 25% of the course evaluation. Activities such as regular participation in seminar discussions will serve as a basis for this evaluation as well as each student’s role to bring discussion questions to the group as starting points for weekly discussions. 2. Film analyses / Reading response: 20% The film analyses and textual responses provide students with a foundational exercise in critical, creative, and analytical thinking. The goal of this exercise is to equip students with in-depth notes and citations for their presentations and final papers. 3. Research presentation: 25% Class presentations will take place during weekly seminars (weeks 10-11-12-13) and students will present research on one of the films or thematic modules with a requirement to engage the class texts as part of their presentations. Students are encouraged to use outside sources, including the suggested critical texts at the end of the syllabus, for this research presentation. Students will submit a bibliography of their research to the instructor. Bibliographies will be evaluated according to consistency of citation style (MLA), coherency and usefulness of references. The goal of this exercise is for students to practice their oral expression and presentation skills, while broadening their knowledge of the course topic and sharing their findings with their peers. Presentations will be evaluated on organization, coherence, and relevance to the interests of the course. Students will submit their essay proposals along with bibliographies as 3 �Sarah Shamash Course Syllabus: “Poetry and Politics in Latin American Cinema” part of their presentation mark. This exercise is also an opportunity for the instructor to suggest direction and sources for the final essay. 4. Final essay: 30% The final essay will be a research, analysis exercise. The goal is for students to synthesize the course materials while expanding their knowledge on the course topic and their particular areas of interest. This exercise requires library research and/ or additional viewing of films. Evaluation will be based on original thinking, interpretation, and conclusions, written expression, textual and filmic analysis, and in-depth research with proper citation. Note about Readings: There are no textbooks for this course. All required readings will be available online. For each week, there is a list of mandatory readings. In addition, a list of recommended readings will occasionally follow the list of mandatory readings. WEEKLY SCHEDULE (Provisory) Module 1: Brazil’s Cinema Novo: first, second, and third phases (Week 1,2,3) Week 1 – Wednesday, January 4th January 4th Lecture: Introductions and intro to the course and first phase Cinema Novo 1960-64 (political optimism and opposition to commercial cinema). Excerpts: Barravento 1962 Dir. Glauber Rocha, Ganga Zumba 1963 Dir. Carlos Diegues, Vidas Secas 1963 Dir. Nelson Pereira dos Santos Readings: Rocha, Glauber. “The Aesthetics of Hunger”. 1965 (translated by Burnes Hollyman). PDF Recommended reading: Johnson, Randal, and Robert Stam. “The Cinema of Hunger: Nelson Pereira dos Santos’s Vidas Secas.” Brazilian Cinema. New York: Columbia University Press, 1995. 120-127 Week 2 – January 9th / 11th January 9th: Lecture / screening: Introduction to second phase Cinema Novo 1964-1968 (disillusionment) Screening: Terra em Transe 1967 (Eng. Land in Anguish) Glauber Rocha Reading: Land in Anguish Revolutionary lessons by Robert Stam 4 �Sarah Shamash Course Syllabus: “Poetry and Politics in Latin American Cinema” from Jump Cut, no. 10-11, 1976, pp. 49-51 copyright Jump Cut: A Review of Contemporary Media, 1976, 2004 <http://www.ejumpcut.org/archive/onlinessays/JC10-11folder/TerraTranseStam.html> Rocha, Glauber. “Cinema Novo and the Dialectics of Popular Culture.” In Cinema and Social Change in Latin America: Conversations with Filmmakers. Ed. Julianne Burton, 105-113. Austin: University of Texas Press, 1986 January 11th Seminar: Discussion of Glauber Rocha as an auteur, and his visionary influence in the ‘tricontinental revolution’ as well as discussion of the second phase of Cinema Novo, with reference to films and readings. Week 3 – January 16th / 18th January 16th Lecture: Third phase Cinema Novo 1968-1972 (Tropicalia and Cannibalism) Excerpts: Macunaíma 1969 Dir. Joaquim Pedro de Andrade and How Tasty Was My Little Frenchman 1971 Dir. Nelson Pereira dos Santos Screening: Tropicália 2012 Dir. Marcelo Machado Readings: Alvaray, Luisela. “National, Regional, and Global: New Waves of Latin American Cinema”. Cinema Journal, Vol. 47, No. 3 (Spring, 2008), pp. 48-65. PDF Andrade, Oswald, translation by Leslie Bary. “Cannibalist Manifesto” 1928. Latin American Literary review, Vol. 19, No. 38 (Jul. – Dec., 1991), pp. 38-47. PDF January 16th Seminar: Discussion of films and readings and comparative critique of Cinema Novo’s three phases. Film analysis / reading response papers due January 18th Module 2: Definitional origins of Third Cinema (Argentina) and its imperfections (Cuba) (Week 4,5,6) Week 4 – January 23rd / 25th January 23rd Lecture: Political contextualization of Argentina in the 60s (bombing of the Plaza de Mayo 1955, “Dirty War”, los desaparecidos). Introduction to The Hour of the Furnaces Excerpt: Las Madres: The Mothers of la Plaza de Mayo 1985 Dir. Lourdes Portillo. 5 �Sarah Shamash Course Syllabus: “Poetry and Politics in Latin American Cinema” Screening: La Hora de los Hornos 1968 (Eng. The Hour of the Furnaces) Dir. Octavio Getino and Fernando Solanas (Argentina) Reading(s): Getino, Octavio and Fernando Solanas. “Towards a Third Cinema”. Tricontinental, no. 14. (1969): pp. 107-132. PDF Chanan, Michael. “The Changing Geography of Third Cinema”. Screen (Special Latin American Issue). Vol. 38, No. 4 (Winter 1997). PDF January 25th Seminar: Discussion of film and readings and definitions of Third Cinema. Week 5 – January 30th / Feb. 1st January 30th Lecture: Introduction to the Cuban context and its cinematic imperfections (theoretical underpinnings) Excerpts: Tomás Gutiérrez Alea, Fresa y chocolate 1993 (Eng. Strawberry and Chocolate) Dir. Tomás Gutiérrez Alea (Cuba) Screening: Memorias del Subdesarollo 1968 (Eng. Memories of Underdevelopment) Dir. Tomás Gutiérrez Alea (Cuba) Reading(s): Alea, Tomás Gutiérrez. “Beyond the Reflection of Reality. In Cinema and Social Change in Latin America: Conversations with Filmmakers. Ed. Julianne Burton, 115-131. Austin: University of Texas Press, 1986 Alea, Tomás Gutiérrez. “The Viewer's Dialectic, III”. Trans. Julia Lesage. Jump Cut, A Review of Contemporary Media. no. 29, 1979, pp. 24-26 Web. http://www.ejumpcut.org/archive/onlinessays/JC32folder/ViewersDialectic3.html February 1st Seminar: Discussion of TGA’s practical and theoretical contributions to film history and theory (Third Cinema). Week 6 – February 6th / 8th February 6th Lecture: Mestizaje, Hybridity, Cinema, and Nation. Cinematic tensions between drama and documentary, realism and experimentalism in New Latin American Cinema and in Sara Gómez’ imperfect cinema Excerpts: De Cierta Manera 1974 (Eng. One Way or Another) Dir. Sara Gómez (Cuba) Screening: Maluala 1979 Dir. Sergio Giral 6 �Sarah Shamash Course Syllabus: “Poetry and Politics in Latin American Cinema” Reading (s): Espinosa, García. For an Imperfect Cinema. Trans Julianne Burton. Jump Cut, A Review of Contemporary Media no. 20, February 1984, pp. 18-21 Web. http://www.ejumpcut.org/archive/onlinessays/JC20folder/ImperfectCinema.html Stam, Robert. “Beyond Third Cinema: the aesthetics of hybridity.” In Rethinking Third Cinema. Eds. Dissanayake, Wimal and Guneratne, Anthony R., 31-45. New York: Routledge, 2003 February 8th Seminar: Discussion of films and readings and comparative analyses and critiques of expressions of Third Cinema in Brazil (“Aesthetics of Hunger”), Argentina (“Towards a Third Cinema”) and Cuba (“For an Imperfect Cinema”). Film analysis / reading response papers due. Module 3: Crossing the border, the border crossed us, and border films (Week 7,8) Week 7 – February 15th (NOTE: University closed Monday Feb 13th for Family Day) February 15th Lecture: From Latin American to Latina/o – crossing the border Excerpts: La Bamba 1987 Dir. Luis Valdez, Stand and Deliver 1988 Dir. Ramon Menendez Screenings: I am Joaquin 1969 Dir. Luis Valdez, Chicana 1979 Dir. Sylvia Morales Reading(s): Peña Sarmiento, Sandra. “Pocha Manifesto #1 (USA, 1994)” in Film Manifestos and Global Cinema Cultures: A Critical Anthology. Ed. Scott Mackenzie, 316-318. Berkeley: University of California Press, 2014 Available online via UBC bookstore Interview with Sylvia Morales: “Chicana Spectators and Mediamakers.” Osa Hidalga de la Riva, editor, Spectator 26:1 (Spring 2006): 49-54 PDF Note: Additional reading – Latina Filmmakers and Writers by Jenny Dean *Seminar and discussion will take place after screening of films: discussion of films and readings and on the roles and perspectives of Chicana/o filmmakers in the US, and how these roles and perspectives relate to New Latin American Cinema and its legacy. 7 �Sarah Shamash Course Syllabus: “Poetry and Politics in Latin American Cinema” NOTE: Midterm Break February 20th – 24th Week 8 – February 27st / March 1st February 27th Lecture: Border films – towards ‘el norte’ and the production of border cinema 1970s-present. Excerpts: El Norte 1983 Dir. Gregory Nava, Sin Nombre 2009 Dir. Cary Fukunaga Screening: La Jaula de Oro 2013 (Eng. The Golden Dream) Dir. Diego Quemada-Diez (Mexico) Reading(s): Naficy, Hamid. “Borders and Border Crossings.” An Accented Cinema: Exilic and Diasporic Filmmaking. 237-243. New Jersey: Princeton University Press, 2001 March 1st Seminar: Discussion of films and readings and on how chicano and contemporary Latin American and chicano films are in dialogue with earlier films and their social political (local, regional, national, and global) contexts. Film analysis / reading response papers due Module 4: from Indigenismo to Indigenous filmmaking (week 9,10,11,12) Week 9 – March 6th / 8th March 6th Lecture: Indigeneity in Latin America and Indigenous voices in documentary filmmaking Screening: Ixcanul 2015 Dir. Jayro Bustamante Reading: Schiwy, Freya. “Indigenous Media and the Politics of Knowledge.” Indianizing Film: Decolonization, the Andes, and the Question of Technology. New Brunswick, New Jersey, London: Rutgers University Press, 2009. 33-50. Additional Reading: http://www.latimes.com/entertainment/arts/miranda/la-etcam-jayro-bustamante-ixcanul-guatemala-palm-springs-film-fest-20160106column.html March 8th Seminar: Discussion of films and texts (indigenismo and indigenous film). Week 10 – March 13th / 15th 8 �Sarah Shamash Course Syllabus: “Poetry and Politics in Latin American Cinema” March 13th Lecture / screening: Indigenismo (Columbia – Marta Rodriguez and Jorge Silva), the Ukamau Group and Revolution Excerpts: Chircales 1966-1972 (Eng. The Brickmakers) Dir. Marta Rodriguez Embrace of the Serpent 2015 Dir. Ciro Guerra (Columbia) Screening: Yawar Malku: La Sangre del Condor 1969 (Eng. Yawar Malku: Blood of the Condor). Dir. Jorge Sanjínes (Bolivia) (https://www.youtube.com/watch?v=oJC7bJu2Ek4) Reading(s): Sanjinés, Jorge. “The all-encompassing sequence shot”. 1989. Trans. Cecilia Cornejo and Dennis Hanlon. Jump Cut, no. 54. Web. < http://www.ejumpcut.org/archive/jc54.2012/HanlonSanjines/index.html> Wood, David M.J. “Indigenismo and the Avant-garde: Jorge Sanjínes’ Early Films and the National Project.” Bulletin of Latin American Research, Vol. 25, No.1 (2006): pp.63-83. PDF March 15th Seminar: Oral presentations / Topics of research paper due (with tentative bibliography, filmography) Week 11 – March 20th / 22nd Lecture / screening: Indigenismo, contemporary context Indigeneity, and nationalism in the Screening: Pacha 2012 Dir. Hector Ferreiro (Bolivia) Reading: Fanon, Frantz. “On National Culture.” The Wretched of the Earth. 206248. New York: Grove Press, 1961 March 22nd Seminar: Oral presentations / Topics of research paper due (with tentative bibliography, filmography) Film analysis / reading response papers due Week 12 – March 27th / 29th March 27th: Lecture / screening: introduction to Indigenous sovereignty Screening: Birdwatchers 2008 Dir. Marco Bechis (Brazil) 1hr 44mins Reading: http://www.theglobeandmail.com/news/world/indigenous-suicide-crisisin-brazil/article34199700/ 9 �Sarah Shamash Course Syllabus: “Poetry and Politics in Latin American Cinema” Ginsburg, Faye. “Embedded Aesthetics: Creating a Discursive Space for Indigenous Media.” Cultural Anthropology 9.3 (1994): 365-382. PDF March 29th Seminar: Oral presentations / Topics of research paper due (with tentative bibliography, filmography) Week 13 – April 3rd / 5th Lecture / screening: Utopias, Indigenous film practices, and Fourth Cinema Aesthetics (Brazil – VNA, Bolivia – CEFREC-CAID, Mexico – Zapatista, Ecuador – CONAI) Screening: As Hiper Mulheres 2011 (Eng: The Hyperwomen). Dir. Carlos Fausto, Leonardo Sette, Takumã Kuikuro Readings: Murray, Stuart. “Indigenous Self-Expression: Outlining Fourth Cinema.” Images of Dignity: Barry Barclay and Fourth Cinema. Wellington, Aotearoa New Zealand: Huia Publishers, 2008. 11-30. PDF Aufderheide, Pat. “You See the World of the Other and You See Your Own”: The Evolution of the Video in the Villages Project. Journal of Film and Video, Volume 60, No. 2, Summer 2008 pp. 26-34 University of Illinois Press. PDF Oral presentations April 5th Seminar: Discussion and course conclusions Week 14th – April 10th Meetings - Office hours by appointment Final paper due Suggested critical readings (for final paper consultation): Burton, Julianne (Ed). Cinema and Social Change in Latin America: Conversations with Filmmakers. Austin: University of Texas Press, 1986 Columpar, Corinn. Unsettling Sights: The Fourth World on Film. New York: Southern Illinois University Press, 2010 Fanon, Frantz. The Wretched of the Earth. New York: Grove Press, 1961 Freire, Paulo. Pedagogy of the Oppressed. New York: Continuum, 2000 10 �Sarah Shamash Course Syllabus: “Poetry and Politics in Latin American Cinema” Gabriel, Teshome. Articles <http://teshomegabriel.net/>. & Other Works. Web. 28 October 2014 Ginsburg, Faye. “Indigenous Media: Faustian Contract or Global Village?” Cultural Anthropology, 6(1): 92–112. 1991. PDF Dissanayake, Wimal and Guneratne, Anthony R. (Eds). Rethinking Third Cinema. New York: Routledge, 2003 Himpele, Jeff D. Circuits of Culture: Media, Politics, and Indigenous Identity in the Andes. Minneapolis: University of Minnesota Press, 2008. Johnson, Randal, and Robert Stam. Brazilian Cinema. New York: Columbia University Press, 1995 Johnson, Randal. Cinema Novo x 5: Masters of Contemporary Brazilian Film. Austin: University of Texas Press, 1984. Mackenzie, Scott. Film Manifestos and Global Cinema Cultures: A Critical Anthology. Berkeley: University of California Press, 2014 Naficy, Hamid. An Accented Cinema: Exilic and Diasporic Filmmaking. New Jersey: Princeton University Press, 2001 Paranaguá, Paulo Antonio (Ed). Cine Documental en América Latina. (Documentary Film in Latin America). Madrid: Ediciones Càtedra, 2003 Pines, Jim and Paul Willemen. Questions of Third Cinema. London: BFI, 1989 Raheja, Michelle H. “Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans”. Film Journal of American History (2011) 98 (2): 555-556 Shohat, Ella, and Robert Stam. Unthinking Eurocentrism: Multiculturalism and the Media. London: Routledge, 1994 Smith, Linda Tuhiwai. Decolonizing Methodologies: Research and Indigenous Peoples. New York: Palgrave, St Martin’s Press, 1999 Turner, Terence. “Defiant Images: The Kayapo Appropriation of Video”. Anthropology Today, Vol. 8, No.6 (Dec., 1992), pp. 5-16 Xavier, Ismail. Allegories of Underdevelopment: Aesthetics and Politics in Modern Brazilian Cinema. Minneapolis: University of Minnesota Press, 1997 11 �Sarah Shamash Course Syllabus: “Poetry and Politics in Latin American Cinema” The Craft of Research. Booth, Colomb, Williams MLA Handbook for Writers of Research Papers. Joseph Gibaldi 12 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Syllabi Syllabus Title / Título (Original) A name given to the resources. El nombre original del recurso. Poetry and Politics in Latin American Cinema Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. 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. Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Argentina Bolivia Brazil / Brasil Colombia Cuba Guatemala Mexico / México U.S. Latino Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Abya Yala / Indigenous Americas Latin America / Latinoamérica U.S. Latino Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. New Latin American Cinema / Nuevo Cine Latinoamericano Contemporary / Contemporáneo Films taught / Películas <a href="https://cinegogia.omeka.net/items/show/352">El abrazo de la serpiente</a> Birdwatchers <a href="https://cinegogia.omeka.net/items/show/412">Chicana </a> <a href="https://cinegogia.omeka.net/items/show/239">Chircales</a> <a href="https://cinegogia.omeka.net/items/show/270">De cierta manera</a> <a href="https://cinegogia.omeka.net/items/show/79">Fresa y chocolate</a> <a href="https://cinegogia.omeka.net/items/show/141">La Hora de los Hornos</a> <a href="https://cinegogia.omeka.net/items/show/413">I am Joaquin </a> <a href="https://cinegogia.omeka.net/items/show/340">Ixcanul </a> <a href="https://cinegogia.omeka.net/items/show/362">La jaula de oro</a> <a href="https://cinegogia.omeka.net/items/show/345">Maluala</a> <a href="https://cinegogia.omeka.net/items/show/398">Las Madres de la Plaza de Mayo</a> <a href="https://cinegogia.omeka.net/items/show/34">Memorias del subdesarollo</a> <a href="https://cinegogia.omeka.net/items/show/267">El Norte </a> <a href="https://cinegogia.omeka.net/items/show/382">Pacha </a> <a href="https://cinegogia.omeka.net/items/show/354">Sin nombre</a> <a href="https://cinegogia.omeka.net/items/show/205">Terra em Transe</a> <a href="https://cinegogia.omeka.net/items/show/421">Tropicália </a> <a href="https://cinegogia.omeka.net/items/show/265">Yawar Mallku: La sangre del cóndor</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Sarah Shamash, Emily Carr University Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Poetry and Politics in Latin American Cinema Description An account of the resource 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. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/69e41b2bd7cb550f2068ec881101b05a.png?Expires=1773878400&Signature=U9NtnzkeYpCNStjndEmsVZUYO1iJRpESjnccSeXNED9eow2KmK0k7jK7Yuforld4mmo3X-xUYSBAPTjFc%7EQJuBc%7EhFKz%7ETOokzygLMSh%7EYArDXqfnG%7EyYIlFBQpVBOf7dxzFr7Kp3U-GdnKkTePE9W88gfnKtLD0np0Ak3Bae3uYarE0EcE73ZGwAPGSbRp77MhTyiqRTyCji-2Vufs9kvult1qNc42padCQ7CX06FA%7EqhZBA-rELkZG0GpoJbipQ5da6VdEnEMytxLX0QUE3AQK9ekfFzQbOWR%7EWupUyat4Ll8h4vVf-y%7ExHCoQgjBTRMi5fIua2U9SbPcyPbEXjQ__&Key-Pair-Id=K6UGZS9ZTDSZM 73a44eb54832d4897be97f3131785afb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Pacha Director The director of the film. El/La director/a de la película. Héctor Ferreiro Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2012 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / español Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. ¡ntento! Cine (México) Naira Cine (Bolivia) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Tito, un niño lustrabotas que trabaja en la ciudad de La Paz, Bolivia. La ciudad está siendo sacudida por fuertes movimientos sociales y, mientras esto sucede, alguien le roba a Tito su cajita con herramientas de trabajo. Impotente, el niño comienza una búsqueda donde los sueños y la realidad se confunden. Una misteriosa mujer que aparece en sus sueños lo lleva a un viaje por el antiguo camino del Inca y le muestra las maravillas de la naturaleza. Perdido y confundido en una realidad onírica, la búsqueda de su caja le lleva a una comprensión más profunda de su propio ser. Sin embargo, en la ciudad las protestas se convierten en violentos enfrentamientos. Una bala perdida alcanza a Tito y sólo en la frontera de la muerte se revela el misterio de la vida. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>) Tito, a shoeshine boy, sleeps on the streets of La Paz. Slumbering underneath a Zapata hat he dreams of another world until he is rudely awakened by his nightmarish present – and the discovery of the theft of the shoeshine box he needs to survive. Everywhere around him a constant battle is being waged against miserably impoverished social conditions. When the indigenous population makes a stand for their rights the police answer with tear gas and sharpshooting. A mysterious woman accompanies Tito in surreal dream sequences. She leads him down ancient Inca paths where he receives the wisdom of his ancestors and feels his spiritual bond with the earth, until the quiet of the mountains and the sound of the water are interrupted once more by the sound of street fighting. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Indigenous peoples / Pueblos indígenas Political violence / Violencia política Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pacha Description An account of the resource Tito, un niño lustrabotas que trabaja en la ciudad de La Paz, Bolivia. La ciudad está siendo sacudida por fuertes movimientos sociales y, mientras esto sucede, alguien le roba a Tito su cajita con herramientas de trabajo. Impotente, el niño comienza una búsqueda donde los sueños y la realidad se confunden. Una misteriosa mujer que aparece en sus sueños lo lleva a un viaje por el antiguo camino del Inca y le muestra las maravillas de la naturaleza. Perdido y confundido en una realidad onírica, la búsqueda de su caja le lleva a una comprensión más profunda de su propio ser. Sin embargo, en la ciudad las protestas se convierten en violentos enfrentamientos. Una bala perdida alcanza a Tito y sólo en la frontera de la muerte se revela el misterio de la vida. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>) Inca / Inka https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/4f860b40df81fc419cd9a23d7341c4c7.jpg?Expires=1773878400&Signature=SDyZc4RpGhaFCwH9YCwsQqEWiGnOr6jN8dps%7EsTJy4tXxKLofKI0hgPOBN7Wkqc9CbahCjdC6mvDxvnT6oqO6gWQGl%7E59HspKTMp4n8nmDMIvhyyxXG2%7E3TQ3zhtFs75mPNkNPKDbXmnMvddHStJeBGWKMCfCnocMfQ2XQjG1SZMlw4GDDmUXFg-yIw8kt5a1AAL0BBUNohaKO%7EJ4xC-6bJfkClqyED8XGC1HwJUa2JOEBFe7OvZ04QDf0rwFFZAH3TPDr%7E%7Ey5ry%7EaARoaHvJT5Wue-xb8nFeXK3dDRW86sIvHu0iL1vv7z3lGXm54p7g8nzPz1FkLTIXvvzrbdY4w__&Key-Pair-Id=K6UGZS9ZTDSZM 9c1c41a344cb5e717352ffc6481f74ae Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Sirionó Director The director of the film. El/La director/a de la película. collectively directed Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2010 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Indigenous / indígena Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Ivan Sanjinés (executive producer) CEFRAC-CAIB (Cinematography Education and Production Center - Bolivian Indigenous Peoples' Audiovisual Council) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. A fictional account of the Sirionó community of Ibiato, just before the historic 1990 March for Land and Dignity to the nation's capital. A revolutionary guerilla fleeing from the dictatorship's military forces is mistakenly accepted as the teacher the community has been expecting. (<a href="https://americanindian.si.edu/nafvf/TitleDetails.aspx?Title=35" target="_blank" rel="noreferrer noopener">Native American Film + Video Festival</a>) Una historia ficticia de la comunidad Sirionó de Ibiato justo antes de la primera marcha indígena por el Territorio y la Dignidad de 1990 a La Paz, la capital de Bolivia. Un guerrillero revolucionario, huyendo de las fuerzas militares de la dictadura, es aceptado por error como el maestro que la comunidad esperaba. (Translated by Andrew Magel) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Docu-drama Social problem films / cine sociológico Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Indigenous peoples / Pueblos indígenas Social inequality / Desigualdad social Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sirionó Description An account of the resource A fictional account of the Sirionó community of Ibiato, just before the historic 1990 March for Land and Dignity to the nation's capital. A revolutionary guerilla fleeing from the dictatorship's military forces is mistakenly accepted as the teacher the community has been expecting. (<a href="https://americanindian.si.edu/nafvf/TitleDetails.aspx?Title=35" target="_blank" rel="noreferrer noopener">Native American Film + Video Festival</a>) Indigenous filmmaking / producciones indígenas Sirionó https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/142114aeafc256085cb3bf6e98c39a7f.jpg?Expires=1773878400&Signature=FPh0GuV1nItF9-9vdveaUmoCG1eVG8yNqldGs%7EygMTBLuLNhbZWQQ2L%7EyTlQVLUHG0BUzpYQF0ty3DvHbBmXikZnuK3aF9rmYnfMmfAOqtQCzurYAjg0Iz-i4Uck56Qt0vCI1s0KQc7GHAAFDJIOPD3RDgPVWQijSZ545OUMC791PIS29PMQJPs6zxsPg2VXVzacjXsUx-ncg02FU-ya9cGtWCd3vuU9EMOX4EvMDF7nJoD-jHfvc5w7%7EqesbJeWCGmuBDa-rs33MMQouw0qDwJrSgzR3-MHQ93k6K56ImAZ11WRa4adP42RZL9AAWBad4%7EPU9foCI25LhmfZLqptw__&Key-Pair-Id=K6UGZS9ZTDSZM f28f6f20a1af3ac35b06af2fb0f67f1b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Yvy Maraey, tierra sin mal Title Yvy Maraey, Land Without Evil Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2013 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / español Indigenous / indígena Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Ibermedia (Spain) Cinenómada PJB Picture Company Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Andrés, cineasta de la pequeña burguesía boliviana, enfrenta una crisis de identidad que pretende resolver a través de un viaje físico y espiritual a una zona guaraní en el sur de Bolivia, en busca de la “tierra sin mal” donde supuestamente sobreviven, aislados del mundo, indígenas originarios. En ese trayecto de exploración y búsqueda es acompañado por Yari, un evolucionado guaraní que, con un pie en el mundo de los karai (blancos), ha aprendido a desconfiar de ellos. El contrapunto que ofrece el personaje de Yari a lo largo del viaje, ayuda a mostrar no solamente el pesado fardo de contradicciones que trae consigo Andrés, sino las de aquellos guaraníes que están a medio camino de una modernidad con la que mantienen una relación conflictiva de amor y odio, pues aproximarse al mundo de los karai los beneficia de alguna manera, pero los hace parecerse a ellos, perder parte de su identidad. Source: Gumucio, Alfonso. "Yvy Maraey." Archipielago. Revista cultural de nuestra América, vol. 21, no. 84, 2014, pp. 42-43. Andrés, a middle-class Bolivian filmmaker, faces an identity crisis that he tries to resolve through a physical and spiritual journey to the Guaraní region in the south of Bolivia, searching for a "land without evil" where indigenous people supposedly still survive, isolated from the rest of the world. On this journey of exploration and searching, Andrés is accompanied by Yari, a Guaraní who, with one foot in the world of the karai (whites), has grown to distrust them. The character of Yari offers a counterpoint throughout the journey, as his presence not only reveals the heavy load of contradictions that Andrés brings with him, but also the contradictions of those Guaraní who have partially adapted to the modern world, maintaining a love-hate relationship with modernity. Joining the world of the karai benefits them in some ways, but also causes them to lose part of their Guaraní identity. (Translated by Andrew Magel) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama Road films / road movie Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Ethnicity / Etnicidad Identity / Identidad Indigenous peoples / Pueblos indígenas Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Available at Website, streaming service, distributor Pragda, <a href="https://pragda.com/film/yvy-maraey-land-without-evil" target="_blank" rel="noreferrer noopener">https://pragda.com/film/yvy-maraey-land-without-evil</a> Film Guide / Guía de película Add link to related film guide Guía en español, <a href="https://cinegogia.omeka.net/items/show/834">https://cinegogia.omeka.net/items/show/834</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yvy Maraey, tierra sin mal Description An account of the resource Andrés, cineasta de la pequeña burguesía boliviana, enfrenta una crisis de identidad que pretende resolver a través de un viaje físico y espiritual a una zona guaraní en el sur de Bolivia, en busca de la “tierra sin mal” donde supuestamente sobreviven, aislados del mundo, indígenas originarios. En ese trayecto de exploración y búsqueda es acompañado por Yari, un evolucionado guaraní que, con un pie en el mundo de los karai (blancos), ha aprendido a desconfiar de ellos. El contrapunto que ofrece el personaje de Yari a lo largo del viaje, ayuda a mostrar no solamente el pesado fardo de contradicciones que trae consigo Andrés, sino las de aquellos guaraníes que están a medio camino de una modernidad con la que mantienen una relación conflictiva de amor y odio, pues aproximarse al mundo de los karai los beneficia de alguna manera, pero los hace parecerse a ellos, perder parte de su identidad. Source: Gumucio, Alfonso. "Yvy Maraey." Archipielago. Revista cultural de nuestra América, vol. 21, no. 84, 2014, pp. 42-43. Guaraní https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/65caa0cb5e74a940d2972cda1cd0835a.jpg?Expires=1773878400&Signature=A%7ENVTO3ar3rcarPQTK31V-etdWUffAtexMP6uOaErEUCTzoaoTZ4hu0g5l71LU0afN0NDUYZp2VdAMgXBZ5ZfpMjmupzTgJ7VdgryCF4y8fQBnqrXR23Yk1JzBypmYNODtrOy%7Eg022-1ZEh0EnDbV-8dQkwq-6YKLV75l7UjrO7RR0wGaf7u93NNzP9TqdgmTPOevuJIOei1ODrIPpkauTMn9tqjGvtcob-umR4z6PgvRc3S3yzG2JSMb9-xdiJ8IpH5V9C47Sw5WkJCZZSMepOEfJsFCZoqFTbnudKWUkwJ0ELBBnNnIPcAoUqquBt0qxWVJhabaLwizWrG0HEpYw__&Key-Pair-Id=K6UGZS9ZTDSZM a6cea7fcda34c687b58533974d6e5730 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Chuquiago Director The director of the film. El/La director/a de la película. Antonio Eguino Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1977 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / español Indigenous / indígena Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Grupo Ukamau (Bolivia) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. La ciudad de La Paz (Chuquiago) es escenario de cuatro historias. Isico es el niño que llega del campo a la gran ciudad, sus deseos de aprender, de conocer la inmensa ciudad quedan atrapados al ser sometido a la explotación, lleva la pesada carga de la sociedad. Johnny el joven de la clase baja, viste a la moda, usa melena y trata de escapar a su humilde origen, a sus raices, su meta es salir hacia el país del norte, le molesta seguir la tradición familiar de bailar año tras año en la fiesta del Gran Poder. Carloncho el funcionario público de clase media, trabaja como empleado público para mantener a su familia y lleva una vida paralela de amigos, parrandas, y prostitutas, es en cierto modo el escape a su mediocridad, a la realidad de no poder aspirar a algo mejor en la vida. Patricia es hija de una familia rica pero con ideales revolucionarios, lo que le enfrenta a su familia. En una ciudad dividida y clasista termina negando sus ideales al casarse con alguien a quien no ama pero que pertenece a su misma clase social. Chuquiago es el film más taquillero de la historia del cine boliviano. (<a href="http://www.nativeamericanfilms.org" target="_blank" rel="noreferrer noopener">NativeAmericanFilms.org</a>) The city of La Paz (Chuquiago) is the setting for four different storylines. Isico is a child arriving to the big city from the countryside. His desire to learn about and discover the immense city is trampled as he is subjected to exploitation and must carry the heavy burden of society. Johnny is a young man who dresses fashionably and wears his hair long; he desperately wants to escape the lower class and forget his Aymara roots by leaving his country and fleeing to the north. He is annoyed by his family's insistence that he dance every year at the feast of the Great Power. Carloncho is a middle class public official who works as a government employee to support his family. He also leads a parallel life, partying with his friends and prostitutes. His secret lifestyle provides an escape from his mediocrity and the reality of not being able to aspire to something better in life. Patricia, the daughter of a wealthy family, holds revolutionary ideals which leads to confrontation with her family. In a divided and classist society, she ends up rejecting these ideas by marrying someone she does not love but who belongs to her social class. Chuquiago is the biggest box-office film in Bolivian film history. (Translated by Andrew Toth) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama Social problem films / cine sociológico Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Indigenous peoples / Pueblos indígenas Relationships / Relaciones Urban Life / Vida urbana Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. New Latin American Cinema / Nuevo Cine Latinoamericano Available at Website, streaming service, distributor <a href="https://youtu.be/Ob6-OwZwup0" target="_blank" rel="noreferrer noopener">https://youtu.be/Ob6-OwZwup0</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chuquiago Description An account of the resource La ciudad de La Paz (Chuquiago) es escenario de cuatro historias. Isico es el niño que llega del campo a la gran ciudad, sus deseos de aprender, de conocer la inmensa ciudad quedan atrapados al ser sometido a la explotación, lleva la pesada carga de la sociedad. Johnny el joven de la clase baja, viste a la moda, usa melena y trata de escapar a su humilde origen, a sus raices, su meta es salir hacia el país del norte, le molesta seguir la tradición familiar de bailar año tras año en la fiesta del Gran Poder. Carloncho el funcionario público de clase media, trabaja como empleado público para mantener a su familia y lleva una vida paralela de amigos, parrandas, y prostitutas, es en cierto modo el escape a su mediocridad, a la realidad de no poder aspirar a algo mejor en la vida. Patricia es hija de una familia rica pero con ideales revolucionarios, lo que le enfrenta a su familia. En una ciudad dividida y clasista termina negando sus ideales al casarse con alguien a quien no ama pero que pertenece a su misma clase social. Chuquiago es el film más taquillero de la historia del cine boliviano. (<a href="http://www.nativeamericanfilms.org" target="_blank" rel="noreferrer noopener">NativeAmericanFilms.org</a>) Aymara https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/4b1882166372e38ed29f1f9b3ac6b313.jpeg?Expires=1773878400&Signature=vqi5ppq3ngcAq5ZjbICgog%7EwQ0yZoRTsORIVfqQSgcOZhRM9CWgTXyQmzxEIgXHNx0jGI6cE-QQi7QnZM2XitIk--4gYiVWob9IOfVE7Kr7fevSeMwd3WvJzKDnpyh0ch21HXKUYI8i9rkxqVklM4NAY0%7EeL42H9muJn4ZLl7Yg12cI57qkn2UQddw5kY4WcQZNEZyS8tBSlnSHYxgHFyBi6swOYbf3iPE%7E1flzHtiYt58ScbrYR82TqbAMo9j5urJDGjMVpPR4afUdIuPSuM-9BjSIG5ozgHmF6wTDzp3jr-%7EZ3S5hAdeHkf9E46KeQlMIJq-5mwJPq1cfMueU99w__&Key-Pair-Id=K6UGZS9ZTDSZM 6e8b9b2be26deacbb0e81a01eb95bbc3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Carga sellada Title Sealed Cargo Director The director of the film. El/La director/a de la película. Julia Vargas Weise Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2015 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / español Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Imagina Films (Bolivia) Arte Mecánica Producciones (Bolivia) Cieca Films (Bolivia) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Una carga misteriosa de supuestos minerales tóxicos aparece en la planicie andina alertando a la población. El gobierno encarga a un ambicioso capitán de policía la misión secreta de deshacerse de ellos, desentendiéndose luego de su destino. A cargo de un grupo de policías y un maquinista anarquista, el recorrido de rutina se convierte en un viaje errante y trágico. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener">Film Affinity ES</a>) With a promotion in the offering and his beautiful wife Nena at his side, things couldn’t be better for ambitious policeman Hector Mariscal. Before he can enjoy the good life, though, a final, top-secret assignment must be carried out: to transport-by rail-a highly toxic cargo across Bolivia’s high desert backcountry and “dispose” of it in a remote indigenous village. With kind engineer Klinger guiding his beloved steam locomotive Federica, and presented with a crew of hapless cops and an unexpected young stowaway, Mariscal finds that there’s much more on the line than he imagined in this sharp, energetic satire. Bolivia’s official entry for Best Foreign Language Film at this year’s Academy Awards®, Julia Vargas-Weise’s third feature is a lively rejoinder to that country’s status as a dumping ground for the world’s industrial waste. Rich in symbolism and in spirit, Sealed Cargo is a terrific ride through the seldom-seen Altiplano and a potent reminder of what really matters. (<a href="https://pragda.com/film/sealed-cargo/" target="_blank" rel="noreferrer noopener">Pragda</a>) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Action and adventure films / cine de acción, cine de aventuras Docu-drama Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Environment / El medio ambiente Indigenous peoples / Pueblos indígenas Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Available at Website, streaming service, distributor Pragda, <a href="https://pragda.com/film/sealed-cargo/" target="_blank" rel="noreferrer noopener">https://pragda.com/film/sealed-cargo/</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Carga sellada Description An account of the resource Una carga misteriosa de supuestos minerales tóxicos aparece en la planicie andina alertando a la población. El gobierno encarga a un ambicioso capitán de policía la misión secreta de deshacerse de ellos, desentendiéndose luego de su destino. A cargo de un grupo de policías y un maquinista anarquista, el recorrido de rutina se convierte en un viaje errante y trágico. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener">Film Affinity ES</a>) https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/c8bcd0ac566777e0eccaf2b99ecb7472.png?Expires=1773878400&Signature=rG-kTsbqlxxy7p7md1CxfN0abZ36sXmm-oPtpLNFYY1tuBvekRqhphov%7E3Ji0uIMwQoGXRwcwv88lHJig-cX4w2QhWlH9CJQNXzoGTi1eD%7ECabS0znxRTv6o8ODfxK1WztOZHxyjdoRRF9Irq3m-BMM4zFhXrnJR4QGiLVlA5dX9SmWUK-DQVveZY-ZHTO7x%7Ex1nmxd-A8pE9h5U-3PrBBMsnbdaCqiolBvUdCRW1do8FQeZ0JWuHZ2V2ZH7OAGjOAgedfiOShn0mrH-R05tYPCRy6uz0KFxNf3KG6wIP8wSGHGyraFdueBYmlVF5qYaz5TMbgPxvyZqFaT8NEdGvw__&Key-Pair-Id=K6UGZS9ZTDSZM 16926ed5b81df0b6acf09dd50a0575ff Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Zona Sur Title Southern District Director The director of the film. El/La director/a de la película. Juan Carlos Valdivia Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2009 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / español Indigenous / indígena Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Cine Nómada (Bolivia) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Anunciada como una cinta que se alimenta de experiencias personales del guionista y director, pero sin llegar a lo autobiográfico, Zona Sur cuenta la cotidianidad de una familia de la clase acomodada paceña que vive en la Zona Sur de la ciudad, en días en que el Gobierno de Evo Morales comienza su mandato. La historia, narrada con cuidados planos secuencia circulares, transcurre casi en su totalidad al interior de la mansión familiar. Su afán es mostrar la convivencia entre los miembros -formales y no formales- de la familia. [...] Esta galería de personajes le permite a Valdivia construir un fresco de una clase alta paceña que se halla sumida en una decadencia económica y moral aparentemente insalvable; una clase social a la que el «proceso de cambio» ha condenado a una clandestinidad insólita que -literalmente- es incapaz de superar. Sin embargo, el director no se queda en el descubrimiento de las cuitas de la clase jailona paceña, sino que, desde esa -con el perdón del maestro Sanjinés- (anti)nación clandestina, se atreve a hablar de las tensiones irresolubles que ha dado lugar este nuevo momento histórico. (Espinoza, Santiago. "Crítica de Zona sur." Una cuestión de fe: Historia (y) crítica del cine boliviano de los últimos 30 años (1980-2010). [Cochabamba], Editorial Nuevo Milenio, 2011. Disponible en <a href="http://ibermediadigital.com/ibermedia-television/criticas/la-antinacion-clandestina-zona-sur-2009/" target="_blank" rel="noreferrer noopener">Ibermedia Digital</a>). La Paz’s Zona Sur neighborhood is Bolivia’s most exclusive enclave and has housed the country’s affluent elite for generations. In an adobe-tile-roofed castle, a statuesque matriarch reigns over her spoiled offspring and indigenous servants. But social change, however unwelcome, is on its way. As the mother squabbles with her self-indulgent, oversexed teenage son and clashes with her petulant daughter, her 6-year-old boy wanders the rooftops unsupervised. The scent of impending decline permeates the air, and the threat of shifting aristocratic privilege heralds a new era in a seemingly interminable class war. (<a href="https://pragda.com/film/southern-district/" target="_blank" rel="noreferrer noopener">Pradga</a>) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Indigenous peoples / Pueblos indígenas Relationships / Relaciones Social inequality / Desigualdad social Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Available at Website, streaming service, distributor Pragda, <a href="https://pragda.com/film/southern-district/" target="_blank" rel="noreferrer noopener">https://pragda.com/film/southern-district/</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zona Sur Description An account of the resource Anunciada como una cinta que se alimenta de experiencias personales del guionista y director, pero sin llegar a lo autobiográfico, Zona Sur cuenta la cotidianidad de una familia de la clase acomodada paceña que vive en la Zona Sur de la ciudad, en días en que el Gobierno de Evo Morales comienza su mandato. La historia, narrada con cuidados planos secuencia circulares, transcurre casi en su totalidad al interior de la mansión familiar. Su afán es mostrar la convivencia entre los miembros -formales y no formales- de la familia... Esta galería de personajes le permite a Valdivia construir un fresco de una clase alta paceña que se halla sumida en una decadencia económica y moral aparentemente insalvable; una clase social a la que el «proceso de cambio» ha condenado a una clandestinidad insólita que -literalmente- es incapaz de superar. Sin embargo, el director no se queda en el descubrimiento de las cuitas de la clase jailona paceña, sino que, desde esa -con el perdón del maestro Sanjinés- (anti)nación clandestina, se atreve a hablar de las tensiones irresolubles que ha dado lugar este nuevo momento histórico. (Espinoza, Santiago. "Crítica de Zona sur." Una cuestión de fe: Historia (y) crítica del cine boliviano de los últimos 30 años (1980-2010). [Cochabamba], Editorial Nuevo Milenio, 2011. Disponible en <a href="http://ibermediadigital.com/ibermedia-television/criticas/la-antinacion-clandestina-zona-sur-2009/" target="_blank" rel="noreferrer noopener">Ibermedia Digital</a>). Aymara Domestic labor / trabajo doméstico https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/39d1204263bc9762f2a45f82fdab2a8d.pdf?Expires=1773878400&Signature=g7uYWw3MW54WP1-jzQobMyEQ8SNoAcfRULQXwBLPioVKV6Ew6Q1x4-hkP-K4hH1TRuZ0CoRbCn96J0aURMQQSQiFQcKzTFKjruYYQqtGvrMUMW5971vOzuCM6C4jUGiHUyF31ulhmb6g66cGmVARChthywVeS3vijBNaWVVRD-EoMOXU4QMUKlZAyxmqci4i7eeu6zSzGEtnsINWtLiO6Jmou2XdLgE68nhwygK3J3Fflqo8%7EZ10nVZIHiRD7UxM3v%7E-0wTcHmkiamFdMqrmtkpZYl0y3pf2ZZrl6amM%7EWmxZQcwN2NAMOnrjNuPGHwbFFvKQibVoKzcZ9QA4HDiZA__&Key-Pair-Id=K6UGZS9ZTDSZM 935f7cf7ddc4e2a4abe69b84b065c3af PDF Text Text Contributed by David Wood and Ana Nahmad, Universidad Autónoma de México (UNAM) CINE Y REVOLUCIÓN EN AMÉRICA LATINA. POLÍTICA, CULTURA E HISTORIA DE LAS IMÁGENES EN MOVIMIENTO Programa de posgrado en Estudios Latinoamericanos UNAM Semestre 2014-2 Dr. David Wood, IIE-UNAM. Mtra. Ana Nahmad, PPELA-UNAM Horario y lugar de los seminarios: Los jueves de las 10.00 a las 14.00 Salón F 302, Unidad de posgrado Presentación 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. Uno de los primeros momentos de esta relación se desarrolla en las vanguardias cinematográficas de la primera mitad del siglo XX, a través de realizadores como el soviético Serguei Eisenstein, que estuvo en México en la década de los años 30. La revolución también será motivo del cine de ficción y del documental, jugando un papel determinante en las turbulentas movilizaciones sociales, desde la Revolución Mexicana de 1910-1917, pasando por la boliviana de 1952 y la cubana de 1959. Ese primer momento marcará las producciones posteriores y se convertirá en un tema formal y en un motivo argumental. A la par, la crítica social se comenzó a construir a través de las distintas formas de realismos (desde el neorrealismo, hasta las nuevas formas del cine documental), como antecedente de un nuevo momento de quiebre que se desplegará bajo la rúbrica de Nuevo Cine Latinoamericano. Es en la década de los años cincuenta que comienza a surgir una nueva relación entre cine y revolución, a través de un despertar del realismo en la pantalla y el ejercicio estético de la crítica. Todo lo anterior derivará en la conformación, en los años sesenta y setenta, de un movimiento múltiple que combinará el binomio cine y liberación, como respuesta a la exacerbación de la violencia política en América Latina. El impulso del cine y su relación revolucionaria tendrá un momento de quiebre con el fin de los grandes meta-relatos (donde se encuentra la noción misma de revolución), aunado al cambio de soportes en la década de los años ochenta. 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. Criterios de evaluación: �Asistencia (10%), lecturas y participación en clase (10%), presentación de un tema al grupo (10%), un primer trabajo escrito sobre la exposición (20%) y un ensayo final (50%). Mínimo de asistencia: 80% Clase 1. 30 de enero de 2014 La politicidad en potencia de las imágenes cinematográficas - El corto siglo XX y la revolución - Desastre y documento Textos: - HOBSBAWM, Eric, “Vista panorámica del siglo XX” y “La revolución mundial” en Historia del siglo XX, 2º ed., Barcelona, Crítica, 2001, pp. 11-26 y 62-91. - COMOLLI, Jean-Louis, “Malas compañías: documento y espectáculo”, en Cuadernos de cine documental, nº 3, Santa Fe, Universidad Nacional del Litoral, 2009. http://bibliotecavirtual.unl.edu.ar:8180/publicaciones/bitstream/ 11185/3524/1/CINE_2009_3_pag_76_89.pdf Clase 2. 6 de febrero de 2014 Elementos para el análisis cinematográfico y arte-revolución en América Latina Textos: - BORDWELL, David y Kristin Thompson, El arte cinematográfico: una introducción, Barcelona, Paidós, 1995. �- CRAVEN, David, Art and Revolution in Latin America, 1910-1990, New Haven, Yale University Press, 2002. Clase 3. 13 de febrero Vanguardia y revolución - Eisenstein en México, las implicaciones de una tradición que se inventó. - ¡Que viva México! (Sergei M. Eisenstein, 1930-32) y Redes (Emilio Gómez Muriel y Fred Zinnemann, 1934). - La reproductibilidad técnica de las imágenes como condición política y crítica histórica Nota: Película completa de Redes (65’) y el Episodio “Maguey” de ¡Que viva México! Textos: - PICK, Zuzana, “‘¿Usted sabe lo que es un sarape?’ Intercambios culturales y los debates en torno a lo mexicano en el proyecto inconcluso de Eisenstein” en Takwá, núm. 8, Otoño 2005, pp. 137-153. - KRIPPNER, James y otros, Paul Strand en México, Aperture Foundation/Fundación Televisa/La Fábrica Editorial. Singapur, 2010. 360 pp. - BUCK-MORSS, Susan, “Capítulo 5. Sueño y despertar” en Mundo soñado y catástrofe. La desaparición de la utopía de masas entre el Este y el Oeste, Madrid, La balsa de la Medusa, 2004, pp. 195-233. - BENJAMIN, Walter, La obra de arte en la época de su reproductibilidad técnica [URTEXT], Trad. Andrés E. Weikert, México, Ítaca, 2003, 128 pp. Bibliografía complementaria: - Salazkina, Masha, In Excess: Sergei Eisenstein’s Mexico, Chicago, The University of Chicago, 2009. �- BORDWELL, David, El cine de Eisenstein, Barcelona, Paidos, 1999, pp. 21-60 Clase 4. 20 de febrero de 2014 Documentalismo y revolución: México, Bolivia y Cuba - Memorias de un mexicano (Carmen Toscano, 1950) - Jorge Ruiz y el Instituto Cinematográfico Boliviano. - Cuba y el ICAIC, hegemonía cultural para América Latina. Textos: - CHANAN, Michael, “The Documentary in the Revolution” en Cuban cinema, Minneapolis, University of Minnesota Press, 2004, pp.184-217. - GUMUCIO DAGRON, Alfonso, "Jorge Ruiz", en Paulo Antonio Paranaguá (ed.), Cine Documental en América Latina, Madrid, Cátedra, 2003, pp.141-149. - RODRÍGUEZ, Mikel Luis, “ICB: El primero organismo cinematográfico institucional en Bolivia (1952- 1967)” en Secuencias. Revista de historia del cine, no. 10, segunda época, Madrid, julio de 1999. - WOOD, David, “Memorias de una mexicana: La Revolución como monumento fílmico” en Secuencia, no. 75, pp.147-170. Hemerografía: - Sobre la fundación del ICAIC consultar en número 1 de la revista Cine cubano, revisar todo el dossier. Clase 5. 27 de febrero de 2014 El cine social o los diversos realismos: - Birri y Pereira dos Santos. �- Vida secas (Nelson Pereira dos Santos, 1963) y Tire die (Fernando Birri, 1958). - Los olvidados (Luis Buñuel, 1950) Textos: - PARANAGUÁ, Paulo Antonio, “Neorrealismo” en Tradición y modernidad en el cine de América Latina, España, Fondo de Cultura Económica, 2003, pp. 170-199 - BIRRI, Fernando, La escuela documental de Santa Fe. Una experiencia-piloto contra el subdesarrollo cinematográfico en Latinoamérica, Santa Fe, Argentina, Editorial Documento de la Universidad Nacional del Litoral, 1964. - PARANAGUÁ, Paulo Antonio, “Cambio de enfoque la búsqueda de una visión latinoamericana” en Heredero, Carlos F. y Casimiro Torreiro (coomp.), Historia general del cine, Volumen X. Estados Unidos (1955-1975) América Latina, pp. 281-335. Clase 6. 6 de marzo de 2014 Los nuevos cines en emergencia: la ruptura y la nueva noción continental. - Cine clubismo y universidad: Grupo Nuevo Cine y Festivales de cine experimental en México: La fórmula secreta (Rubén Gámez, 1965) - El Centro Experimental de la Universidad de Chile: A Valparaiso (Joris Ivens, 1963) - Viña 67 y sus antecedentes como configuradores de una tradición continental: Manuela (Humberto Solás, 1966) y Revolución (Jorge Sanjinés, 1963) Textos: - RAMÍREZ MIRANDA, Francisco Javier, “Medio siglo del CUEC, primera escuela de cine en México (en prensa) - Los años de la ira. Viña del Mar 67, Idea, selección y prólogo Alfredo Guevara y Raúl Garcés, La Habana, Ediciones Nuevo Cine Latinoamericano, 2007, pp. 70-82. - SALINAS MUÑOZ, Claudio y Hans Stange Marcus, Historia del cine experiemental en la universidad de Chile. 1957-1973, Santiago, Uqbar Editores, 2007, pp. 13-75. �- LEON FRIAS, Isaac, “Contextos”, en El nuevo cine latinoamericano de los años sesenta: entre el mito político y la modernidad fílmica, Lima, Fondo Editorial Universidad de Lima, 2013, pp.37-82. Documentos: - Julio García Espinoza, “Por un cine imperfecto” (1969), en Un largo camino hacia la luz, Fondo Editorial Casa de las Américas, 2002. - “Manifiesto del Grupo Nuevo Cine”, en Hojas de cine. Testimonios y documentos del nuevo cine latinoamericano, Vol. 2, México, SEP, UAM, pp. 33-34. Clase 7. 20 de marzo Las rupturas del 68: La hora de los hornos (Solanas y Getino, 1968), Yawar Malku (Grupo Ukamau, 1969) y El Grito (Leobardo López, 1968). Textos: - MESTMAN, Mariano, “Las masas en la era del testimonio. Notas sobre el cine del 68 en América Latina”, en Mestman, Mariano y Mirta Varela (coords), Masas, pueblo, multitud en cine y televisión, Buenos aires, Eudeba, 2013, pp. 179-215. - GONZÁLEZ REQUENA, Jesús, "Del lado de la fotografía: una historia del cine en los márgenes del sistema de representación clásico" en PÉREZ PERUCHA, Julio (coord.), Los años que conmovieron al cinema. Las rupturas del 68, Valencia, Ediciones Textos Filmoteca, Filmoteca de la Generalitat Valenciana, 1988. - SÁNCHEZ-BIOSCA, Vicente, “Capítulo 9. El resurgir de la vanguardia política: en Jean-Luc Godard y Fernando Solanas” en Cine y vanguardias artísticas. Conflictos, encuentros, fronteras, Barcelona, Paidos, 2004, pp. 229-247. Documentos: SOLANAS, Fernando y Octavio Getino, Hacia un tercer cine (1969), en Hojas de Cine. Bibliografía complementaria: - DELLA VOLPE, et. al., Problemas del nuevo cine, Alianza Editorial, Madrid, 1971. (Revisar introducción) �Clase 8. 27 de marzo de 2014 El Cinema Novo y otras rupturas - La revolución es una estética: Glauber Rocha - El antidocumental: Triste Trópico (Artur Omar, Brasil, 1974) Lecturas: - Rocha, Glauber, La revolución es una eztétyka: por un cine tropicalista, presentación, Ismail Xavier, Buenos Aires, Argentina, Caja Negra, 2011. (IIE: PN1993.5 B6 R63718) Nagib, Lúcia, Brazil on Screen: Cinema Novo, New Cinema, Utopia, Londres, I.B. Tauris, 2007. Omar, Arthur, "El antidocumental, provisionalmente" [1978], en Paulo Antonio Paranaguá (ed.), Cine Documental en América Latina, Madrid, Cátedra, 2003, pp. 468-471. Stam, Robert y Ella Shohat, “Las estéticas de las resistencias”, en Multiculturalismo, cine y medios de comunicación: crítica del pensamiento eurocéntrico, Barcelona, Paidós, 2002, pp. 249-315. Clase 9. 3 de abril de 2014 La emergencia de la voz de los otros: cine, contra-información y memoria popular. - El camino hacia la muerte del viejo Reales, (Gerardo Vallejo, 1971) - El coraje del Pueblo (Grupo Ukamau, 1971) - Otro país, de Cooperativa de Cine Marginal (1972). Textos: - CHANAN, Michael, “Rediscovering Documentary: Cultural Context and Intentionality” [1985], en Michael T. Martin (ed.), New Latin American Cinema, vol.1, Theory, Practices, and Transcontinental Articulations, Detroit, Wayne State University Press, 1997, pp.201-217. - VÁZQUEZ MANTECÓN, Álvaro, El cine super 8 en México (1970-1989), Filmoteca de la UNAM, México, 2013. �- AIMARETTI, María Gabriela, Revivir la experiencia, narrar la masacre, impugnar la Historia: sobre el uso del testimonio en “El coraje del pueblo” (Grupo Ukamau-Jorge Sanjinés, 1971) Revista Afuera, Nº 12, Año VII, Junio 2012. Complementaria: - MESTMAN, Mariano, “Entre Argel y Buenos Aires: el Comité de Cine del Tercer Mundo (1973/1974)”, en: Susana Sel (comp.), Cine y fotografía como intervención política, UBA-Museo del Cine-Ed.Prometeo, 2007. Clase 10. 10 de abril de 2014 La radicalización: cine, y violencia política en los años 70 - La triple A son las tres armas (Grupo cine de la base, 1977) - El enemigo principal (Grupo Ukamau, 1973) - La batalla de Chile, (Patricio Guzmán, 1972-1979) [Analizar específicamente la parte 3: El poder popular, 1979] - Nuestra voz de tierra, memoria y futuro, (Marta Rodríguez y Jorge Silva, 1978-1981) Textos - RUFFINELLI, Jorge, El cine de Patricio Guzmán. En busca de las imágenes verdaderas, Santiago, Uqbar Editores, 2008, pp.49-133. SANJINÉS, Jorge y Grupo Ukamau, Teoría y práctica de un cine junto al pueblo, 3º ed., México, Siglo XXI, 1987, pp. 38-73. ÁLVAREZ, Luis Alberto, “Cine colombiano mágico” [1982], en Páginas de cine, vol. 1, Medellín, Universidad de Antioquia, 2005, pp.19-22. Disponible en línea: http://maderasalvaje.blogspot.mx/2013/05/andar-la-palabra-el-mes-demarta.html Lecturas complementarias: - Encuentro de Cineastas Latinoamericanos en Solidaridad con el Pueblo y los Cineastas de Chile. Por un cine latinoamericano, Caracas, Fondo editorial Salvador de la Plaza, 1974. Biblioteca CUEC PN1993.5E6 E53 1974 �- GUZMÁN, Patricio y Pedro Sempere, Chile. El cine contra el fascismo, Valencia, Fernando Torres Editor, 1977. Clase 11. 24 de abril de 2014 Mujeres y revolución Lucía (Humberto Solás, 1968) De cierta manera, (Sara Gómez y Gutiérrez Alea, 1974) Mujer así es la vida (Taller de cine octubre, 1975-1980) Lecturas: - RICH, Ruby, “Hacia una demanda feminista en el nuevo cine latinoamericano” en Debate Feminista, año 3., Vol. 5., Marzo 1992 en http:// www.debatefeminista.com/PDF/Articulos/haciau1027.pdf - RODRÍGEZ, Israel, “Mujer, así es la vida (1975-1980). Cine militante y feminismo en el México de los años setenta”, en prensa. - DIÉGUEZ, Danae, “Cine de mujeres en cuba: ¿atisbos de un contracine?” en Conquistando la Utopía. El ICAIC y la Revolución 50 años después, La Habana, Ediciones ICAIC, 2010, pp. 149-165. Clase 12. 8 de mayo de 2014 Revolución en Centroamérica - Cuando las montañas tiemblan (Pamela Yates , 1982) - Salvador, el pueblo vencerá, (Diego de la Texera, 1980). Lecturas: - GUMUCIO DAGRON, Alfonso, El cine de los trabajadores: el súper ocho en América Latina. �- CORTÉS, María Lourdes, La Pantalla Rota. Cien años de cine en Centroamérica,  México, Santillana Ediciones, Col. Taurus Historia, 2005, 614 pp. - CORTÉS, María Lourdes. “Centroamérica en celuloide. Mirada a un cine oculto”. Istmo. Revista virtual de estudios literarios y culturales centroamericanos 13, julio-diciembre 2006 en http://collaborations.denison.edu/istmo/n13/articulos/ celuloide.html - CALVO, Gaudi, “Cine guerrillero Centroamericano”, en Archipiélago, Vol. 11, no. 44, http://revistas.unam.mx/index.php/archipielago/article/viewFile/ 19700/18691 - SÁNCHEZ-PAGÁN, Maribel, “Charla con el cineasta Diego de la Texera”, Revista Surco Sur, Vol. 1, 65-69, 2010, http://scholarcommons.usf.edu/surcosur/vol1/ iss2/18 Películas complementarias: - Granito de arena: como atrapar a un dictador (Pamela Yates, 2012) http:// www.youtube.com/watch?v=n3P6zBcLTjE Clase 13. 22 de mayo de 2014 El fin de la revolución: retornos a la democracia, cambio de soportes y emergencia de las pequeñas historias. - Las Banderas del amanecer (Grupo Ukamau, 1982) - Nacer de nuevo (Marta Rodríguez, 1987) - Juan, como si nada hubiera ocurrido (Carlos Echeverría, 1987) Textos: - RIVERA CUSICANQUI, Silvia, Invisible Realities: Internal Markets and Subaltern Identities in Contemporary Bolivia, Ámsterdam/Quezon City, South Exchange Program for Research on the History of Development/Southeast Asian Studies Regional Exchange Program, 2005. - RUFFINELLI, Jorge, “Marta Rodríguez: El documental vivo vuelve a vivir” en Secuencias: Revista de historia del cine, ISSN 1134-6795, Nº 18, 2003 , págs. 84-99. �- AMADO, Ana, La imagen justa. Cine argentino y política (1980-2007), Buenos Aires, Colihue, 2009, pp. 9-53 Lecturas complementarias: René Zavaleta, “Las masas en noviembre” en Bolivia hoy, 2ª ed. México, Siglo XXI, 1987, p. 11-63. Bibliografía general. ÁLVAREZ, Santiago, et. al., Cine y Revolución en Cuba, Editorial Fontamara, Barcelona, 1975. ARAYA RIVERA, Carlos, “Un cine para América Latina” en Comunica. Revista de la universidad católica de Costa Rica, http://cariari.ucr.ac.cr/~comunica/ publica.html. BAJO HERRERAS, Ricardo, “El tiempo circular de Jorge Sanjinés” en El ojo que piensa. Revista virtual del Nuevo Cine Latinoamericano. Número 0, agosto 2003, Guadalajara, Jalisco, México. BALDELLI, Pio, El “cine político” y el mito de las superestructuras, en DELLA VOLPE, et. al., Problemas del nuevo cine, Alianza Editorial. Madrid. (1971) BENJAMIN, Walter, La obra de arte en la época de su reproductibilidad técnica [URTEXT], Trad. Andrés E. Weikert, México, Ítaca, 2003, 128 pp. BENJAMIN, Walter, Tesis sobre la historia y otros fragmentos, Trad. Bolívar Echeverría, México, Contrahistorias. La otra mirada de Clio, 2005, pp.68. BERGER, John, et. al., Modos de ver, Trad. Justo G. Beramendi, Barcelona, Editorial Gustavo Gili, 180 pp. BEVERLEY, John, “Lo subalterno como interrupción” en Miradas. Revista del audiovisual, consultado en http://www.eictv.co.cu/miradas, consultado 5 de noviembre de 2008. BIRRI, Fernando, La escuela documental de Santa Fe. Una experiencia-piloto contra el subdesarrollo cinematográfico en Latinoamérica, Santa Fe, Argentina, Editorial Documento de la Universidad Nacional del Litoral, Concejo Latinoamericano Cinematográfico para la documentación, análisis y planificación, 1964. BRESCHAND, Jean, El documental. La otra cara del cine, Paidós. BURKE, Peter, Visto y no visto. El uso de la imagen como documento histórico, Barcelona, Crítica, 2005. BURTON, Julian, “Marginal Cinemas and Mainstream Critical Theory” en Screen (MayAugust) 26 (3-4): 2-21. http://screen.oxfordjournals.org/content/26/3-4/2.extract BURTON, Julianne, “The Camera As ‘Gun’: Two Decades of Culture and Resistance” in Latin America Perspectives, Vol. 5, No. 1, Culture in the Age of Mass Media (Winter, 1978), pp. 49-76 (J-STOR) �BURTON, Julianne, ed., The Social Documentary in Latin America, Pittsburgh: University of Pittsburgh Press, 1990. CALDERÓN, Fernando, Movimientos sociales y política. La década de los ochenta en Latinoamérica, México, UNAM, Siglo XXI, 1995. CAMARERO, Gloria (ed), La mirada que habla. Cine e ideología, Madrid, Akal, 2002. CHANAN, Michael, Twenty-five Years of The New Latin American Cinema, London, British Film Institute and Channel Four Television, 1983. CHANAN, Michel, Memories of Uderdevelopment, Londres, Rutgers University Press, 1990. CINEMATECA BOLIVIANA, Cronología del cine boliviano (1897-1997), Notas críticas 61, La Paz, Bolivia, Ediciones de la cinemateca boliviana, noviembre de 1997. CINEMATECA DEL TERCER MUNDO, Cine del tercer mundo, no. 2, noviembre de 1970. Publicación de la cinemateca del tercer mundo, Montevideo, Uruguay. CÓRDOVA, Verónica, “Cinema and Revolution in Latin America” tesis para obtener el PHd en The Department of Media Studies, University of Bergen, 2002. DAICICH, Osvaldo, Apuntes sobre el nuevo cine latinoamericano. Entrevistas a realizadores latinoamericanos, La Habana, Escuela internacional de cine y televisión, Diputación de Córdova, 2004. DE LUELMO Jareño, José María, «La historia al trasluz: Walter Benjamin y el concepto de imagen dialéctica», en Escritura e imagen, vol. 3, 2007, disponible en http:// revistas.ucm.es/fsl/18855687/articulos/ESIM0707110163A.PDF ECHEVERRIA, Bolívar, et. al., Sociedades icónicas, México, Siglo XXI, 2007, 92 p. El cine de Jorge Sanjinés, Santa Cruz, Bolivia, Fundación para la Educación y el Desarrollo de las Artes y las Media, Festival Iberoamericano de cine de Santa Cruz, 1999. Encuentro de Cineastas Latinoamericanos en Solidaridad con el Pueblo y los Cineastas de Chile. Por un cine latinoamericano, Caracas, Fondo editorial Salvador de la Plaza, 1974. Biblioteca CUEC PN1993.5E6 E53 1974 FERNÁDEZ FERNÁNDEZ, David y María Dolores Murillo (comp.), La memoria filmada. América Latina a través de su cine, Madrid, IEPALA, 2002. (Colección: Problemas Internacionales). FORNET, Ambrocio, Alea, una perspectiva crítica, La Habana, Letras cubanas, 1987. GABRIEL Teshome H., “Towards a Critical Theory of Third World Films” en Robert Stam y Toby Miller, Film and Theory: an antology, Malden, Massachusetts, Blackwell, 2000. GALENAO, Jaime, “Raymundo Gleyzer: cine y revolución” en Sudestada, consultado en: http://www.revistasudestada.com.ar/web06/article.php3?id_article=300 GARCIA ESPINOSA, Julio, Por un cine imperfecto, Caracas, Fondo Editorial Salvador de la Plaza, 1973. Biblioteca CUEC PN1994 G373 GARCIA ESPINOSA, Julio: Cine y Revolución, en DELLA VOLPE et. al., Problemas del nuevo cine, Alianza Editorial, Madrid, 1971. �GARCÍA ESPINOZA, Julio, “Lo nuevo del Nuevo Cine Latinoamericano”, en El ojo que piensa. Revista virtual del Nuevo Cine Latinoamericano. Número 0, agosto 2003, Guadalajara, Jalisco, México. GARCÍA PAVÓN, Leonardo, La patria íntima. Alegorías nacionales en la literatura y el cine de Bolivia, Centro de Estudios Superiores Universitarios, Universidad Mayor de San Simón, Editorial Plural, La Paz, 1998. GETINO, Octavio y Fernando Solanas, “Apuntes para un juicio crítico des colonizado”, en Cinemateca del Tercer Mundo, Cine del tercer mundo, No. 2, noviembre de 1970. Publicación de la cinemateca del tercer mundo, Montevideo/Uruguay. GETINO, Octavio y Susana Velleggia, El cine de las historias de la revolución. Aproximaciones teóricas y prácticas del cine político en América Latina (1996-1997). GETTINO, Octavio, Cine latinoamericano, economía y nuevas tecnologías, Mérida, Venezuela, Fundación del Nuevo Cine Latinoamericano, Departamento de cine, Universidad de los Andes, 1987. GINZBURG, Carlo, “Detalles, primeros planos, microanálisis. Notas marginales a un libro de Siegfried Kracauer” en El hilo y las huellas, México, Fondo de Cultura Económica, 2011. GODARD, Jean-Luc, “Arqueología del cine y memoria del siglo” en Pensamiento de los confines, no. 7, segundo semestre de 1999, Buenos Aires, p. 173-184 GODARD, Jean-Luc, Introducción a una verdadera historia del cine, Tomo 1, Madrid, Ediciones Alphaville, 2003. GÓMEZ TARÍN, FRANCISCO JAVIER, "Cine y revolución en Latinoamérica. Las décadas 60 y 70: El enemigo principal como paradigma", en CALVO PÉREZ, Julio y JORQUES JIMÉNEZ, Daniel (editores), Estudios de Lengua y Cultura Amerindias II - Lenguas, literaturas y medios -, Actas de las IV Jornadas Internacionales de Lengua y Cultura Amerindias (Valencia, 17-20 de noviembre de 1997), Universidad de Valencia. Departamento de Teoría de los Lenguajes, Valencia, 1998. Págs. 343-350. GONZÁLEZ, Reynaldo, Cine cubano, San Juan, Puerto Rico, Plaza Mayor, 2002. Biblioteca CIALC PN1993.5C8 G66 GUMUCIO DAGRON, Alfonso, Cine, censura y exilio en América Latina, 2° ed, México, Centro de Investigación de Medios Alternativos de Comunicación (CIMAC), STUNAM, federación Editorial Mexicana, 1984. GUMUCIO DAGRON, Alfonso, El cine de los trabajadores. Manual de apoyo teórico y práctico a la generación de talleres de cine súper 8, Managua, Colección Textos, Edición del Taller de cine Súper 8, Central Sandinista de Trabajadores, 1981. GUMUCIO DAGRON, Alfonso, Historia del cine boliviano, México, Filmoteca de la UNAM, 1983. GUMUCIO DAGRÓN, Alfonso, Historia del cine en Bolivia, Oruro, Bolivia, Editorial Los amigos del libro, 1982. GUMUCIO DAGRÓN, Alfonso, Luis Espinal y el cine, Centro de documentación de medios de comunicación alternativa, La Paz, Bolivia, 1985. �GUZMÁN, Patricio and Juliane Burton, “Politics and the Documentary in People’s Chile” en DOWNING, Jonh, (ed.), Film and Politics in the Third World, Brooklyn, Autonomedia, 1986. GUZMÁN, Patricio y Pedro Sempere, Chile. El cine contra el fascismo, Valencia, Fernando Torres Editor, 1977. GUZMÁN, Patricio, La insurrección de la burguesía, Caracas, Rocinante, Fondo Editorial Salvador de la Plaza, 1975. HENNEBELLE, Guy y Alfonso Gumucio-Dagron, Les Cinémas de l’ Amérique latine. Pays par pays, l’ histoire, l’ économie, les structures, les auteurs, les œuvres, Paris, Nouvelles Editions Pierre Lherminier, CinémAction, 1981. HEREDERO, Carlos F. y Casimiro Torreiro (coomp.), Historia general del cine, Volumen X. Estados Unidos (1955-1975) América Latina HÍJAR, Alberto, Hacia un tercer cine, México, UNAM (Cuadernos de cine número 20), 1972. HOBSAWM, Eric, Historia del siglo XX, 2º ed., Barcelona, Crítica, 2001. Hojas de cine. Testimonios y documentos del Nuevo Cine Latinoamericano, Secretaría de Educación Pública, Universidad Nacional Autónoma de México, Fundación Mexicana de Cineastas, A. C.,1988, (Colección Cultura universitaria, Serie: Ensayo). ICAIC, “El nuevo cine latinoamericano”, Apéndice de Puesta al día en SADOUL, Georges, Historia del cine Mundial, Siglo XXI Editores, Madrid, 1972. Imagen. La revista boliviana de cine y video, Publicación bimestral del movimiento del Nuevo Cine y Video Boliviano, año 1, número 1, noviembre-diciembre de 1986. JAMESON, Fredric, El posmodernismo o la lógica cultural del capitalismo avanzado, Barcelona, Paidós, 1991. JAMESON, Fredric, Estética geopolítica. Cine y espacio en el sistema mundial, Barcelona, Paidós, 1995. JOHNSON, Randal y Stam, Robert, (eds.), Brazilian Cinema, Toronto: Associated University Presses, 1982. JUMP CUT, dossier sobre Jorge Sanjinés: http://www.ejumpcut.org/archive/jc54.2012/ index.html KING, John, El carrete mágico. Una historia del cine latinoamericano, Bogotá, Tercer mundo editores, 1994. KING, John, et.al. (eds.), Mediating Two Worlds, Cinematic Encounters in the Americas, London, BFI, 1993. KRACAUER, Siegfried, De Caligari a Hitler. Una historia psicológica del cine alemán, Barcelona, Paidós, 1985. LEBEL, Jean-Patrick, Cine e ideología, Garnica Editor, Argentina, 1973. LEDO ANDIÓN, Margarita, Del cine-ojo a dogma95, Barcelona-México, Paidós, 2004. Biblioteca Entral, CUEC, DAC PN1995.9D6 L43 LENNE, Gérard, La muerte del cine (film/revolución), Barcelona, Anagrama, 1974. �LEÓN FRÍAS, Isaac, Los años de la conmoción, México, UNAM, 1979. (Cuadernos de cine, no. 28). LEON, Christian, “Cultura y subalternidad. Entrevista con John Beverley” en Cuadernos de la cinemateca, no. 5, Quito, 2004. LINARES, Andres, El cine militante, Madrid, Castellote, 1976. Biblioteca FCPyS, DAC PN1997 L54 LONGONI, Ana y García, Luis Ignacio, «Imágenes invisibles. Sobre las fotos de desaparecidos», en Blejmar, J., Fortuny, N., y García, L., Instantáneas de la memoria. Fotografía y dictadura en Argentina y América Latina, Buenos Aires, Libraria, 2013, disponible enhttp://www.academia.edu/4205364/ Imagenes_invisibles._Acerca_de_las_fotos_de_desaparecidos Los años de la ira. Viña del Mar 67, Idea, selección y prólogo Alfredo Guevara y Raúl Garcés, La Habana, Ediciones Nuevo Cine Latinoamericano, 2007. MAHIEU, José Agustín, Panorama del cine Iberoamericano, Madrid, Ediciones Cultura Hispánica, 1990. MARROSU, Ambretta, Cine e ideología: La conciencia latinoamericana de la década del sesenta, Caracas, Ediciones de la Asociación Venezolana de Críticos Cinematográficos, 1985. MARTÍNES TORRES, Augusto y Manuel Pérez Estrema, Nuevo cine latinoamericano, Barcelona, Anagrama, 1971. MATÍN PEÑA, Fernando, El cine quema: Jorge Cedrón, Buenos Aires, Editorial Altamira, 2003. MCBEAN, James Roy, "La hora de los hornos: Let Them See Nothing but Flames !", en Film and Revolution, Bloomington, Indiana University Press, 1975 MESA GISBERT, Carlos de, La aventura del cine boliviano (1952-1985), La Paz, Bolivia, Editorial Gisbert, 1985. MESTMAN, Mariano y Fernado Peña, “Una imagen recurrente. La representación del ‘Cordobazo’ en el cine argentino de intervención política” en Filmhistoria, vol. XII, N° 3, 2002, consultado en http://www.publicacions.ub.es/bibliotecadigital/cinema/ filmhistoria/2002/elcordobazocd.htm METZ, Christian, El decir y lo dicho en el cine: ¿Hacia la decadencia de lo verosímil?, en DELLA VOLPE, et. al., Problemas del nuevo cine, Alianza Editorial, Madrid, 1971. MILLAN, Francisco Javier, La memoria agitada. Cine y represión en Chile y Argentina, Fundación Cultural de Cine Iberoamericano de Huelva, Librería Ocho y medio, Huelva, 2001. MONZANI, Josette Maria Alves de Souza, Gênese de Deus e o diabo na tierra do sol, Sao Paulo, Annablume, 2006. Biblioteca IIE PN1998.3R63 M65 ORELLANA, Margarita de, Imágenes del pasado. El cine y la historia: una antología, México, CUEC, Material didáctico de uso interno, no. 7, (s/f). �PALACIOS MORÉ, Rene y Daniel Pires Mateus, El cine latinoamericano o por una estética de la ferocidad, la magia y la violencia, Madrid, Sedmay Ediciones, 1976. PASTOR, Brígida, “Del Margen al Centro: Cuba y el Nuevo Cine Latinoamericano” en Razón y palabra. Primera revista electrónica en América Latina especializada en tópicos de comunicación. México, Número 46, Miradas desde el margen. El cine y sus discursos, año 10, agosto - septiembre 2005. PEÑA, Fernando Martin, El cine quema, Buenos Aires, Ediciones de la Flor, 2000. Biblioteca DAC PN1998.3G565 P35 PEREDO CASTRO, Francisco, Cine y propaganda para Latinoamérica. México y Estados Unidos en la encrucijada de los años cuarenta, México, UNAM, 2004. PÉREZ PERUCHA, Julio (coord.), Los años que conmovieron al cinema. Las rupturas del 68, Valencia, Ediciones Textos Filmoteca, Filmoteca de la Generalitat Valenciana, 1988. PICK, Zuzana, Latin American film makers and the third cinema, Films Studies Program, Carleton University, Ottawa, 1978. PICK, Zuzana, The New Latin American Cinema: A Continental Project, Austin: University of Texas Press, 1993 RANCIÉRE, Jacques (entrevista), “La imagen fraternal. La ficción de izquierda: ficción dominante” en ORELLANA, Margarita, , Imágenes del pasado. El cine y la historia: una antología, México, CUEC, Material didáctico de uso interno, no. 7, (s/f). RANCIERE, Jacques, El espectador emancipado, Cali-Colombia, Lugar a Dudas, Fotocopioteca, No. 8, 2009. RANCIERE, Jacques, La fábula cinematográfica. Reflexiones sobre la ficción en el cine, Barcelona, Paidós, 2005. REVUELTAS, José, El conocimiento cinematográfico y sus problemas, México, UNAM, Departamento de Actividades Cinematográficas, 1965. Biblioteca FFyL PN1994 R48 RÍO, Joel del, “Precursores, nacimiento y plenitud del Nuevo Cine Latinoamericano” en Miradas, número 8, 2005, en http://www.miradas.eictv.co.cu/content.php? id_articulo=296 RIVERA CUSICANQUI, Silvia, “El potencial epistemológico de la historia oral: de la lógica instrumental a la descolonización de la historia” ROCHA, Glauber, “El ‘Cinema Nôvo’ y la aventura de la creación”, en DELLA VOLPE, et. al., Problemas del nuevo cine, Alianza Editorial, Madrid, 1971. ROCHA, Glauber, La revolución es una eztétyka: por un cine tropicalista, presentación, Ismail Xavier, Buenos Aires, Argentina, Caja Negra, 2011. (IIE: PN1993.5 B6 R63718) ROCHA, Glauber, Revisão crítica do cinema brasileiro, São Paulo, Cosac & Naify, 2003. Biblioteca DAC PN1993.5B6 R6319 ROCHA, Glauber, Revolução do cinema novo, São Paulo, Cosac & Naify, 2004. Biblioteca DAC PN1993.5B6 R637 �RODRÍGUEZ, Mikel Luis, “ICB: El primero organismo cinematográfico institucional en Bolivia (1952- 1967)” en Secuencia. Revista de historia del cine, no. 10, segunda época, Madrid, julio de 1999. SÁNCHEZ, Isabel (coomp.), Cine de la violencia, Centro editorial Universidad Nacional de Colombia, Bogotá, 1987. SÁNCHEZ-BIOSCA, Vicente, “En torno a algunos problemas de historiografía del cine” en Archivos de la filmoteca, no. 29, junio de 1998, Filmoteca Generalitat Valenciana, pp. 88-115. SANJINÉS, Javier, "Transculturación y subalternidad en el cine boliviano", en Alejandro Bruzual (coord.), Cine, política y memoria. Objeto Visual. Cuadernos de Investigación de la Cinemateca Nacional de Venezuela, año XII, núm. 10, diciembre de 2004, pp. 11-29. SANJINÉS, Javier, “Transculturación y subalternidad en el cine boliviano” en Objeto visual. Cuadernos de investigación de la Cinemateca Nacional de Venezuela, año XII, diciembre de 2004. Nº 10. (Cine, política y memoria, coordinador, Alejandro Bruzual) Sanjinés, Jorge y Grupo Ukamau, Teoría y práctica de un cine junto al pueblo, 3a ed., México, Siglo XXI, 1987. SANJINÉS, JORGE, “El perfil imborrable” en El Nuevo Cine Latinoamericano en el mundo de hoy. Memoria del IX Festival Internacional del Nuevo Cine Latinoamericano, México, UNAM, 1988. SANJINÉS, Jorge, “Neorrealismo y Nuevo Cine Latinoamericano: la herencia, las coincidencias y las diferencias”, en El ojo que piensa. Revista virtual del Nuevo Cine Latinoamericano. Número 0, agosto 2003, Guadalajara, Jalisco, México. SCHUMANN, Peter, Historia del cine Latinoamericano, Trad. Oscar Sambrano, Buenos Aires, Cine Libre-Legasa, 1987. SHOHAT, Ella y Robert Stam, Multiculturalismo, cine y medios de comunicación, Trad. Ignacio Rodríguez Sánchez, Barcelona, Paidós, 2002 (Paidós comunicación, Cine 130). SOLANAS y GETINO, Cine, cultura y descolonización, Buenos Aires, Siglo XXI Argentina editores, 1973. SOLANAS, Fernando y Getino Octavio, Cine, cultura y descolonización, Buenos Aires, Siglo Veintiuno Argentina, 1973. Biblioteca CUEC PN1993.5A7 S65 SUSZ, Pedro, La pantalla ajena, La Paz, Editorial Gisbert, 1985. TAL, Tzvi, “Influencias estéticas de Eisenstein y Vertov. Los traidores y Los hijos del fierro” en FilmHistoria, vol. XII, n° 3, 2002, consultado en: http:// www.publicacions.ub.edu/bibliotecaDigital/cinema/filmhistoria/2002/ eisensteinyvertovcd.htm TALLER DE CINE OCTUBRE, Octubre 5, Publicación del Taller de Cine Octubre, México, enero de 1979. TERÁN, Oscar, Nuestros años sesentas, Buenos Aires, Editorial Puntosur, 1991. TOLEDO, Teresa (dir.), Made in Spanish 2002. Construyendo el cine (latinoamericano), Madrid, Festival Internacional de Cine de San Sebastian, 2002. �TOLEDO, Teresa, 10 años del Nuevo Cine Latinoamericano, Madrid, Verdoux, Cinemateca de Cuba, Quinto Centenario, 1990. TZVI TAL “Del cine-guerrilla a lo ‘grotético’. La representación cinematográfica del latinoamericanismo en dos films de Fernando Solanas: La hora de los hornos y El viaje” en Estudios interdisciplinarios de América Latina y el Caribe. Cultura visual en América Latina, volumen 9, Nº 1, Editor invitado: John Mraz, enero junio 1998. TZVI TAL, Cine y Revolución en la Suiza de América. La cinemateca del Tercer Mundo en Montevideo, Araucaria, vol. 5, núm. 9, primer semestre, 2003, Universidad de Sevilla, España. VELLEGGIA, Susana, De la cámara ametralladora a la nostalgia de Hollyworld, México, Entremedios, 1983. VELLEGGIA, Susana, La máquina de la mirada. Los movimientos cinematográficos de ruptura y el cine político latinoamericano, Buenos Aires, Altamira, 2009, 416 p. XAVIER, Ismail, “Historical Allegory” en Toby Miller y Robert Stam (ed.), A Companion to film theory, Malden, Massashusetts, Blackwell, 1999. (BC, IIE: PN1995 C6715) XAVIER, Ismail, Allegories of underdevelopment : aesthetics and politics in modern Brazilian cinema, Minneapolis : University of Minnesota Press, c1997 (IIE: PN1993.5B6 X38) ZIMMER, Christian, Cine y política, México, UNAM, CUEC (Material didáctico de uso interno, no. 18), 1987. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Syllabi Syllabus Title / Título (Original) A name given to the resources. El nombre original del recurso. Cine y revolución en América Latina: Política, cultura e historia de las imágenes en movimiento Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. 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. Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Argentina Bolivia Bolivia Brazil / Brasil Chile Cuba El Salvador Guatemala Mexico / México Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Latin America / Latinoamérica Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Silent Cinema / Cine mudo Studio Cinema / Cine clásico de estudio New Latin American Cinema / Nuevo Cine Latinoamericano Films taught / Películas A Valparaiso <a href="https://cinegogia.omeka.net/items/show/791">Las banderas del amanecer</a> <a href="https://cinegogia.omeka.net/items/show/105">La batalla de Chile: La lucha de un pueblo sin armas</a> El camino hacia la muerte del viejo Reales <a href="https://cinegogia.omeka.net/items/show/772">El coraje del Pueblo</a> <a href="https://cinegogia.omeka.net/items/show/525">Cuando las montañas tiemblan</a> <a href="https://cinegogia.omeka.net/items/show/270">De cierta manera</a> <a href="https://cinegogia.omeka.net/items/show/789">El enemigo principal</a> La fórmula secreta El grito El Salvador, el pueblo vencerá <a href="https://cinegogia.omeka.net/items/show/141">La hora de los hornos</a> <a href="https://cinegogia.omeka.net/items/show/790">Juan, como si nada hubiera ocurrido</a> <a href="https://cinegogia.omeka.net/items/show/249">Lucía</a> Manuela Memorias de un mexicano Mujer así es la vida Nacer de nuevo <a href="https://cinegogia.omeka.net/items/show/700">Nuestra voz de tierra, memoria y futuro</a> <a href="https://cinegogia.omeka.net/items/show/271">Los olvidados</a> Otro país <a href="https://cinegogia.omeka.net/items/show/112">¡Que viva México!</a> <a href="https://cinegogia.omeka.net/items/show/113">Redes</a> <a href="https://cinegogia.omeka.net/items/show/175">Revolución </a> <a href="https://cinegogia.omeka.net/items/show/230">Tire dié</a> La triple A son las tres armas <a href="https://cinegogia.omeka.net/items/show/719">Triste Trópico</a> <a href="https://cinegogia.omeka.net/items/show/118">Vida secas</a> <a href="https://cinegogia.omeka.net/items/show/265">Yawar Malku (Sangre de Cóndor)</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. David Wood, Universidad Autónoma de México (UNAM) Ana Nahmad, Universidad Autónoma de México (UNAM) Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cine y revolución en América Latina: Política, cultura e historia de las imágenes en movimiento Description An account of the resource 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. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/a054174bd1ab326fac4534b24bec2f10.pdf?Expires=1773878400&Signature=QHnEm-ri0b6Ojy9pBmDatRl35m%7EuSnUwxJz4i2-ecLAH8mTVi%7ERAuSsTcFmMcYffNdd0dn0Wro77scIedap6AnBKMhNLOTN%7EjDvgo3kzSIPa2J33uXZh2F6QPJWU-R6ZL0dJNUsUF6Q6nGuKnr-aHxVKLO39qOa%7E9jN7z9PReKSZIXuAUHdmK6ZM6ctbUb6uXZ0qMbkI3If34wHiJoca2dukc8k5Orv-Jy1ZElLOQOxfJeSvsYWJ1ZVtx8M2t1eO3rSD44O%7EWHSizPWSQdNdkf0oIjRhgUHekGGsdm5PHHWzXsP2vX9XR8-6WcrSOMFrwT8TweK4bWotOvA-daFO-Q__&Key-Pair-Id=K6UGZS9ZTDSZM 21e03c0dc6574bad06814056aefbed19 PDF Text Text Contributed by David Wood, Carlos Flores Villela and Ana Nahmad (Universidad Autónoma de México) REPRESENTACIÓN INDÍGENA EN EL CINE LATINOAMERICANO Posgrado de Historia del Arte, Facultad de Filosofía y Letras, UNAM Semestre 2014-1 (agosto-diciembre 2013) Dr. David Wood, IIE-UNAM. Mtro. Carlos Flores Villela, CEIICH-UNAM. Mtra. Ana Nahmad, PPELA-UNAM Horario y lugar de los seminarios: Los jueves de las 10.00 a las 14.00. Sede: Sala José Revueltas, Centro Cultural Universitario, Ciudad Universitaria Presentación: 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. Desde los orígenes del cine la representación de los pueblos indios estuvo permeada por actitudes y estéticas nacionalistas, colonizadoras e indigenistas, frecuentemente articuladas desde posturas etnográficas. Estas miradas sobre el mundo indio fueron atravesadas por las corrientes cosmopolitas y populistas que (siguiendo a Paulo Antonio Paranaguá) dominaron el cine latinoamericano de la primera mitad del siglo XX. A la par, surgieron críticas audiovisuales de estos paradigmas colonizadores, primero desde el propio indigenismo, y después a partir de proyectos renovadores que trataron de romper con él. Las miradas sobre lo indígena desde los cines nuevos y militantes, hacia los años sesenta del siglo XX, rara vez abandonaron los marcos de referencia indigenistas, pero sí enfocaron a los grupos indios desde su potencial emancipatorio que superaba el inmovilismo estético del nacionalismo. Este panorama daría lugar en las últimas décadas del siglo a los procesos de trasferencia de medios y videos colaborativos donde emergió con fuerza una imagen propia de los pueblos indígenas, que cuestiona las formas de representación exterior formuladas décadas atrás. Recientemente han surgido nuevas corrientes que critican, a su vez, cierta institucionalización en los discursos del video indígena. 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. Evaluación La evaluación comprenderá asistencia (5%), lecturas y participación en clase (10%), presentación de un tema al grupo (15%), un primer trabajo escrito (20%), y un ensayo final (50%). Mínimo de asistencia: 80% 1 �Temario Introducción 8 de agosto Bibliografía obligatoria: - - Poole, Deborah, Vision, Race, and Modernity: A Visual Economy of the Andean Image World, Princeton, Princeton University Press, 1997, pp.3-24. Cornejo Polar, Antonio, “La profundidad histórica del indigenismo” en Literatura y sociedad en el Perú: La novela indigenista, Lima, Lasontay, pp. 57-91. Pamela Wilson y Michelle Stewart, “Introduction: Indigeneity and Indigenous Media on the Global Stage”, en Pamela Wilson y Michelle Stewart (eds.), Global Indigenous Media: Cultures, Poetics, and Politics, Durham, Duke University Press, 2008, pp.1-38. León, Christian, "Documental, representación y poder", en Reinventando al otro: el documental indigenista en el Ecuador, Quito, Consejo Nacional de Cinematografía, 2010, pp.25-62. Bibliografía complementaria: - Ripoll Soria, Xavier, Sí, bwana: los indígenas según el cine occidental, Madrid, Alianza Editorial, 2000. Shohat, Ella y Robert Stam, “Introducción”, en Multiculturalismo, cine y medios de comunicación: crítica del pensamiento eurocéntrico, Barcelona, Paidós, 2002. Módulo I. Etnografía y modernidad Tema 1. Registro, antropología y colonialismo 15 de agosto Películas: - Desayuno de indios (Gabriel Veyre, México, 1896) 35mm - Filmoteca - Peregrinación a Chalma (México, 1922) 35mm - Filmoteca - Patagonia (Alberto Agostini, Chile, 1915-1928) Bibliografía: - De los Reyes, Aurelio, Manuel Gamio y el cine, México, UNAM, 1991. (IIE) - Villaroel, Mónica, “Por la ruta del discurso eurocéntrico en el cine de exploradores”, Aisthesis 48, 2010, pp.90-111. Disponible en línea: http:// www.scielo.cl/pdf/aisthesis/n48/art06.pdf - Shohat, Ella y Robert Stam, “El imaginario imperial”, en Multiculturalismo, cine y medios de comunicación: crítica del pensamiento eurocéntrico, Barcelona, Paidós, 2002, pp.115-150. Tema 2. Explorar, educar, civilizar 22 de agosto Películas: - Los invencibles Shuaras del Alto Amazonas (Carlos Crespi, Ecuador, 1926) 35mm Filmoteca 2 �- Expedición al Caquetá (César Uribe Piedrahita, Colombia, 1930) Vuelve Sebastiana (Jorge Ruiz, Bolivia, 1953) Todos somos mexicanos (José Arenas, México, 1958) DVD - Filmoteca Bibliografía: - León, Christian, "El cine de los pioneros", en Reinventando al otro: el documental indigenista en el Ecuador, Quito, Consejo Nacional de Cinematografía, 2010, pp. 91-114. - Tobing Rony, Fatimah, “Gestures of Self-Protection: The Picturesque and the Travelogue”, en The Third Eye: Race, Cinema, and Ethnographic Spectacle, Durham/London, Duke University Press, 1996, pp.77-98. (IIE) - Gumucio-Dagron, Alfonso, "Jorge Ruiz", en Paulo Antonio Paranaguá (ed.), Cine Documental en América Latina, Madrid, Cátedra, 2003, pp.141-149. Módulo II. Indio y nación Tema 3. Ficciones fundacionales y modernidad 29 de agosto Películas: - Tepeyac (Carlos E. González, José Manuel Ramos y Fernando Sáyago, México, 1918) 35mm - Filmoteca - El último malón (Alcides Greca, Argentina, 1918) 35mm - Filmoteca - Wara Wara (José María Velasco Maidana, Bolivia, 1930) Bibliografía: - Rodríguez, Alejandra, “La trama, la historia y la política en El último malón”, en PolHis. Boletín Bibliográfico Electrónico del Programa Buenos Aires de Historia Política, 8, 2º semestre de 2011, pp. 162- 172. - Sánchez García, José María, “Tres películas inolvidables: Tabaré, Santa y Cuauhtémoc”, en Historia del cine mexicano; Compilación, introducción e índices, Federico Dávalos Orozco y Carlos Arturo Flores Villela, México, Filmoteca de la UNAM, 2013, pp. 67-95. - Vargas Villazón, Fernando, Wara Wara: la reconstrucción de una película perdida, La Paz, Cinemateca Boliviana/CAF/Plural, 2010. - Ramey, James, "La resonancia de la conquista en el cine indigenista mexicano", en Claudia Arroyo Quiroz et. al., México imaginado: nuevos enfoques sobre el cine (trans)nacional, México, UAM/Conaculta, 2011, pp.117-158. - De los Reyes, Aurelio, "Indigenismo" en Medio siglo de cine mexicano: 1896-1947, México, Trillas, 1987, pp. 184-210. - Córdova, Verónica, "El cine boliviano del indigenismo a la globalización", Archipiélago. Revista Latinoamericana de Análisis Político y Cultural, núm. 3, La Paz, Bolivia, abril-mayo 2008, pp. 87-101. Tema 4. Nación y revolución 1 5 de septiembre Películas: - Que viva México! (Sergei Eisenstein, México, 1932) 35mm - Filmoteca - Janitzio (Carlos Navarro, México, 1935) 16mm - Filmoteca Bibliografía: 3 �- Salazkina, Masha, “Eisenstein’s ¡Que Viva México! ‘Prologue’, Prehistory, Anthropological and Nationalist Discourses” en In Excess: Sergei Eisenstein’s Mexico, Chicago, The University of Chicago, 2009, pp. 21-53. Ayala Blanco, Jorge, “Los indígenas”, en La aventura del cine mexicano, México, Era, 1968, pp. 193-208. Eisenstein, Sergei, “Primer bosquejo de ¡Que viva Mexico!”, en El sentido del cine, México, Siglo XXI, 1990, 189-192. Bibliografía complementaria: - Eisenstein, Sergei, ¡Que viva México!, Prol. Gabriel Ramírez, México, Era, 1964. Tema 4. Nación y revolución 2 12 de septiembre Películas: - Revolución (Jorge Sanjinés, Bolivia, 1963) - Ukamau (Jorge Sanjinés, Bolivia, 1966) Bibliografía - Soto Santiestevan, Gustavo, “Revolución”, Decursos. Revista de Ciencias Sociales, año VII, núms. 15-16, La Paz, Bolivia, diciembre de 2006, pp. 165-172. - Wood, David M.J. "Indigenismo and the Avant-garde: Jorge Sanjinés' Early Films and the National Project", Bulletin of Latin American Research 25.1, 2006, pp. 63-82. - Rivera Cusicanqui, Silvia, “Construcción de imágenes de indios y mujeres en la iconografía post 52. El miserabilismo en el Álbum de la Revolución”, Tinkazos. Revista Boliviana de Ciencias Sociales, La Paz, Bolivia, noviembre de 2005, pp. 133-156. - ———, “El mito de la pertenencia de Bolivia al ‘mundo occidental’. Réquiem para un nacionalismo”, Temas Sociales, núm. 24, La Paz, Bolivia, 2003, pp. 64-100. Tema 5. Indigenismo y estrellas (CF) 19 de septiembre Película: - La zandunga (Fernando de Fuentes, México, 1938) 16mm - Filmoteca - María Candelaria (Emilio Fernández, México, 1943) Bibliografía obligatoria: - Mino García, Fernando, “Los Indios que forjaron una patria. Comunidades indígenas y mito nacional: el caso de María Candelaria”, en Montajes. Revista de Análisis Cinematográfico, núm. 1, julio-diciembre de 2012, pp. 107-133. - Zamorano Villareal, Gabriela, “Entre Didjazá y La Zandunga: iconografía y auto representación indígena en las mujeres del istmo de Tehuantepec, Oaxaca” en Liminar. Estudios sociales y humanísticos, diciembre, año/vol. III, número 2, Universidad de ciencias y artes de Chiapas, pp. 21-33. 4 �Bibliografía complementaria: - Doremus, Anne, “Meztizaje and National Identity in Mexico during the 1940s and the 1950s”, en Mexican Studies/Estudios Mexicanos, vol. 17, núm. 2, verano de 2001, pp. 375-402. - Báscones Anton, Marta, “La negación de lo indígena en el cine de Emilio Indio Fernández”, en Archivos de la Filmoteca. Revista de estudios históricos de la imagen, Valencia, Ediciones de la Filmoteca (Institut Valencià de cinemaografia Ricardo Muñoz Suay), febrero de 2002, número 40, segunda época, pp. 90-106. Módulo III. Representación indígena en los nuevos cines Tema 6. Indio y renovación 26 de septiembre Películas: - Raíces (Benito Alazraki, México, 1954) 35mm - Filmoteca - Tarahumara (Luis Alcoriza, México, 1965) 16mm - Filmoteca - Kukuli (Luis Figueroa, Eulogio Nishiyama y César Villanueva, Perú, 1961) Bibliografía: - Gómez Tarín, Francisco Javier, “Cine e indigenismo. La imagen externa. Tarahumara (Luis Alcoriza, 1964) como muestra”, en Julio Calvo Pérez (ed.), Contacto interlingüístico e intercultural en el mundo hispano, vol. 2, Actas de las V Jornadas Internacionales de Lenguas y Culturas Amerindias. Contacto Interlingüístico e Intercultural, Valencia, del 8 al 12 de noviembre de 1999, Valencia, Instituto Valenciano de Lenguas y Culturas Amerindias/Departament de Teoria dels Llenguatges-Universitat de València, 2001, pp. 815-823, disponible en <http://apolo.uji.es/fjgt/indigenismo.pdf>. - Valdez Morgan, Jorge Luis, “La sociedad filmada. Apuntes sobre la historia del Perú a partir de tres películas”, en Revista Histórica (PUCP), VOL. 29, NÚM. 2, Lima Perú, 2005, pp. 107-152. - Valdez Morgan, Jorge Luis, “La imagen distorsionada. Realidad y estereotipo del imaginario andino a través del cine (1960-1980)”, Bira. Boletín del Instituto RivaAgüero, núm. 33, Lima, Perú, 2005, pp. 247-258. Tema 7. Indio y militancia (AN) 3 de octubre Películas: - Nütuayin Mapu: recuperemos nuestra tierra (Guillermo Cahhn y Carlos Flores del Pino, Chile, 1969) - El enemigo principal (Jorge Sanjinés, Perú, 1973) - Tupac Amaru (Federico García Hurtado, Cuba/Perú, 1984) Bibliografía: - Sanjinés, Jorge y Grupo Ukamau, Teoría y práctica de un cine junto al pueblo, 3a ed., México, Siglo XXI, 1987. - Sanjinés, Javier, "Transculturación y subalternidad en el cine boliviano", en Alejandro Bruzual (coord.), Cine, política y memoria. Objeto Visual. Cuadernos de Investigación de la Cinemateca Nacional de Venezuela, año XII, núm. 10, diciembre de 2004, pp. 11-29. - Maturana Díaz, Felipe, "'Nutuayin Mapu' y el cine indígena en Chile, en La Fuga, Invierno de 2010, consultar en http://www.lafuga.cl/nutuayin-mapu-y-el-cine-indigena5 �en-chile/412 El 10 de octubre no hay clase (Coloquio Internacional del IIE) Tema 8. Antropofagia 17 de octubre Películas: - Triste Trópico (Artur Omar, Brasil, 1974) - Como era gostoso o meu francês (Nelson Pereira dos Santos, Brasil, 1971) Bibliografía: - Nichols, Bill, "The Ethnographer's Tale", en Lucien Taylor (ed.), Visualizing Theory: Selected Essays From V.A.R. 1990-1994, New York/Londres, Routledge, 1994, pp.60-83. - Omar, Arthur, "El antidocumental, provisionalmente" [1978], en Paulo Antonio Paranaguá (ed.), Cine Documental en América Latina, Madrid, Cátedra, 2003, pp. 468-471. - Stam, Robert y Ella Shohat, “Las estéticas de las resistencias”, en Multiculturalismo, cine y medios de comunicación: crítica del pensamiento eurocéntrico, Barcelona, Paidós, 2002, pp. 249-315. - Nagib, Lúcia, “To Be Or Not To Be a Cannibal”, en Brazil on Screen: Cinema Novo, New Cinema, Utopia, Londres, I.B. Tauris, 2007, pp. 61-80. Módulo IV. Autorrepresentaciones y relatos indígenas Tema 9. Tecnología y testimonio 24 de octubre Película: - Nuestra voz de tierra, memoria y futuro (Marta Rodríguez y Jorge Silva, Colombia, 1980) - Hermógenes Cayo (Jorge Prelorán, Argentina, 1970) Bibliografía: - MacDougall, David, “Whose Story Is It?”, Transcultural Cinema, Princeton, Princeton University Press, 1998, pp.150-164 (publicado originalmente en Visual Anthropology Review 7.2, Fall 1991, pp.2-10). - Álvarez, Luis Alberto, “Cine colombiano mágico” [1982], en Páginas de cine, vol. 1, Medellín, Universidad de Antioquia, 2005, pp.19-22. Disponible en línea: http://maderasalvaje.blogspot.mx/2013/05/andar-la-palabra-el-mes-demarta.html - Chanan, Michael, “Rediscovering Documentary: Cultural Context and Intentionality” [1985], en Michael T. Martin (ed.), New Latin American Cinema, vol.1, Theory, Practices, and Transcontinental Articulations, Detroit, Wayne State University Press, 1997, pp.201-217. - Flores, Carlos Y., “La antropología visual: ¿distancia o cercanía con el sujeto antropológico?”, Nueva Antropología XX (67), 2007,pp.65-87. Disponible en línea: http://www.carlosyflores.com/la-antropologia-visual-distancia-o-cercania-con6 �el-sujeto-antropologico/ Tema 10. Transferencia de medios y video indígena (AN) 31 de octubre Películas: - La vida de una familia Ikoods (Teófila Palafox, México, 1988) - Memoria viva (Marta Rodríguez e Iván Sanjinés, Colombia, 1993) - O Espírito da TV (Vincent Carelli, Vídeo nas aldeas, Brasil, 1990) - Día dos (Dante Cerano, México, 2004) Bibliografía: - Amalia Córdova, “Estéticas enraizadas: aproximaciones al video indígena en América Latina”, en Comunicación y medios 24 (2011), Instituto de la Comunicación e Imagen, Universidad de Chile, pp. 81-107. - Schiwy, Freya, “La otra mirada. Video indígena y descolonización”, Miradas. Revista del Audiovisual, San Antonio de los Baños, Cuba, Escuela Internacional de Cine y Audiovisual, [s. f.], disponible en <http://www.eictv.co.cu/miradas>. - Lerner, Jesse, "Dante Cerano: Día dos: sexo, parentesco y video", en Claudia Arroyo Quiroz, et. al. (eds.), México imaginado: nuevos enfoques sobre el cine (trans)nacional, Méxi co, UAM/CONACULTA, 2011, pp.159-171. - Anaya, Graciela, Hacia un video indio, México, Instituto Nacional Indigenista, 1990. Consultar: - http://www.nativenetworks.si.edu - La Coordinadora Latinoamericana de Cine y Comunicación de los Pueblos Indígenas. A manera de presentación, disponible en http://videoindigena.bolnet.bo/ clacpi.htm http://www.videonasaldeias.org.br/2009/index.php - Tema 11. Relatos y ficciones indígenas 1 7 de noviembre Películas: - La nación clandestina (Jorge Sanjinés, Bolivia, 1989) - Retorno a Aztlán (Juan Mora Catlett, 1991) INVITADO ESPECIAL: JUAN MORA CATLETT Bibliografía: Jablonska, Aleksandra, “De la resistencia a la unión espiritual: La otra conquista de Salvador Carrasco”, en Cristales del tiempo: pasado e identidad de las películas mexicanas contemporáneas, México, UPN/Conacyt, 2009, pp. 163-210. - Ferman, Claudia, "Indígenas, indigenistas e indigeneidad en el cine latinoamericano reciente: Video Nas Aldeas, Juan Mora Catlett, Claudia Llosa", en Francisco Montaña Ibáñez (ed.), Cómo se piensa el cine latinoamericano: 7 �aparatos epistemológicos, herramientas, líneas, fugas e intentos, Bogotá, Universidad Nacional de Colombia, 2011, pp.136-157. - Rivera Cusicanqui, Silvia, Invisible Realities: Internal Markets and Subaltern Identities in Contemporary Bolivia, Ámsterdam/Quezon City, South Exchange Program for Research on the History of Development/Southeast Asian Studies Regional Exchange Program, 2005. - García Pabón, Leonardo, “Indigenismo y sujetos nacionales en el cine de Jorge Sanjinés. A propósito de La Nación clandestina”, en La patria íntima. Alegorías nacionales en la literatura y el cine de Bolivia, La Paz, Bolivia, Centro de Estudios Superiores Universitarios-Universidad Mayor de San Simón/Plural, 1998. , pp. 249-262. Tema 11. Relatos y ficciones indígenas 2 14 de noviembre Películas: - Qati qati (Reynaldo Yujra, Bolivia, 1998) - Corazón del tiempo (Alberto Cortés, México, 2009) Bibliografía: - Schiwy, Freya, “Gender, Complementarity, and the Anticolonial Gaze”, en Indianizing Film: Decolonization, the Andes, and the Question of Technology, New Brunswick, New Jersey/London, Rutgers University Press, 2009, pp.109-138. - Ginsburg, Faye, “Screen Memories: Resignifying the Traditional in Indigenous Media”, en Faye Ginsburg, Lila Abu-Lughod y Brian Larkin (eds.), Media Worlds: Anthropology on New Terrain, Berkeley/Los Angeles, University of California Press, 2002, pp.39-57. - Leer críticas de prensa publicadas sobre Corazón del tiempo. Tema 11. Relatos y ficciones indígenas 3 21 de noviembre Película: - Madeinusa (Claudia Llosa, Perú, 2006) Bibliografía: - - D’Argenio, Maria Chiara, “A Contemporary Andean Type: The Representation of the Indigenous World in Claudia Llosa’s Films”, Latin American and Caribbean Ethnic Studies 8.1, 2013, pp.20-42. Beasley-Murray, John, “Subalternidad, traición y fuga: tres películas recientes del Perú”, en Luis Duno-Gottberg (ed.), Miradas al margen: cine y subalternidad en América Latina y el Caribe, Caracas, Fundación Cinemateca Nacional, pp. 367–-392. (CUEC) Kroll, Juli A., “Between the ‘Sacred’ and the ‘Profane’: Cultural Fantasy in Madeinusa by Claudia Llosa”, Chasqui 38.2, noviembre 2009, pp. 113-125. 8 �Bibliografía adicional Colombres, Adolfo (ed.), Cine, antropología y colonialismo, Buenos Aires, Ediciones del Sol, 1985. Gabriel, Teshome, "Towards a Critical Theory of Third World Films", en Jim Pines y Paul Willemen (eds.), Questions of Third Cinema, Londres, British Film Institute, 1989, pp.30-52. (Dw) Ginsburg, Faye D., Lila Abu-Lughod y Brian Larkin (eds.), Media Worlds: Antropology on New Terrain, Berkeley, University of California Press, 2002. Gleghorn, Charlotte, “Revisioning the Colonial Period: La relación de Michoacán and Contemporary Mexican Indigenous Film”, Interventions: International Journal of Postcolonial Studies 15.2, 2013, pp.224-238. Gómez, Santiago Andrés, “Nos robaron la tierra, pero no nos van a robar el aire” (entrevista con Marta Rodríguez) [1996], disponible en línea: http:// maderasalvaje.blogspot.mx/2013/05/andar-la-palabra-el-mes-de-marta.html Himpele, Jeff, Circuits of Culture: Media, Politics, and Indigenous Identity in the Andes, Minneapolis, University of Minnesota Press, 2008. Johnson, Randall y Robert Stam (eds.), Brazilian Cinema, Londres, Associated University Presses, 1982. Lerner, Jesse, The Maya of Modernism: Art, Architecture, and Film, Albuquerque, University of New Mexico Press, 2011. MacDougall, David, Transcultural Cinema, Princeton, Princeton University Press, 1998. --- The Corporeal Image: Film, Ethnography, and the Senses, Princeton/Oxford, Princetone University Press, 2006. --- “Cinema Transcultural”, Antípoda 9, julio-diciembre 2009, pp.47-88. Mateus Mora, Angélica, “Lo indígena en el cine y video colombianos: panorama histórico”, Cuadernos de Cine Colombiano 17A, 2012, pp.19-45. Disponible en línea: http://idartes.gov.co/index.php/cinemateca-multimedia/282-ebooks/ publicaciones-2012 Paranaguá, Paulo Antonio (ed.), Cine Documental en América Latina, Madrid, Cátedra, 2003. ---, Tradición y modernidad en el cine de América Latina, Madrid, Fondo de Cultura Económica, 2006. Pick, Zuzana, “Cultural Difference and Representation”, en The New Latin American Cinema: A Continental Project, Austin, University of Texas Press, 1993, pp. 126-156. ---, "Reconfiguring the Revolution: Celebrity and Melodrama", en Constructing the Image of the Mexican Revolution, Austin, University of Texas Press, 2010, pp.125-144. Poole, Deborah, Vision, Race, and Modernity: A Visual Economy of the Andean Image World, Princeton, Princeton University Press, 1997. Prelorán, Jorge, El cine etnobiográfico, Buenos Aires, Universidad del Cine, 2006. Richards, Keith John, Themes in Latin American Cinema: A Critical Survey, Jefferson, McFarland, 2011. Rodríguez, Clara E., "Dolores del Río and Lupe Vélez: Working in Hollywood, 1924- 1944", en Norteamérica, año 6, núm. 1, enero-junio 2011, pp. 69-91. Sanjinés, Iván, “Indígenas en las cámaras: construyendo empoderamiento y nuevas prácticas de resistencia”, Cuadernos de Cine Colombiano 17B, 2012, pp.56-73. Disponible en línea: http://idartes.gov.co/index.php/cinemateca-multimedia/ 282-ebooks/publicaciones-2012 Schiwy, Freya, Indianizing Film: Decolonization, the Andes, and the Question of Technology, New Brunswick, New Jersey/London, Rutgers University Press, 2009. Schiwy, Freya y Nelson Maldonado Torres, (Des)Colonialidad del ser y del saber. Videos indígenas y los límites coloniales de la izquierda en Bolivia, Buenos Aires, Signo/ Globalization and the Humanities Project/Duke University, 2006. 9 �Stam, Robert, Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture, Durham, Duke University Press, 2007. Suárez, Juana, “El género del género: mujer y cine en Colombia”, en Cinembargo Colombia: ensayos críticos sobre cine y cultura, Bogotá, Universidad del Valle, 2009, pp.115-137. Taylor, Lucien (ed.) Visualizing Theory: Selected Essays From V.A.R. 1990-1994, New York/Londres, Routledge, 1994. Tierney, Dolores, Emilio Fernández: Pictures in the Margins, Manchester, Manchester University Press, 2007. Vargas, Fernando, Wara Wara: la reconstrucción de una película perdida, La Paz, Cinemateca Boliviana/CAF/Plural, 2010. Varios, dossier titulado “Articles on Bolivian Filmmaker, Jorge Sanjinés”, Jump Cut 54, 2012. Disponible en línea: http://www.ejumpcut.org/currentissue/index.html Wilson, Pamela y Michelle Stewart (eds), Global Indigenous Media: Cultures, Poetics, and Politics, Durham, Duke University Press, 2008.eal, Gabriela, “ ‘Intervenir en la realidad’: usos políticos del video indígena en Bolivia”, Revista Colombiana de Antropología 45.2, 2009, pp.259-285. Disponible en línea: http:// w w w. i c a n h . g o v. c o / g r u p o s _ i n v e s t i g a c i o n / a n t r o p o l o g i a _ s o c i a l / publicaciones_seriadas_antropologia/revista_colombiana_antropologia/5853 Filmografía adiconal • • • • • • • • • • • Castañeros del Monte Alto (Tacanas en Pando) Año: 2007, Responsable: Julio Cortés, País: Bolivia, Producción: CEFREC-CAIB, Argumento: colectivo. Choiteé. Historia de un movima. Año: 2005, Responsable: Miguel Ángel Yalauna, País: Bolivia, comunidades: San Lorenzo, provincia de Yacuna, Producción: CEFREC-CAIB. Contra viento y marea. Mujeres construyendo dignidad y soberanía. Año: 2005, Responsable: Televisión Comunitaria, Sapecho Ato Beni, País: Bolivia, Producción: CEFREC-CAIB, Argumento: colectivo. Corazón aymara. Año: 1925, Dirección: Pedro Sambarino, País: Bolivia, Producción: Bolivia Films, Argumento: Pedro Sambarino. Desempolvando nuestra historia. Año: 1999, Responsable: Alfredo Copa, País: Bolivia, comunidades: Caltapi y Silvi, Producción: CEFREC-CAIB, Argumento: Alfredo Copa. El coraje del pueblo. Año: 1971, Dirección: Jorge Sanjinés, País: Bolivia, Producción: Grupo Ukamau y Radio Televisión Italiana, Argumento: Oscar Soria y Jorge Sanjinés. El venado yaqui. Año: 2003, Dirección: María Esperanza Molina Rojas, País: México, comunidad: Sarmiento yaqui Sonora, Producción: Organización Productora: UPAI-Sonora CDI, Argumento: Maria Esperanza Molina Rojas. Etnocidio. Notas sobre el Mezquital, Año: 1976, Dirección: Paul Leduc, País: México. "Kherendi Tzitzica" (Flor de las peñas) (Felipe Gregorio Castillo, México, 1938) La gloria de la raza. Año: 1926, Dirección: Arturo Posnansky, País: Bolivia, Producción: Cóndor Mayku Films, Argumento: Arturo Posnansky. La hora de los hornos, Año: 1968, Dirección: Octavio Getino y Fernando Solana, País: Argentina • La profecía del lago. Año: 1925, Dirección: José María Velasco Maidana, País: Bolivia, Producción: Urania Films, Argumento: José María Velasco Maidana. • Los pueblos indígenas así pensamos Año: 2002, País: Bolivia, Producción: CEFREC10 �• • • • • • CAIB, Argumento: colectivo. Mana Khawakuaychu/Hagamos algo contra la basura plástica. Año: 2000, Responsable: Jacinta Rodríguez, País: Bolivia, Producción: CEFREC-CAIB, Argumento: Jacinta Rodríguez. Pueblo mosetén. Entre la memoria y el olvido Año: 2006, Responsable: Jesús Tapia, País: Bolivia, comunidades: Pueblo Mosetén, Producción: CEFREC-CAIB. Sueños binacionales. Año: 2005, Dirección: Yolanda Cruz, País: México, Producción: Petate Producciones. Tejiendo mar y viento. Año: 1985, Dirección: Luís Lupone, País: México, Producción: Heléne Damet, Juan Francisco Urrusti, Argumento: Luís Lupone. Tizoc. Año: 1956, Dirección: Ismael Rodríguez, País: México, Argumento: I. Rodríguez, Carlos Orellana, Manuel R. Ojeda y Ricardo Parada León Yawar Mallku/La sangre del cóndor. Año: 1969, Dirección: Jorge Sanjinés, País: Bolivia, Producción: Grupo Ukamau, Argumento: Oscar Soria y Jorge Sanjinés 11 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Syllabi Syllabus Title / Título (Original) A name given to the resources. El nombre original del recurso. Representación indígena en el cine latinoamericano Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. 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. Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Argentina Bolivia Brazil / Brasil Chile Colombia Cuba Ecuador Mexico / México Peru / Perú Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Abya Yala / Indigenous Americas Latin America / Latinoamérica Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Silent Cinema / Cine mudo Studio Cinema / Cine clásico de estudio New Latin American Cinema / Nuevo Cine Latinoamericano Contemporary / Contemporáneo Films taught / Películas Alistadas según la secuencia del curso: <a href="https://cinegogia.omeka.net/items/show/685">Corazón del tiempo</a> <a href="https://cinegogia.omeka.net/items/show/773">Como era gostoso o meu francês</a> <a href="https://cinegogia.omeka.net/items/show/704">Desayuno de indios</a> <a href="https://cinegogia.omeka.net/items/show/844" target="_blank" rel="noreferrer noopener">Día dos</a> <a href="https://cinegogia.omeka.net/items/show/789">El enemigo principal</a> <a href="https://cinegogia.omeka.net/items/show/849">Expedición al Caquetá</a> <a href="https://cinegogia.omeka.net/items/show/110">Hermógenes Cayo</a> <a href="https://cinegogia.omeka.net/items/show/853">Los invencibles Shuaras del Alto Amazonas</a> <a href="https://cinegogia.omeka.net/items/show/780">Janitzio</a> <a href="https://cinegogia.omeka.net/items/show/699">Kukuli</a> <a href="https://cinegogia.omeka.net/items/show/114">María Candelaria</a> <a href="https://cinegogia.omeka.net/items/show/850">Memoria viva</a> <a href="https://cinegogia.omeka.net/items/show/81">Madeinusa</a> <a href="https://cinegogia.omeka.net/items/show/260">La nación clandestina</a> <a href="https://cinegogia.omeka.net/items/show/782">Nütuayin Mapu / </a><a href="https://cinegogia.omeka.net/items/show/782">Recuperemos nuestra tierra</a> <a href="https://cinegogia.omeka.net/items/show/700">Nuestra voz de tierra, memoria y futuro</a> <a href="https://cinegogia.omeka.net/items/show/846">O Espírito da TV</a> <a href="https://cinegogia.omeka.net/items/show/851">Patagonia</a> <div class="page" title="Page 5"> <div class="section"> <div class="layoutArea"> <div class="column"> <div class="page" title="Page 7"> <div class="section"> <div class="layoutArea"> <div class="column"><a href="https://cinegogia.omeka.net/items/show/697">Qati qati</a> <a href="https://cinegogia.omeka.net/items/show/112">Que viva México!</a> <a href="https://cinegogia.omeka.net/items/show/776">Raíces</a> <a href="https://cinegogia.omeka.net/items/show/581">Retorno a Aztlán</a> <a href="https://cinegogia.omeka.net/items/show/175">Revolución</a> <a href="https://cinegogia.omeka.net/items/show/777">Tarahumara</a> Tepeyac <a href="https://cinegogia.omeka.net/items/show/715">Todos somos mexicanos</a> <a href="https://cinegogia.omeka.net/items/show/719">Triste Trópico</a> <a href="https://cinegogia.omeka.net/items/show/783">Tupac Amaru</a> <a href="https://cinegogia.omeka.net/items/show/417">El último malón</a> <a href="https://cinegogia.omeka.net/items/show/781">Ukamau</a> <a href="https://cinegogia.omeka.net/items/show/736">La vida de una familia Ikoods</a> <a href="https://cinegogia.omeka.net/items/show/241">Vuelve Sebastiana</a> <a href="https://cinegogia.omeka.net/items/show/720">Wara Wara</a> La zandunga </div> </div> </div> </div> </div> </div> </div> </div> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. David Wood, Universidad Autónoma de México (UNAM) Carlos Flores Villela, Universidad Autónoma de México (UNAM) Ana Nahmad, Universidad Autónoma de México (UNAM) Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Representación indígena en el cine latinoamericano Description An account of the resource <div class="page" title="Page 1"> <div class="section"> <div class="layoutArea"> <div class="column"> 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. </div> </div> </div> </div> https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/e17111472343ef943f7cd1124a2285d8.png?Expires=1773878400&Signature=CJUEYL4hdUqwswzoTQMmHXWE9EwFe5%7EFuFl6mf64JOV0w-FOA-qMNgbTucy9ZicSqnVE-3ewDCAhMWhv5otLVQJZ%7ECnlLojPLjounkSRseXvybOqnbW3svN3rGJ7V5%7E49V9kAsWveHM%7EP7AdtDJu4-bA2k5mNzC8pDmDQgZbDf01mhcpOS2Fbhb5FmVGF9IDTFHQd9MHsFDPXE-EobjzqOXDK1Kq1c5XhLOlL4AkftyYZN3M55UlZFzTrbgRqhGhruDsf9Dzacsq17Sh3LjmMHPgyPKysWbXq0CbHh8oWul-VsNpIaQdh8Ch1rw%7E%7Ez90aWpXcLLpcVPVarz7gTht5A__&Key-Pair-Id=K6UGZS9ZTDSZM c86e36b06390a86770a68094bb983d73 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Cerro Rico, Tierra Rica Director The director of the film. El/La director/a de la película. Juan Vallejo Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2012 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / español Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Pisco Films (Bolivia) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. The daily rituals of two mining communities are observed in this strikingly visual and unsparing portrait of life and work in Bolivia’s altiplano, at an altitude of fourteen thousand feet. More than ten thousand miners still excavate the slopes and tunnels of the richest silver field in mining history, Cerro Rico (Rich Hill), an enormous conical mountain in the Andes that towers over the city of Potosí. The miners’ lives offer a strong denunciation of the hardships and alienation inherent in industrial work inside the mines, underscoring the historical impact on the native population created by global demands for earth’s wealth. Shot in iconic Potosí and Cerro Rico and, as a counterpart, in the Arctic-looking plains of Salar de Uyuni, where salt is extracted daily and where half of the world’s lithium reserves remain untapped. (<a href="https://pragda.com/film/cerro-rico-tierra-rica" target="_blank" rel="noreferrer noopener">Pragda</a>) En este retrato sorprendentemente visual y desmesurado de la vida y del trabajo en el altiplano boliviano, observamos las actividades cotidianas de dos comunidades mineras a una altitud de más de cuatro mil metros. Más de diez mil mineros todavía excavan las laderas y túneles del depósito de plata más rico de la historia minera, Cerro Rico, una enorme montaña cónica en los Andes que se eleva sobre la ciudad de Potosí. La vida de los mineros ofrece una fuerte denuncia de las dificultades y la alienación inherentes al trabajo industrial dentro de las minas. Se subraya el impacto histórico sobre la población indígena que ha creado la demanda globalizada por los recursos naturales de la tierra. Rodada en los lugares icónicos de Potosí y Cerro Rico y, como contrapartida, en las llanuras de aspecto ártico de Salar de Uyuni, donde la sal se extrae diariamente y donde la mitad de las reservas mundiales de litio siguen sin tocar. (Translated by Abi Dresser) Category / Categoría A broad category or mode of cinematographic production. Documentary Films / Cine documental Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Social problem films / cine sociológico Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Environment / El medio ambiente Human Rights / Derechos humanos Indigenous peoples / Pueblos indígenas Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Available at Website, streaming service, distributor Pragda, <a href="https://pragda.com/film/cerro-rico-tierra-rica/" target="_blank" rel="noreferrer noopener">https://pragda.com/film/cerro-rico-tierra-rica/</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cerro Rico, Tierra Rica Description An account of the resource The daily rituals of two mining communities are observed in this strikingly visual and unsparing portrait of life and work in Bolivia’s altiplano, at an altitude of fourteen thousand feet. More than ten thousand miners still excavate the slopes and tunnels of the richest silver field in mining history, Cerro Rico (Rich Hill), an enormous conical mountain in the Andes that towers over the city of Potosí. The miners’ lives offer a strong denunciation of the hardships and alienation inherent in industrial work inside the mines, underscoring the historical impact on the native population created by global demands for earth’s wealth. Shot in iconic Potosí and Cerro Rico and, as a counterpart, in the Arctic-looking plains of Salar de Uyuni, where salt is extracted daily and where half of the world’s lithium reserves remain untapped. (<a href="https://pragda.com/film/cerro-rico-tierra-rica" target="_blank" rel="noreferrer noopener">Pragda</a>) https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/b7ef9e6547ad28a243117fe1c1b45efe.pdf?Expires=1773878400&Signature=TEmkjk0%7EkmBbl3hjqqLu8p%7EsMNvwvSXPpD9TOWwDdzkUaIiCfCC47YrynU14Syuz4rO72w9juVrCDHbjc3WRT%7EquqmXb-zwEdoV3AJajZ4-50M3e9Jsd5K3tNhxqDYDf2fJ0ZxKPVTSkqieGnGS4vyzqybMw99H%7E5z-LoMvUEee0Jo8W5hvzfb8e8ax3eByDF70mUZVsjwdg0Az1ob6eRGA5XSnZmUkwGQkk0prr8xGCUQ8YhiKFNFxlw5cg5sOoJM8peCRFoF62KHiwbaxhrka3NHLci3Hd97EX49WYap%7EtGa%7EQShfBT4qskefhyZJN%7EHTe2xYV7lFVeYTV8zLd1A__&Key-Pair-Id=K6UGZS9ZTDSZM b5c5efc75e0dd1ad3b3331480e92a62b PDF Text Text Updated May 2021 INDIGENOUS & AFRO-DESCENDANT REPRESENTATION IN CONTEMPORARY LATIN AMERICAN FILM Spring 2021 Synchronous Class Sessions: Wednesdays & Fridays, 1:15-2:30pm (ET) Prof. Bridget Franco, Department of Spanish, Email: bfranco@holycross.edu COURSE INFORMATION 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. COURSE OBJECTIVES The main goals of this course are (1) to acquire an understanding of how indigenous and Afro-Latin American people are represented in and represent themselves in contemporary Latin American cinema in the historical context of colonialization and slavery; (2) to gain an appreciation of film as an artistic medium with the power to promote awareness, challenge predominant world-views, and stimulate critical reflection; (3) to gain experience in analyzing film, specifically in seeing and articulating relationships between content and form. Credit: Latin American, Latinx, and Caribbean Studies (LALC); Cross-Cultural Studies Prerequisite: SPAN 305 and a semester of readings (SPAN 308 or 309) COURSE MATERIALS • Cineglos: http://sites.holycross.edu/cineglos/ (open-access Spanish-language film glossary with examples of cinematographic techniques from Latin American and Spanish cinema) • Films: Almost all the films in this course will be available for free through our Canvas website, or through Kanopy, Swank, or Alexander St. Videos (video streaming services accessible via the library catalog). You must log in using your Holy Cross credentials to gain access to these platforms. Pending availability, there may be 2-3 films that you will need to rent (via Amazon Prime, Netflix or Vimeo) this semester. The cost to rent/buy is approximately $3-12 per film. • Texts: All required and supplementary readings will be available on Canvas or through the Holy Cross library catalog throughout the semester. You are expected to read these texts prior to our meeting and to bring a printed or digital copy with you to class. • Afro-Descendant Representation Bibliography: https://cinegogia.omeka.net/afrolatinamerican • Indigenous Representation Bibliography: https://cinegogia.omeka.net/indigenous �QUESTIONS ABOUT FILMS & FILM STUDIES How many films will we watch? We will watch 18 films this semester. You are responsible for watching 1-2 movies each week on your own as part of your course work. I highly recommend that you set aside a day and time (on your calendar) to view the films that we will discuss in class. Expect to spend dedicated time taking notes and analyzing, not just watching, these films (just as you would with a novel or essay). In order to complete your written assignments, you will need to watch key scenes or sequences at least one more time to properly analyze, critique, and understand the many different layers that comprise the films. When it is your turn to moderate or review a film, you should also plan to view the film a 2nd or 3rd time. What kinds of films will we watch? The films that we will screen this semester have been selected to introduce you to a variety of perspectives, regions, communities, languages, and ways of life that exist in Latin America, with a specific focus on indigenous and Afro-descendant representation through cinema. Our course will explore issues related to gender, race, politics, and history, and some of the films include scenes with violence, sex, nudity, and offensive language. In normal circumstances, you would watch these films in the company of other college-age peers. However, given our remote learning situation, you may find yourself sharing the screen with family members. Please be advised that these films may not be appropriate for younger siblings or other family members. I highly encourage you to watch the films by yourself or with a peer from class (if allowed by social distancing guidelines), so as to form your own opinions, critiques and commentaries (just as you would in a conventional college setting). Our synchronous class sessions are designed to be a safe place to discuss the films together. I’ve never taken a film class – what should I expect? You should expect to never be able to watch a movie again without noticing new and surprising things! Warning: after you take this seminar, your friends and family may be slightly annoyed by the comments you make about low-angle shots, non-diegetic sound and key lighting while watching movies with them. You will learn to recognize how films create meaning, provide insight into different cultures, and give a voice to stories from Latin America that are not typically portrayed by the dominant lens of the Hollywood film industry. You will learn how to analyze the multiple layers of a film, including character development, perspective, theme, cinematography, production context, and film history. As part of this process, you will discuss the films and related readings, and make oral presentations during class; you will learn how to identify the building blocks of cinematography and write film reviews; and you will create a digital video-essay about selected films from the course and a topic of your choice. What films will we watch? During the first half of the semester, we will focus on indigenous representation in Latin American cinema, as well as indigenous media produced in Abya Yala (an indigenous-language term used to refer to the region). These films include: Wallmapu (2001); Fuga de la Patagonia (2016); Tava, a casa de pedra (2012); Ixcanul (2015); La teta asustada (2009); El niño pez (2009); Tote/abuelo (2019); El abrazo de la serpiente (2015); Pïrinop, meu primeiro contato (2007); and El grito de la selva (2008). Following this module, we will screen a series of films that highlight Afro-descendant voices, communities and filmmakers: Ôrí (1989); La soledad (2016); El techo (2016); Cafe com canela (2018); Cidade de Deus (2002); Pelo malo (2014); Cores e Botas (2010); and Miriam miente (2018). In addition to these films, you will have the opportunity to write your film reviews on a related film in consultation with the professor. �WEEKLY ASSIGNMENTS Each week, students will be responsible for preparing or presenting different assignments. The work is spread out over the course of the semester, so students will be responsible for their tasks on different dates and for different films. More details and dates will be posted on Canvas. WEDNESDAYS • MODERADOR/A (M): Responsible for creating a guide with discussion questions about the assigned film and reading. The written part of this assignment is called “Puntos de enfoque” and must be uploaded to Canvas by 5pm (ET) on the Monday prior to class. During Wednesday’s class, the moderator will give an oral presentation (8-10 minutes, graded) with context about the director and the film, and then s/he will moderate a discussion (20 minutes) based on the questions in the “Puntos de enfoque.” Each student will moderate 1 film during the semester. • PUNTOS DE ENFOQUE (PE): On most Wednesdays, most students will answer the puntos de enfoque (discussion questions) created by the moderator and upload their responses to the relevant Discussion Forum on Canvas before class on Wednesday. This weekly exercise will help you discern elements of the films that are significant, interesting, or problematic, and to develop your critical writing skills. Note: Moderators are exempt from responding to their own “Puntos de enfoque”. FRIDAYS • PRESENTADOR/A DE ARTICULO (PA): On most Fridays there will be an assigned reading about Latin American cinema, the specific film we are studying, or a related topic. Weekly presenters will identify the thesis or main point, summarize the article in their own words, and create 5 questions about and/or based on the reading, using the weekly films as reference points. The Article Presenter will also present the reading in class on Friday, and use his/her questions as the basis for a broader discussion with everyone. • TAREA DIGITAL (TD): On Friday, students will complete different kinds of digital homework in preparation for the final video essay project. These low-stakes assignments are designed to help you recognize film techniques and how they function, as well as to provide you with the cutting and editing practice needed for the final video essay project (due at the end of the semester). Some of this work will be completed with a partner(s), some will be done on your own. Note: Article presenters are exempt from the Friday digital homework on the day that they are scheduled to present. RESEÑAS (Film Reviews) • Students will write two (2) film reviews, 5-6 paragraphs in length. A list of recommended movies will be provided. The first review will focus on indigenous representation and/or indigenous media, and should be written for an audience that is not familiar with the historical context of the film. The second review will focus on an Afro-Latin American film, and should be designed for publication in a newspaper in Latin America. Detailed instructions, due dates, and guidelines for writing the film reviews will be discussed in class and provided on Canvas. �VIDEO ESSAY FINAL PROJECT1 What exactly is a video essay? As part of our seminar, you will craft an essay that critically analyzes 1-2 films related to our seminar topics – indigenous and Afro-descendant representation in contemporary cinema from Latin America. Unlike the traditional writing assignments in other courses, you will present this analysis as a short audiovisual essay. Video essays, also referred to as videographic criticism, have emerged in the past decade as a new form of Film Studies research. The video essay format allows us to write about and analyze movies using the very same audiovisual medium of film! Not only can we use the images and sounds from the films in question, the video essay also opens up new possibilities of expression for our analysis. What is the process of creating a video essay like? I cannot assume that everyone has the same background in either digital editing or research methodology. Furthermore, writing, research and video editing all benefit from collaboration, peer-review, and multiple drafts before the final product is complete. For these reasons, our course has been designed with low-stakes learn-by-doing activities (individual and in pairs/small groups), peer-review exercises, and scaffolded assignments that will build towards the final video essay. You are encouraged (and in some cases will be required) to brainstorm ideas with one another and the professor, to workshop your writing, to problem solve technical glitches, and to share practical advice for cutting and editing. During the month of April, there will be dedicated time during class to workshop and develop your video essay. Who will see my video essay? In addition to submitting the video essay to me and sharing the final result with your peers, students may have the opportunity to publish their work for public viewing (meaning that the potential audience for your research project is not just your professor and your peers, but anyone with internet access who is interested in Latin American Film Studies). You, of course, will have 100% control regarding publication of the video essay on a public forum; and you do not need to make that decision until the semester is over. I don’t really understand what a video essay is… Can you show me some examples? Spoken like a true film critic! To see and hear is to understand. Here are some examples of video essays created by students and scholars in Latin American Film Studies. Please remember that the length, narration, and other requirements for our video essay may be different from these specific examples. • • • • • • • • 1 We ALL Can: Perennial themes in Szifrón’s Wild Tale Panóptico en Diarios de motocicleta The Underrepresentation of U.S. Latina Directors “I’ll Run Them Over”: Classism in Las malas intenciones “C/Leo” – On Auteurism and Roma La doble repetición en Memorias del subdesarrollo Santa y Teresa: A Walking Dialogue between two Cuban Characters El embrujo de La mujer sin cabeza Video Essay assignment adapted from course materials created by Jeffrey Middents, American University and Michelle Farrell, Fairfield University �CLASSROOM COMMUNITY • Attendance & Zoom Etiquette I am looking forward to the day when college life resumes some semblance of normality and we can all be together on campus, in a regular classroom setting. In the meantime, consistent attendance and punctuality using our online Zoom platform are expected for this course. Please test your internet connection, microphone and camera at least 5 minutes before class begins to minimize disruptions. One important part of creating a positive and productive classroom community is that we will all try to find a quiet, private space when we meet for our synchronous class sessions on Wednesdays and Fridays. You should have your video feed on (as it is normal and helpful to see each other during class) and use headphones/earbuds to keep our discussions within the classroom space only. I understand that there may be interruptions, problems with technology or other realities that interfere with these expectations from time to time. If this is the case, you are expected to communicate your circumstances to me before class begins. Our synchronous sessions will not be recorded. If you miss a class, it is your responsibility to notify me via email before the class meeting begins with the reason for the absence. In addition, you should borrow the notes from another student, acquire any materials that were handed out, and learn if changes have been made to the syllabus. You may also come to my virtual office hours (Mondays 3:30-4:30pm; Thursdays 1-2pm; or by appointment) with any questions about missed classes. I will not email recaps or notes of our synchronous class sessions to students who were absent. Regardless of absences, all students are expected to upload any homework to Canvas by the due date to receive credit for their work. After the first week of classes, students are allowed two absences without a penalty. The third absence will lower your final semester grade by one half-letter grade, the fourth by one letter grade, and so on. Arriving late disrupts the class as well. Three tardies equals one unexcused absence. • Participation & Preparation Thoughtful preparation and active participation in class (discussion, pair/group work) is critical to a positive and productive learning environment. You are expected to view the weekly films, read any assigned readings, and prepare assignments prior to class. Class meetings will be devoted to a discussion of the films and readings. Be prepared not only to summarize, but also offer interpretative comments. Classroom participation is evaluated based on what you demonstrate, not what you know in your head. You can demonstrate your preparation and participation through synchronous engagement during our regularly scheduled class (e.g., voluntarily responding to questions or prompts by professor or peers, participation using the live audio/video functions or chat). You can also show your engagement with the course material asynchronously by completing and uploading your written homework to Canvas prior to class, by participating actively in discussion forums, and by promptly responding to email communications from your peers and professor. In general, please let me know if you feel lost, confused, overwhelmed, or uncomfortable in class. You are not alone! What you may feel is a “wrong” answer is not necessarily so, and asking is the most effective way to clear up doubts. �• Student (aka Office) Hours The traditional phrase "office hours" can be misleading, as it seems to indicate that it is when I am working in my office, not to be disturbed. But, in fact, "office hours", or what I prefer to call "Student Hours" refers to the protected time during the week that I am available to meet with my students. I have set this time aside specifically to chat with you, to answer questions you have about the course or college life, to guide you towards helpful resources for having a successful semester, and to discuss assignments, readings and of course Latin American film! I enjoy getting to know my students outside of the regular classroom dynamic, and I know that college can be a very challenging time in your life. On top of that, our remote learning circumstances will require additional guidance and one-on-one interaction in order for you to learn deeply and challenge yourself to grow. If that’s not convincing enough, research shows that taking advantage of office hours during college can result in higher grades and more compelling letters of recommendation, as well as improve your communication and networking skills. Still not convinced? Attending office hours at least one time before March 1 is one of our course requirements… so please give it a try! Student Hours: Mondays 3:30-4:30pm, Thursdays 1-2pm, or by appointment. Zoom link is posted on our Canvas website. You can drop in to Student Hours anytime. YOU DO NOT NEED TO SIGN UP. If these days/times do not work with your schedule, just email me and we will set up an alternate time to chat via Zoom or by phone. EVALUATION & GRADING Article Presentation (1) 5% Film Moderator (1) 10% Puntos de enfoque 10% Digital Homework 10% Attendance & Participation 10% (includes attendance, participation, preparation) Film Reviews (2) 20% Final Project 35% (includes research question, annotated bibliography, storyboard, curatorial statement, and video essay) �REQUIRED COLLEGE-WIDE INFORMATION Statement about Recording of Classes Consistent with applicable federal and state law, this course may be video/audio recorded as an accommodation only with permission from the Office of Accessibility Services. Student Attendance at Class and Excused Absence Policy https://catalog.holycross.edu/requirements-policies/academic-policies/#coursepoliciestext Academic Integrity https://catalog.holycross.edu/requirements-policies/academic-policies/#academicintegritytext All education is a cooperative enterprise between faculty and students. This cooperation requires trust and mutual respect, which are only possible in an environment governed by the principles of academic integrity. As an institution devoted to teaching, learning, and intellectual inquiry, Holy Cross expects all members of the College community to abide by the highest standards of academic integrity. Any violation of academic integrity undermines the studentfaculty relationship, thereby wounding the whole community. The principal violations of academic integrity are plagiarism, cheating, and collusion. Work prepared for this class should be written in Spanish and without the aid of external translation tools (other than a dictionary). Your work should be your own and should be prepared specifically for this class. Whenever you make use of outside sources for language, ideas (including web sites, books, etc.) or as part of your video-essay (film clips, music, interviews), you must acknowledge them in formal citations, following the MLA bibliographic guidelines. Failure to do so constitutes plagiarism, a serious academic offense. First-time plagiarists earn a zero on the assignment, a letter in their college file, and two semesters of academic probation. If you ever have questions about what needs to be cited and what does not, please ask me. Office of Accessibility Services https://www.holycross.edu/health-wellness-and-access/office-accessibility-services The Office of Accessibility Services (formerly named Disability Services) encourages the “development of the whole person” by helping students identify and appreciate their unique characteristics and request appropriate accommodations when necessary. Students should submit all accommodation requests to the Office of Accessibility Services. Students requesting accommodations should review the guidance provided by the Office of Accessibility Services regarding the requirements for documentation. Office of Academic Services and Learning Resources https://www.holycross.edu/support-and-resources/academic-services-and-learning-resources The Office of Academic Services and Learning Resources helps each Holy Cross student take the next step toward academic success. Whether you’re a first-year student looking for a tutoring workshop, a sophomore Honors student looking for advice on choosing a major, a junior athlete seeking to improve time management skills to become a stronger leader, or a senior trying to balance your current courses with planning for life after Holy Cross, the office has something to offer you. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Syllabi Syllabus Title / Título (Original) A name given to the resources. El nombre original del recurso. Indigenous & Afro-descendant Representation in Contemporary Latin American Film Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. <div class="page" title="Page 1"> <div class="section"> <div class="layoutArea"> <div class="column"> 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. </div> </div> </div> </div> Related Course Materials / Materiales relacionados Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live. <a href="https://cinegogia.omeka.net/afrolatinamerican">https://cinegogia.omeka.net/afrolatinamerican</a> <a href="https://cinegogia.omeka.net/indigenous">https://cinegogia.omeka.net/indigenous</a> <a href="https://cinegogia.omeka.net/items/show/676">Proyecto de video ensayo</a> <a href="https://cinegogia.omeka.net/items/show/702">Tarea digital</a> Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Argentina Bolivia Brazil / Brasil Chile Colombia Cuba Dominican Republic / República Dominicana Guatemala Mexico / México Peru / Perú Venezuela Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Caribbean / Caribe Latin America / Latinoamérica Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Films taught / Películas <a href="https://cinegogia.omeka.net/items/show/352">El abrazo de la serpiente</a> <a href="https://cinegogia.omeka.net/items/show/558">Café com canela</a> <a href="https://cinegogia.omeka.net/items/show/491">Cidade de Deus</a> <a href="https://cinegogia.omeka.net/items/show/554">Cores e Botas</a> <a href="https://cinegogia.omeka.net/items/show/584">Fuga de la Patagonia</a> <a href="https://cinegogia.omeka.net/items/show/689">El grito de la selva</a> <a href="https://cinegogia.omeka.net/items/show/340">Ixcanul</a> <a href="https://cinegogia.omeka.net/items/show/483">La soledad</a> <a href="https://cinegogia.omeka.net/items/show/183">La teta asustada</a> <a href="https://cinegogia.omeka.net/items/show/372">Miriam miente</a> <a href="https://cinegogia.omeka.net/items/show/159">El niño pez</a> <a href="https://cinegogia.omeka.net/items/show/481">Ôrí</a> <a href="https://cinegogia.omeka.net/items/show/303">Pelo malo</a> <a href="https://cinegogia.omeka.net/items/show/610">Pïrinop, meu primeiro contato</a> <a href="https://cinegogia.omeka.net/items/show/399">Tava, a casa de pedra</a> <a href="https://cinegogia.omeka.net/items/show/302">El techo</a> <a href="https://cinegogia.omeka.net/items/show/695">Tote/abuelo</a> Wallmapu Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Bridget V. Franco, College of the Holy Cross Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Open Educational Resources (OER) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Indigenous & Afro-descendant Representation in Contemporary Latin American Film Description An account of the resource <div class="page" title="Page 1"> <div class="section"> <div class="layoutArea"> <div class="column"> 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. </div> </div> </div> </div> https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/da8f3e813eddc62a437292997b0e4718.jpeg?Expires=1773878400&Signature=mIx3SrQGW95%7EkIh-O%7EYUkBu8%7E6uEO1YS9FlicQlA9%7EuKk%7EBC37Kw0bB098uZYlf2Mtj9GLE%7EU-7EVhezHHjhSHAqyRRJw7t7bH9l4YIIiid5JbzWx2u7MFC5sLCRW1f6CU-ft-eHEviBsGuuwMdkKf2Ag6XoCV5FSV8fcuXpMs4DI3NY5t1yIyhNHpjBApzGvOF3HCkIzcjkqT6jtquIhh4EeeCAFtVJGHupksIaOqeV-ek3JozCx3FWGldhNx4KSLEKegOB%7EYg-tUWSREwoWym1jNI-Qpg07fHu-ieE1OMhP7aR4tSOmwp0-nME684w7YeAqEEjLG0HkA1I1t7C7w__&Key-Pair-Id=K6UGZS9ZTDSZM 43b5a0aba9bc110794c04892aa752ffa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. El grito de la selva Title The Cry of the Forest Director The director of the film. El/La director/a de la película. Nicolás Ipamo Alejandro Noza Iván Sanjinés Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2008 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Indigenous / indígena Spanish / español Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. CEFRAC (Centro de Formación y Realización Cinematográfica / Cinematography Education and Production Center) CAIB (Coordinadora Audiovisual Indígena Originaria de Bolivia / Bolivian Indigenous Peoples Audiovisual Council) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. A logging company enters the indigenous community of Beni in Bolivia and begins logging. They hire local people to make promises of the benefits they will receive, but the Indians gradually become aware of the logging company's deceptions and rapacious behavior, and they drive them out. This marks the beginning of the Indigenous Rights Movement in Beni [Bolivia]. (<a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener">IMDB</a>) Una empresa de explotación forestal llega a la comunidad indígena de Beni en Bolivia y empieza a talar. La compañía contrata a la gente local y les promete beneficios. Pero gradualmente los indígenas se dan cuenta de su conducta rapaz y decepción, y expulsan a la empresa de su territorio. Este incidente marca el comienzo del Movimiento de los Derechos Indígenas en Beni. (Translated by Molly Kerrigan) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama Historical films / cine histórico Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Human Rights / Derechos humanos Indigenous peoples / Pueblos indígenas Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource El grito de la selva Description An account of the resource A logging company enters the indigenous community of Beni in Bolivia and begins logging. They hire local people to make promises of the benefits they will receive, but the Indians gradually become aware of the logging company's deceptions and rapacious behavior, and they drive them out. This marks the beginning of the Indigenous Rights Movement in Beni [Bolivia]. (<a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener">IMDB</a>) Indigenous filmmaking / producciones indígenas https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/6e53fc7a59f275eddedaaf229d0e713c.png?Expires=1773878400&Signature=KYGocCBBPQuqCiPdfKGL6mLgsd7fujjW86%7EkH3GaDb5glt1g67o7-tAd7luqq5nqyb%7EmofJnDlk8oNJgYCspPWqnP2cUr6QNmVmRpMExsyMUTMbBHILXJ5ac8PDAW830pT5NYO6qF-24DXpGUJk2CFwCehXAPsgjSJ94wB9%7EL6YZqC3ecQUDRPBx4WrbK8lWWInsnWgugzi6zQDnbU3N9vLmoip7SDpZPOHlX%7EUWIhVPz7OKPVGuri%7EXYwijp%7E9CcdQTNkHwpudFwDc8g-kwfIRqIyGRVj8a6fEI-kvwJnGiP314kUQt%7EWSx9iV41ESRLkYAqv-%7Ew31zKlbjmNfzFQ__&Key-Pair-Id=K6UGZS9ZTDSZM de05178c6d90bbef0cc10cdd8a6385b5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Qati qati Title Qati Qati: Murmurs of Death Qati qati: Susurros de muerte Director The director of the film. El/La director/a de la película. Reynaldo Yujra Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1999 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Indigenous / indígena Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. CAIB (Coordinadora Audiovisual Indígena Originaria de Bolivia / Bolivian Indigenous Peoples Audiovisual Council) CEFRAC (Centro de Formación y Realización Cinematográfica / Cinematography Education and Production Center) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. La película Qati qati [...] se sirve tanto del género del terror como de los recursos del relato oral. En el filme, una campesina aimara, Valentina, cuenta a su esposo Fulo la historia del qati qati, una cabeza humana voladora que se desprende del cuerpo de las personas mientras duermen. Fulo se burla de las supersticiones de su esposa e ignora los presagios funestos. Pero una noche la cabeza de Valentina, transformada en qati qati, queda enredada por las trenzas en los arbustos, causándole la muerte. El apenado hombre reconoce, mientras entierra a su compañera, que habría sido mejor prestar oído a las creencias ancestrales. (Möller González, Natalia. "Cine y video indígena en América Latina 2: La mirada indígena." Revista Icónica, sección Ensayo, 27 nov 2018, <a href="http://revistaiconica.com/cine-y-video-indigena-en-america-latina-2-la-mirada-indigena/" target="_blank" rel="noreferrer noopener">revistaiconica.com/cine-y-video-indigena-en-america-latina-2-la-mirada-indigena</a>) This is a fiction film based on a short-story from Bolivian Andean region. Fulo, a man from a small village in Bolivia not believe old traditions regarding the existence of souls and spirits. He has to face his wife's mysterious dissaperance as a punishment for challenging these ancient beliefs. Winner of the best scenic production award at the 1999 Latin American Film and Video Festival of Indigenous Communities [organized by CLACPI]. (<a href="https://lafilm.web.unc.edu/qati-qati/" target="_blank" rel="noreferrer noopener">Latin American Film Library</a>) Una pelicula de ficcion basada en un cuento de la región andina de Bolivia. Fulo, un hombre de un pequeño pueblo de Bolivia, no cree en las viejas tradiciones sobre la existencia de las almas y espíritus. Tiene que enfrentar la misteriosa desaparición de su esposa como castigo por desafiar estas antiguas creencias. Ganadora del premio a la mejor producción escénica en el Festival Latinoamericano de Cine y Video de los Pueblos Indígenas [organizado por CLACPI]. (Translated description by Quetzali Gomez) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama Horror films / cine de horror Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Indigenous peoples / Pueblos indígenas Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Qati qati Description An account of the resource La película Qati qati [...] se sirve tanto del género del terror como de los recursos del relato oral. En el filme, una campesina aimara, Valentina, cuenta a su esposo Fulo la historia del qati qati, una cabeza humana voladora que se desprende del cuerpo de las personas mientras duermen. Fulo se burla de las supersticiones de su esposa e ignora los presagios funestos. Pero una noche la cabeza de Valentina, transformada en qati qati, queda enredada por las trenzas en los arbustos, causándole la muerte. El apenado hombre reconoce, mientras entierra a su compañera, que habría sido mejor prestar oído a las creencias ancestrales. (Möller González, Natalia. "Cine y video indígena en América Latina 2: La mirada indígena." Revista Icónica, sección Ensayo, 27 nov 2018, <a href="http://revistaiconica.com/cine-y-video-indigena-en-america-latina-2-la-mirada-indigena/" target="_blank" rel="noreferrer noopener">revistaiconica.com/cine-y-video-indigena-en-america-latina-2-la-mirada-indigena</a>) Aymara / aimara Indigenous filmmaking / producciones indígenas Literary adaptation / Adaptación literaria https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/fcf1c75f4df8b7de7b2097ded8937fd5.png?Expires=1773878400&Signature=PPFu6gqOHLO6K0tUamx%7EcMtp1WqBVRscnNLXbrykaGPTg%7E2SgHapcv34Sy2HgHFyK0BmRGHwnaKsSc6U1bniJnnPANjY7v4N-bbbbF23ac19qyIbuW35Si8QoGto3hrdNZXdI8VPL4a-q-U4zPEaDMdmUsbD7-mKuyjv3B84DLokJfgnSlKtg8-%7EQ8FN17UcfFMWIN6KuwcK4Oog6w7-XkXxjAB2pKfxYJnpU0OSChtJ7fBOi3pBd6P4UXpLF6SMAGViVSKOhjhtbZ%7EuujWRC2dNFSOXkPSbX7NgPAMT3wboQqw86I4wsNlwNIPHcoYqKNeyWSVHHSBlO8kaxwtXHg__&Key-Pair-Id=K6UGZS9ZTDSZM 9db2f7f65d31503f8732c6b543d3ea2d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Wara Wara Director The director of the film. El/La director/a de la película. José María Velasco Maidana Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1930 Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Cinemateca Boliviana Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama Romance films / cine romántico Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Indigenous peoples / Pueblos indígenas Relationships / Relaciones Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Silent Cinema / Cine mudo Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. <div class="page" title="Page 6"> <div class="layoutArea"> <div class="column"> Si bien la cinematografía boliviana silente no logró desarrollar una producción numéricamente significativa, entre 1925 y 1933 produjo cuatro largometrajes de ficción. Al igual que en los otros casos, la concreción de Wara Wara partió de un intento mancomunado entre artistas de diversas disciplinas por llevar a la pantalla temáticas locales. Rodado de manera artesanal, trabajando durante los fines de semana a lo largo de dos años, en el film se dan cita algunos nombres célebres como los de Guillermo Viscarra Fabre –poeta que interpretó el papel de padre de la protagonista– y Arturo Borda, uno de los artistas plásticos más importantes del momento, quien, además de la construcción de los escenarios, formó parte del elenco ocupando el papel del sacerdote Huillac Huma. Su relato está ambientado en el Siglo XVI, en tiempos de la llegada de los conquistadores españoles a la tranquila Hatun Colla en los alrededores del Lago Titicaca. Tras la derrota de su pueblo en manos de los españoles, Wara Wara, joven ñusta heredera del linaje incaico, representa la única posibilidad de supervivencia de la cultura originaria. Recluida en las montañas, conoce al español Tristán de la Vega, quien sale en su defensa luego del intento de violación por parte de otros conquistadores. Este acontecimiento articula el núcleo central de la trama, de corte melodramático, planteando la relación imposible entre la indígena y el hombre blanco. Finalmente, luego de una serie de instancias de confrontación entre los grupos antagónicos, la historia se resuelve con el triunfo de la pareja protagónica y el albor de una nueva etapa para la historia de la nación de la mano de la unión de las razas adversarias. Source: Sala, Jorge y Rodrigo Romero Zapata. "Wara Wara (José María Velasco Maidana, 1930): alegoría cinematográfica del nacimiento de una nación." Imagofagia no. 8, octubre 2013, pp. 1-17, <a href="http://www.asaeca.org/imagofagia/index.php/imagofagia/article/view/499." target="_blank" rel="noreferrer noopener">http://www.asaeca.org/imagofagia/index.php/imagofagia/article/view/499.</a> <div class="page" title="Page 6"> <div class="layoutArea"> <div class="column"> <div class="page" title="Page 7"> <div class="layoutArea"> <div class="column"> </div> </div> </div> </div> </div> </div> </div> </div> </div> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wara Wara Description An account of the resource Si bien la cinematografía boliviana silente no logró desarrollar una producción numéricamente significativa, entre 1925 y 1933 produjo cuatro largometrajes de ficción. Al igual que en los otros casos, la concreción de Wara Wara partió de un intento mancomunado entre artistas de diversas disciplinas por llevar a la pantalla temáticas locales. Rodado de manera artesanal, trabajando durante los fines de semana a lo largo de dos años, en el film se dan cita algunos nombres célebres como los de Guillermo Viscarra Fabre –poeta que interpretó el papel de padre de la protagonista– y Arturo Borda, uno de los artistas plásticos más importantes del momento, quien, además de la construcción de los escenarios, formó parte del elenco ocupando el papel del sacerdote Huillac Huma. Su relato está ambientado en el Siglo XVI, en tiempos de la llegada de los conquistadores españoles a la tranquila Hatun Colla en los alrededores del Lago Titicaca. Tras la derrota de su pueblo en manos de los españoles, Wara Wara, joven ñusta heredera del linaje incaico, representa la única posibilidad de supervivencia de la cultura originaria. Recluida en las montañas, conoce al español Tristán de la Vega, quien sale en su defensa luego del intento de violación por parte de otros conquistadores. Este acontecimiento articula el núcleo central de la trama, de corte melodramático, planteando la relación imposible entre la indígena y el hombre blanco. Finalmente, luego de una serie de instancias de confrontación entre los grupos antagónicos, la historia se resuelve con el triunfo de la pareja protagónica y el albor de una nueva etapa para la historia de la nación de la mano de la unión de las razas adversarias. Source: Sala, Jorge y Rodrigo Romero Zapata. "Wara Wara (José María Velasco Maidana, 1930): alegoría cinematográfica del nacimiento de una nación." Imagofagia no. 8, octubre 2013, pp. 1-17, <a href="http://www.asaeca.org/imagofagia/index.php/imagofagia/article/view/499." target="_blank" rel="noreferrer noopener">http://www.asaeca.org/imagofagia/index.php/imagofagia/article/view/499.</a> <div class="page" title="Page 6"> <div class="layoutArea"> <div class="column"> <div class="page" title="Page 7"> <div class="layoutArea"> <div class="column"> </div> </div> </div> </div> </div> </div> Inca / Inka https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/0fdd64dda45fe011ca89e37ee7dcfde7.png?Expires=1773878400&Signature=RtcgitaKToRNnhN6BY4yNtvUAhu04jVMKAATqPSb1OlAVfRipwQ9ALzwq8yZMtWg3j5%7EK99eY3BKzg1Ls2Y%7EzfrbUxmF-NVxUlUTr4iSKgBpN7MbBoCLHan6d2hnm6hOPLp0RysanUjqBEX-q4TTMNa44R7qWHEO2DF456G5pNj0hmzkrBC710EPpCH%7Ezk9Elr-skKxNDP3Mu7jwDZlaeoZAWJm9%7EWo1b5BBLGg4s0WuIHgFQNr4Ci8XAPQX9XXUY-XOYLi92gFXPrelB2QxA8uC74TDHE5Awv6k%7EQ4vEQ1B0fdxv3KMXVxpq1zUA8jEU8lT0%7E6Mri5sCZ5HMPAzOA__&Key-Pair-Id=K6UGZS9ZTDSZM 743485b46144327baa5287f60e02c44c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. El coraje del pueblo Title The Courage of the People Director The director of the film. El/La director/a de la película. Jorge Sanjinés Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1971 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / español Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Ukamau Group (Bolivia) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Reconstruyendo hechos verídicos y documentados, contando con la participación como actores de muchas de las auténticas víctimas, la película reconstruye, dramáticamente y en detalle, la terrible masacre de la noche de San Juan de 1967, destinada a impedir el apoyo de obreros mineros, fabriles y estudiantes, que debían reunirse para concretar su apoyo a la guerrilla del Che Guevara y sus compañeros, quienes ya se encontraban combatiendo en las selvas de Ñancahuazú. Esta obra da inicio a la construcción de una narrativa cinematográfica propia que expresa en la forma la cultura de su país. (<a href="https://www.ecured.cu/El_coraje_del_pueblo" target="_blank" rel="noreferrer noopener">EcuRed</a>) On June 24, 1967, an expanded national worker was to be held to discuss what kind of support would be given to Che Guevara and his guerrillas who were fighting in Ñancahuazú. The Bolivian army, pressured by the North American military mission, assaults on the night of San Juan, the 20th century mining camp, arresting and assassinating leaders and causing the death of many people. It is an accurate historical reconstruction. (<a href="https://www.digitaliafilmlibrary.com/film/1630/el-coraje-del-pueblo" target="_blank" rel="noreferrer noopener">Digitalia</a>) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Historical films / cine histórico Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Political violence / Violencia política Revolution / Revolución Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. New Latin American Cinema / Nuevo Cine Latinoamericano Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource El coraje del pueblo Description An account of the resource Reconstruyendo hechos verídicos y documentados, contando con la participación como actores de muchas de las auténticas víctimas, la película reconstruye, dramáticamente y en detalle, la terrible masacre de la noche de San Juan de 1967, destinada a impedir el apoyo de obreros mineros, fabriles y estudiantes, que debían reunirse para concretar su apoyo a la guerrilla del Che Guevara y sus compañeros, quienes ya se encontraban combatiendo en las selvas de Ñancahuazú. Esta obra da inicio a la construcción de una narrativa cinematográfica propia que expresa en la forma la cultura de su país. (<a href="https://www.ecured.cu/El_coraje_del_pueblo" target="_blank" rel="noreferrer noopener">EcuRed</a>) https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/179a40d6016fdb92d5dc358ce81c4651.png?Expires=1773878400&Signature=Kd3P02HY7vctRl3--2cKR5Dz1kqE-HS8yJ3c0evVpXtJO2yDl7f8lJL%7ER7gUJ5tM3lgJrEn6I%7EzBkG8BxweQVFkHyggkRmm8a5YKjAQV%7EOqRuJfPtTRHLJbAvTM9gceJOUc1zhIKgQ2cUaOjcRLI0PGGfEd3OjeqR-PepM0vR1xV53HvsGoB-Z0nZChsc2sNL8a05jH0KdbBJoJ1c9wG4b9nfuRjdyYxqB-Bm4XbnTXOK5Ji2yHf6LSKwlPbgybHHOuKUrMWWAZ%7EbOye-nLXiLguMr1h39kwfWTjf8meKzTh5t0lh9JAceLitYNVIa%7E1o0wJLjhyM43uouplzoKagg__&Key-Pair-Id=K6UGZS9ZTDSZM 693fda1bdb5b18d9de68f957134f6f93 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Ukamau Title Así es Director The director of the film. El/La director/a de la película. Jorge Sanjinés Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1966 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / español Indigenous / indígena Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Instituto Cinematográfico Boliviano (Bolivia) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Historia de la venganza de un campesino indio, cuya mujer ha sido violada y asesinada por un mestizo. Su anécdota posee un alcance parabólico: el indio encarna a la clase más explotada y oprimida y el mestizo es el último eslabón en la cadena de explotación. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener">Film Affinity ES</a>) <div class="page" title="Page 12"> <div class="layoutArea"> <div class="column"> The film's story revolves around Andrés Mayta, an Aymara Indian from an ayllu [indigenous community] on the Isla del Sol, the legendary homeland of the Inca Empire on Lake Titicaca. One day when Mayta is away in nearby Copacabana, his wife Sabina is assaulted and raped by the local mestizo trader Rosendo Ramos, on whom the ayllu depends to sell its produce. Mayta returns to find Sabina lying on the floor outside their home, and she is able to tell Mayta her aggressor's name before she dies. A year passes by and despite the community's meetings to decide how to deal with the crime, Mayta says nothing, and continues to live his everyday life. One day as Ramos is leaving the community, Mayta ambushes him and exacts his revenge, killing his wife's murderer with his bare hands. The narrative symbolism could scarcely be clearer: the greedy and socially-mobile mestizo Ramos rapes and murders the indigenous community; the inevitable response is violent uprising and the death of the oppressor. [Wood, David M. J. "Indigenismo and the Avant-Garde: Jorge Sanjinés' Early Films and the National Project." Bulletin of Latin American Research, vol. 25, no. 1, 2006, p. 73.] </div> </div> </div> Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Indigenous peoples / Pueblos indígenas Violence / Violencia Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. New Latin American Cinema / Nuevo Cine Latinoamericano Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ukamau Description An account of the resource Historia de la venganza de un campesino indio, cuya mujer ha sido violada y asesinada por un mestizo. Su anécdota posee un alcance parabólico: el indio encarna a la clase más explotada y oprimida y el mestizo es el último eslabón en la cadena de explotación. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener">Film Affinity ES</a>) Aymara / aimara https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/30089b47755dc1377f46b416977a0cfc.jpg?Expires=1773878400&Signature=DI3u4n%7EK4Fv5zvifAuh3sz%7EwqIgCthbggn4TzBclYbK3YgavhBQ-REs7w8wz0TNLhkzOgqlNX97kUmFPzJ8hJ9e9udjZAf9govlXW4uJmPji1VMpMUpmG6wlfghRFQ0mE52zE9eihrWufWW6sG8gM3Cx5h3kXgKR-4l704RPwfP1UI3Vkv1s0HdQ9hJByeE-YqTWeDANMMNQ59pR4vCWtDO6L8CGEFbRBCMBEM82oQ9YocU8WNr%7E5eNfqxbwS%7EypwdfHrdBxLV7Q%7E-flKlGZFUdvwkS3AFVqY7TymTekgUPV4%7EZmhbDV-DJELuFF05LHbbtF0jSA-06PETtLtfnCXA__&Key-Pair-Id=K6UGZS9ZTDSZM f5fee03d3cb49c531eb17bd2dac35762 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. El enemigo principal Title Jatun auka Director The director of the film. El/La director/a de la película. Jorge Sanjinés Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1974 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / español Indigenous / indígena Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Peru / Perú Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Ukamau Group (Bolivia) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Llega a una comunidad indígena de la sierra peruana un grupo de guerrilleros con el ánimo de reclutar voluntarios. Para demostrar la veracidad de su oferta de liberar de la explotación a los campesinos, apresan, juzgan y fusilan a un hacendado y a su capataz que habían cometido crímenes y terribles abusos. Al dejar la zona ante la proximidad del ejército, proponen incorporarse a sus filas a los campesinos más decididos, sin embargo solo logran la incorporación de unos pocos. Un viejo líder indígena que oficia como relator de los hechos reflexiona sobre esa situación. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener">Film Affinity ES</a>) In the village of Tankuy, farmers are roused to revolutionary action against US based imperialism after one of them, an indigenous man, is brutalized by a landowner. Native non professionals contributed to and helped direct this example of radical, collective oriented Latin American filmmaking. (<a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener">IMDB</a>) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Third Cinema / Tercer cine Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Indigenous peoples / Pueblos indígenas Revolution / Revolución Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. New Latin American Cinema / Nuevo Cine Latinoamericano Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource El enemigo principal Description An account of the resource Llega a una comunidad indígena de la sierra peruana un grupo de guerrilleros con el ánimo de reclutar voluntarios. Para demostrar la veracidad de su oferta de liberar de la explotación a los campesinos, apresan, juzgan y fusilan a un hacendado y a su capataz que habían cometido crímenes y terribles abusos. Al dejar la zona ante la proximidad del ejército, proponen incorporarse a sus filas a los campesinos más decididos, sin embargo solo logran la incorporación de unos pocos. Un viejo líder indígena que oficia como relator de los hechos reflexiona sobre esa situación. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener">Film Affinity ES</a>) Indigenous filmmaking / producciones indígenas Quechua https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/d06c623fec8f012a0369475491d38b9e.png?Expires=1773878400&Signature=aVbQJV5%7Evwjpq65-sxrjSQ1nbh6vOiTs2KhMqRgrLuw8q7Lg%7EqC0OCQixkGOzr0izBbMFrxnqk2r4pW1R9DKRdbNY3DXufiUOwcznQCkP8hrr4KqddhZCgpwzoZLiynBCFEorwW8zJATK6riZ1VSCZXYfNrLGtUEBEMRnVl4lSm7O4kRhPFDy-Wm4HGMwatO8ifWwzK0ULV9mm4-JsCri6YX0dKUqtudz7bFubPAJ%7E0V5Nc%7EC0SJCuNiIilI-Paasiy0Qo1r745msMg4CLarTSnanglEL3eWjDARAgI62OQsnxYsgHrpTZ9i3OtQnJUfEjo2P5MfptAIEZEllyIt5w__&Key-Pair-Id=K6UGZS9ZTDSZM 5de5dd0841500243797c3fc0341718de Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Las banderas del amanecer Director The director of the film. El/La director/a de la película. Jorge Sanjinés Beatriz Palacios Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1983 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / español Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Ukamau Group (Bolivia) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Documental que reconstruye minuciosamente los hechos acaecidos en Bolivia entre 1979 y 1982, años llenos de acontecimientos dramáticos. Apelando al testimonio de los protagonistas y a escenas captadas durante los hechos mismos, hace un repaso a los tres procesos electorales registrados en 1978, 1979 y 1980, el golpe de estado encabezado por el coronel Alberto Natush y la masacre de Todos Santos; el asesinato de importantes personalidades políticas como Luis Espinal y Marcelo Quiroga Santa Cruz; las grandes movilizaciones obreras, campesinas, estudiantiles, el sangriento golpe del general García Meza Tejada; la lucha en la resistencia, y finalmente la reapertura del proceso democrático. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener">Film Affinity ES</a>) Reconstructs the events in Bolivia between 1979 and 1982. Dark years. Speaking of Alberto Natush's coup d'etat, the massacre of Todos Santos, the murders of Luis Espinal and Marcelo Quiroga Santa Cruz, the worker, peasant and student mobilizations, García Meza Tejada's coup d'etat and the return to the democratic process. (<a href="https://www.themoviedb.org/movie/765785-las-banderas-del-amanecer?language=en-US" target="_blank" rel="noreferrer noopener">TMDB</a>) Category / Categoría A broad category or mode of cinematographic production. Documentary Films / Cine documental Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Historical films / cine histórico Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Indigenous peoples / Pueblos indígenas Political violence / Violencia política Social inequality / Desigualdad social Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. New Latin American Cinema / Nuevo Cine Latinoamericano Title The Flags of Dawn Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Las banderas del amanecer Description An account of the resource Documental que reconstruye minuciosamente los hechos acaecidos en Bolivia entre 1979 y 1982, años llenos de acontecimientos dramáticos. Apelando al testimonio de los protagonistas y a escenas captadas durante los hechos mismos, hace un repaso a los tres procesos electorales registrados en 1978, 1979 y 1980, el golpe de estado encabezado por el coronel Alberto Natush y la masacre de Todos Santos; el asesinato de importantes personalidades políticas como Luis Espinal y Marcelo Quiroga Santa Cruz; las grandes movilizaciones obreras, campesinas, estudiantiles, el sangriento golpe del general García Meza Tejada; la lucha en la resistencia, y finalmente la reapertura del proceso democrático. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener">Film Affinity ES</a>) https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/27198d1cca66c23506844758beb863f6.png?Expires=1773878400&Signature=ThweSuKg9S-40EHjhhn7wiSHA-%7EZ20U5spOCuRq3-2GJy%7Ezkiuc5cvCEGGnfNiGHsotES9kqCcx9RNbAQwqZnUMDqjcwMKHIRU29jOiQT-YCANmWoNBIJh3%7E2Jlp6VTY3PVerj5BW60OuB4CMA6QD8wX%7ELuWTSBE%7EyCA1EXvqZsRqvKBMbdgUJlpMFb3gnJBsHl27U-sLeniPvCeyUM4Kw-Lc%7EABoVdAXTz8LHrM8c86%7EKOUaAXVBGOANhj1O4w0DvVuney1c0D34V84KUTxxuvQB%7Ej4pwvhpaqz6ulyMgWGJsoRVF0FznhW%7EvW1Jo6aWa10VZALxJxHsaxBvJW-3A__&Key-Pair-Id=K6UGZS9ZTDSZM 4ef9a21c4d7aa010221d7abcf804e98c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Espejos del corazón Title Mirrors of The Heart Director The director of the film. El/La director/a de la película. Lourdes Portillo Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1993 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Spanish / español English / inglés Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Dominican Republic / República Dominicana Haiti / Haití / Ayiti Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Public Broadcasting Service - PBS (U.S.) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Lourdes Portillo is a filmmaker of undoubted importance for Latin American nonfiction cinema. Her lucid filmography oscillates between documentary, experimental film and video art. Astutely inscribing herself to the genealogy of Third Cinema, she became a pioneer in the exploration of Latin American identity within and outside of the United States. Dealing with themes of extreme sociopolitical complexity and exploring them through a meticulous investigation guided by intuition and feeling, Lourdes’ work – which has documented situations from Argentina to California – carefully highlights the postcolonial relationalities that have emerged in the various societies that reside in the continent commonly referred to as the “Americas”. [...] This is a film in which Lourdes rerouted her experimentation towards the task of informing audiences in the United States about Bolivian, Dominican and Haitian societies and cultures. Portillo weaves together a documentary that is at once formally conventional while also defiant of the model in which it was produced due to its insightful social, political and aesthetic study. This documentary directly speaks of the consequences and changing contradictions that have occured in these territories due to European colonization and the neo-colonial process coming from the United States. Making use of a procedural approximation, she shows us the crystallized elements but also a point of demonstrating that we are witnessing cultures in the process of transformation and hybridization: presenting traits and fragments of who they were and who they will become. (Portillo, Lourdes. Interview with Eduardo Makoszay. Corrientes, Nov-Dec 2020, <a href="https://www.corrient.es/portillo-makoszay-eng" target="_blank" rel="noreferrer noopener">www.corrient.es/portillo-makoszay-eng</a>) Este documental habla directamente sobre las consecuencias y contradicciones cambiantes que han ocurrido en los territorios de Haití, Bolivia y la República Dominicana a causa de la colonización europea y los procesos neocoloniales precedentes de los Estados Unidos. A través de la aproximación, Lourdes Portillo muestra los elementos culturales ya cristalizados y también enfatiza que somos testigos de los procesos de transformación e hibridación de estas culturas; presentándonos así con los fragmentos de quiénes eran y en quiénes se convertirán. (Translated by Quetzali Gómez) Category / Categoría A broad category or mode of cinematographic production. Documentary Films / Cine documental Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Educational / Cine didáctico Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Afro-Latin American / afro latinoamericano Ethnicity / Etnicidad Indigenous peoples / Pueblos indígenas Race / Raza Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Available at Website, streaming service, distributor Vimeo On Demand: <a href="https://vimeo.com/ondemand/mirrorsoftheheartesphome" target="_blank" rel="noreferrer noopener">https://vimeo.com/ondemand/mirrorsoftheheartesphome</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Espejos del corazón Description An account of the resource Lourdes Portillo is a filmmaker of undoubted importance for Latin American nonfiction cinema. Her lucid filmography oscillates between documentary, experimental film and video art. Astutely inscribing herself to the genealogy of Third Cinema, she became a pioneer in the exploration of Latin American identity within and outside of the United States. Dealing with themes of extreme sociopolitical complexity and exploring them through a meticulous investigation guided by intuition and feeling, Lourdes’ work – which has documented situations from Argentina to California – carefully highlights the postcolonial relationalities that have emerged in the various societies that reside in the continent commonly referred to as the “Americas”. [...] This is a film in which Lourdes rerouted her experimentation towards the task of informing audiences in the United States about Bolivian, Dominican and Haitian societies and cultures. Portillo weaves together a documentary that is at once formally conventional while also defiant of the model in which it was produced due to its insightful social, political and aesthetic study. This documentary directly speaks of the consequences and changing contradictions that have occured in these territories due to European colonization and the neo-colonial process coming from the United States. Making use of a procedural approximation, she shows us the crystallized elements but also a point of demonstrating that we are witnessing cultures in the process of transformation and hybridization: presenting traits and fragments of who they were and who they will become. (Portillo, Lourdes. Interview with Eduardo Makoszay. Corrientes, Nov-Dec 2020, <a href="https://www.corrient.es/portillo-makoszay-eng" target="_blank" rel="noreferrer noopener">www.corrient.es/portillo-makoszay-eng</a>) Afro-Dominican / afro-dominicano Aymara / aimara https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/aac375e611d0c2a255b29aa7c7b428e2.jpg?Expires=1773878400&Signature=Y9Pk4jSrxjIi4sqHuwXCf-6H70oAaxerfWtJnTtiiZ2IKrQ9J9Ze3696TGh9%7EdEB%7EmUTWHL5HvJPgE%7Ehb5a4ULRDpCwvN6JxjR1rj3BuMlwFcK63xbweDxnk33zSImrHmSHb3YKhthPYp%7EqbgswPiX59o5Sgv4oX-YXmpa7fn-zkdrsPhnw7weO36TwmOlYhF8qNNyGA4gEmLSOIgfnA0OxwB8aoK6ANuaV79ul5pPoZLpLUzikI7f0JCtDQt%7E3et2z%7EXFSs-IyjIe5XnFDyRtCnbAnF2-wdV6khdipz0HAP56CkZ4w%7EENdafcQVdxFM23kg8ge%7EatgvH%7ESADB%7E4EQ__&Key-Pair-Id=K6UGZS9ZTDSZM 248fc29bab700b7e5bf8bd1a3ef1a509 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Mujeres Espíritu Title Spirit Women Director The director of the film. El/La director/a de la película. Francisco Huichaqueo Pérez Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2019 Film Guide / Guía de película Add link to related film guide Guía en español: <a href="https://cinegogia.omeka.net/items/show/856">https://cinegogia.omeka.net/items/show/856</a> Guide in English (with translations of poems): <a href="https://cinegogia.omeka.net/items/show/857">https://cinegogia.omeka.net/items/show/857</a> Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Indigenous / indígena Spanish / español Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Chile Mexico / México Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. Mujeres Espiritu aborda a cinco mujeres unidas por la espiritualidad y la poesía. Ellas no se conocen pero la fuerza declamatoria las une. Las lenguas stotsil, mapuzungun, kechua y español dan forma al campo de la semántica que, más allá de la palabra, enriquecen la sonoridad de la lengua materna, invitando al espacio espiritual propio de cada mujer y su territorio. (<a href="https://clacpi.org/2020/06/02/mujeres-espiritu-del-cineasta-francisco-huichaqueo-tiene-su-estreno-mundial-en-linea-este-jueves/" target="_blank" rel="noreferrer noopener">Coordinadora Latinoamericana del Cine y Comunicacion De Los Pueblos Indigenas - CLACPI</a>) This film weaves together a collective portrait of five women united by spirituality and poetry, five women who challenge the camera with their words. They don’t know each other personally, but the force of their declamatory speech, unique to each of their territories, brings them together in a filmic “braiding” that bonds them forever. Tzotzil, Mapuzungun, Quechua, and Spanish, are four beautiful languages that form a semantic field that is not only spoken word, but is also enriched by the sonority of each mother tongue transporting us on a spiritual journey with each woman and her territory. (Indigenous Cinema '22, <a href="https://hemisphericinstitute.org/en/events/indigenous-cinema-22.html" target="_blank" rel="noreferrer noopener">Hemispheric Institute</a>) Category / Categoría A broad category or mode of cinematographic production. Experimental Films / Cine experimental Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Abstract films / cine abstracto Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Indigenous peoples / Pueblos indígenas Religion & Spirituality / Religión & Espiritualidad Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Available at Website, streaming service, distributor Vimeo: <a href="https://vimeo.com/396352438" target="_blank" rel="noreferrer noopener">https://vimeo.com/396352438</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mujeres Espíritu Description An account of the resource Mujeres Espiritu aborda a cinco mujeres unidas por la espiritualidad y la poesía. Ellas no se conocen pero la fuerza declamatoria las une. Las lenguas stotsil, mapuzungun, kechua y español dan forma al campo de la semántica que, más allá de la palabra, enriquecen la sonoridad de la lengua materna, invitando al espacio espiritual propio de cada mujer y su territorio. (<a href="https://clacpi.org/2020/06/02/mujeres-espiritu-del-cineasta-francisco-huichaqueo-tiene-su-estreno-mundial-en-linea-este-jueves/" target="_blank" rel="noreferrer noopener">Coordinadora Latinoamericana del Cine y Comunicacion De Los Pueblos Indigenas - CLACPI</a>) Indigenous filmmaking / producciones indígenas Mapuche / Mapudungun Tzotzil / Tsotsil https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/8b3a59ba0320840a88593b886887bbdc.jpg?Expires=1773878400&Signature=WualvUGt3M04zDZYpUKowxAzzS3Kh7bwzZ7eBVTAfpU41sooCJG4m1X9FksyPKPR5NKM135Z7AH827cv%7E96tGbC3Ddx7AKoiA825SBp5OEkvzXZ9fU%7EQmj5GIgZPU5jBYiZY5erSQl9n2KZPpc9HuC1xcjFXoMIz8M18Ri4ozY6WEp3HwNj0Wk2HY%7EG%7Ev%7ExhDVo5LaoFBt8tfCMRnAtf0dx6HJ5er82WRIrFTK-Oej2a-VfKWAXZai762o2lThuA7L1Pvd2C%7EWSv33aGsRrkg8TqSClyg2VAqEVAC%7EvTvcc15vuKWK7d8rVMCDyIqAvtSk7Wkf5-N2kURHk5hVZJQw__&Key-Pair-Id=K6UGZS9ZTDSZM b0d41084f087203106c67fee841e3a1a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Utama Director The director of the film. El/La director/a de la película. Alejandro Loayza Grisi Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2022 Language / Idioma The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto. Indigenous / indígena Spanish / español Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Uruguay Production Company / Compañía de Producción The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película. Alma Films (Bolivia) Alpha Violet (France) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. En el altiplano boliviano, una pareja de ancianos quechuas lleva años viviendo la misma vida cotidiana. Durante una sequía inusualmente larga, Virginio y su esposa Sisa se enfrentan a un dilema: resistir o ser derrotados por el entorno y el propio tiempo. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener">Film Affinity ES</a>) In the Bolivian highlands, an elderly Quechua couple has been living the same daily life for years. During an uncommonly long drought, Virginio and his wife (Sisa) face a dilemma: resist or be defeated by the environment and time itself. (<a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener">IMDB</a>) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Environment / El medio ambiente Indigenous peoples / Pueblos indígenas Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Available at Website, streaming service, distributor <iframe width="560" height="315" src="https://www.youtube.com/embed/RragIUAAK-Y" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Utama Description An account of the resource En el altiplano boliviano, una pareja de ancianos quechuas lleva años viviendo la misma vida cotidiana. Durante una sequía inusualmente larga, Virginio y su esposa Sisa se enfrentan a un dilema: resistir o ser derrotados por el entorno y el propio tiempo. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener">Film Affinity ES</a>) Quechua https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/a75a005f402a6272eccf3e19355da276.pdf?Expires=1773878400&Signature=L37yEMLXcDrpfxu24jfViH%7EjN7aloYR4VNsBPn2qFXCTL-QoUMYufbuVkp1Yg2yYyzKODpvuKLd2EeXYz%7ENSq%7EPeJGeokUc3vtbVPQTtXv9nKZ-5XbZLQl6Ph0zXZvmR%7E6bHEnlAFpYScuOtMimEidQydE5biMdAwhHxMCfYhMCaZpRUNXyxLNYe3ZX91HArVGssCqi9ZHLG%7EQ%7ENxwEPScl50nIJED70MAJl9CKOL2-HdNeBlrOXjIkb30S9vLEkCJCb5dt9I5FZFsU8Aq4h4Qbpaorl4he3XhKPM5T2L%7EoiXMLS-iVX2oMZ0UlxtjSTThTjwx0gt3VwWkK%7ESTWtBA__&Key-Pair-Id=K6UGZS9ZTDSZM a9215e9fd84b908a3a16e42a1f2ea8af PDF Text Text SPAN 325 The Female Gaze: Women Directors in Latin American Cinema Lycoming College Spring 2025 Dr. Maybel Mesa Morales E-mail: mesamorales@lycoming.edu Course EdTech Tools Canva Dra. Mesa Morales Moodle OER Padlet Perusall 1 �Course description This course delves into Latin American cinema through the lens of female directors and filmmakers, exploring how women have challenged power structures and representation in the film industry while addressing themes such as gender, identity, social justice, violence, historical memory, human rights, colonialism, and postcolonialism. Students analyze films from various regions of Latin America and the Caribbean, focusing on countries such as Cuba, Mexico, Peru, Puerto Rico, Costa Rica, and Bolivia. The course examines both aesthetic aspects and sociocultural contexts, highlighting the unique narratives and perspectives brought forth by these filmmakers. Special emphasis is placed on independent productions and the contributions of female filmmakers traditionally marginalized or underrepresented in mainstream narratives. The course methodology integrates theoretical readings, group discussions, presentations, and multimedia projects, fostering critical dialogue on the role of women in Latin American cinema. Ultimately, this course provides students with a deeper understanding of the impact and evolution of cinema made by women and its connection to broader struggles for equity, representation, and decolonial thought, while encouraging active participation and inclusive dialogue. Course objectives By the end of the course, students will be able to: 1. Critically analyze films directed by women in Latin America and the Caribbean. 2. Understand the historical, political, and social contexts that frame these productions. 3. Identify and discuss representations of gender, identity, and power in cinema. 4. Apply theoretical frameworks (feminist, decolonial, postcolonial) to film analysis. 5. Present their analyses through written essays, reflections, oral presentations, and creative projects. Dra. Mesa Morales 2 �The course material supports the Department's learning outcomes: 1. Speak Spanish in a way intelligible to native speakers, including the ability to converse comfortably on general topics; 2. Demonstrate familiarity with Hispanic cultures; 3. Demonstrate critical thinking skills and formulate and defend a thesis in a written and oral format; 4. Demonstrate mastery of the basic research skills necessary to write a paper or give a research presentation in Spanish; The course also addresses the institutional learning outcomes of: 1. Achieving depth of learning in a field of study; 2. Demonstrating intellectual breadth; 3. Understanding cultural diversity; 4. Communicating effectively in both written and oral forms; 5. Thinking critically; and 6. Demonstrating appropriate information literacy skills and technological competence. 5. Demonstrate greater proficiency in written communication in Spanish. Course Materials There are no commercial materials required for this class. All the materials come from OERs collections/repositories or can be accessed through Moodle or Lycoming College´s Library. The final course grade is determined by the following scale of percentage points A 94-100 B 83-86 C 73-76 A- 90-93 B- 80-82 C- 70-72 D- 60-62 B+ 87-89 C+ 77-79 D+ 67-69 F 0-59 Dra. Mesa Morales D 63-66 NOTE: The professor reserves the right to adjust grades based on overall performance in the course. Consideration will be given to progress, or lack thereof, when determining borderline grades. 3 �Grading and Explanation of evaluation procedures Component Participation Film Analysis Essays Writing Assignments Oral Presentation Creative Project Final Paper Conversation Tables and Film Series Dra. Mesa Morales Description Active participation in class and online forums, demonstrating critical engagement with films and readings. Two film analyses and reflections completed during the class, where students must apply the content learned in the course. Short writing tasks, both in-class and out-of-class, will assess your ability to critically analyze films and engage with course themes. These may include reflections, scene analyses, or brief essays. Clarity, depth, and proper use of film terminology will be key evaluation criteria. An oral presentation focused on one of the chosen films, demonstrating a deep understanding of its themes and cinematic techniques. A Conference where students will present their final essay ideas and analysis in the form of a video essay, podcast, or interactive poster. This project serves as the initial phase of the Final Paper and allows students to incorporate feedback from peers and Dr. Morales. A comprehensive written analysis integrating course themes and personal research, refined with peer feedback from the conference. This paper is submitted on the date of the final exam. Students are required to attend at least 8 conversation tables (4 before week 7 and 4 after). Additionally, they must attend at least one film screening from the course's film series as part of their extracurricular activities. Percentage 15% 15% 10% 15% 15% 20% 10% 4 �How to Succeed in this Course? Aspect Recommendation Engage with Films and Readings Watch films attentively, take notes, and complete readings. Participate in Discussions Share insights respectfully and connect ideas to course themes. Think Critically Analyze deeper meanings, symbols, and social contexts. Collaborate in Groups Contribute equally and respect deadlines. Be Open-Minded Approach discussions with cultural sensitivity and respect. Analyze Aesthetics Pay attention to cinematography, editing, and symbolism. Apply Theoretical Frameworks Use feminist and postcolonial theories in analysis. Stay Organized Track deadlines and submit quality work on time. Ask Questions Seek clarification and attend office hours. Respect Stories Honor the voices and narratives of female directors. Make Connections Relate course themes to real-world issues. Stay Curious Approach the course with curiosity and passion. Dra. Mesa Morales 5 �Tentative Schedule Syllabus Modifications: I reserve the right to update, revise, or adjust the syllabus, including the assignment schedule, as necessary for educational purposes SEM/ DÍA Semana 1 L 1/13 M 1/15 Semana 2 L 1/20 M 1/22 Remember to: Check Moodle daily for upcoming activities and submissions! Make sure to study the materials before class. TEMAS DE LA CLASE Fechas Importantes y Filmes Tema: Introducción al curso. Metodologías activas (Active learning) e inclusivas (Inclusive Pedagogies). Selección de presentaciones orales. Tarea: 1.Escribir Biografía y usar una foto. Moodle 2. Buscar una crítica, reseña o video-ensayo de una película. Tema: El cine de mujeres en el contexto del cine Latinoamericano Video: Cine de directoras latinoamericanas Hoja de trabajo sobre directoras de cine latinoamericano. Cinco directoras de cine (Colombia y México), (Argentina y Chile) Tarea: Buscar un video que analice una secuencia de una película preferiblemente dirigida por mujer y preferiblemente de cine iberoamericano. Anota las ideas principales y comparte con la clase. Tema: ¿Cómo analizar una película?: Herramientas y ejemplos. Film Glossary: https://cineglos.holycross.edu/ Visionado de cortometrajes y análisis de videoensayos. Tarea: Fase 1 Proyecto Final. Traer tres posibles temas para el proyecto final Brainstorming para proyecto Tarea: Enviar tema del proyecto final Ver filme Yuli, Icíar Bollaín, Cuba-España, 2019 Dra. Mesa Morales 6 �Semana 3 L 1/27 M 1/29 Semana 4 L 2/3 M 2/5 Semana 5 L 2/10 M 2/12 Tema 1: Género, Raza y Resiliencia en la Cuba Contemporánea. Filme Yuli, Icíar Bollaín, Cuba-España, 2019 Tarea: Ver Moodle Presentación 1 Debate grupal y Hoja de trabajo Tarea: Ver Y también la lluvia, Icíar Bollaín, España-Bolivia, 2010. Completar tarea en Moodle. Tema 2 Perspectivas decoloniales, resistencia y memoria histórica. Filme Y también la lluvia, Icíar Bollaín, España-Bolivia, 2010. Enviar Participación 1 Presentación 2 Debate grupal y Hoja de trabajo Tarea: Ver filme La capa azul, Alejandra López, Puerto Rico, 2019. Moodle Tema 3: Infancia, duelo y resiliencia en el cine caribeño dirigido por mujeres. Filme La capa azul, Alejandra López, Puerto Rico, 2019 Trabajar en la propuesta y el bosquejo Tarea: Moodle Presentación 3 (1 estudiante) Debate grupal y Hoja de trabajo Tarea: Ver Filme: Biopsia, Glorimar Marrero, Puerto Rico, 2016. Ver Moodle Fase 2 Proyecto Final. Enviar propuesta y bosquejo del ensayo final Dra. Mesa Morales 7 �Semana 6 L 2/17 M 2/19 Semana 7 L 2/24 M 2/26 Semana 8 L 3/3 M 3/5 Tema 4: Cuerpo, enfermedad y memoria: narrativas decoloniales. Filme: Biopsia, Glorimar Marrero, Puerto Rico, 2016 Tarea: Moodle Presentación 4 Debate grupal y Hoja de trabajo Tarea: Moodle Composición y reflexión 1 Trabajo en el proyecto final Tarea: Ver filme: La Camarista/ The Chambermaid, Lila Avilés, México, 2018. Ver Moodle Tema 5: Invisibilidad, desigualdad y deshumanización en trabajadoras domésticas. Filme: La Camarista/ The Chambermaid, Lila Avilés, México., 2018 Tarea: Ver Moodle Enviar Participación 2 Presentación 5 Debate grupal y Hoja de trabajo Tarea: Ver Filme: Canción sin nombre, Melina León, Perú, 2020. Moodle Fase 3: Investigación y Bibliografía Enviar bibliografía anotada de al menos 3 fuentes académicas. SPRING BREAK DEL 10 AL 14 DE MARZO Semana 9 L 3/17 Tema 6 Maternidad, desaparición y desigualdad social en Perú: violencia institucional a mujeres indígenas. Filme: Canción sin nombre, Melina León, Perú, 2020 Tarea: Moodle Dra. Mesa Morales 8 �M 3/19 Presentación 6 Debate grupal y Hoja de trabajo Tarea: Ver filme: Clara sola, Nathalie Álvarez Mesén, Costa Rica, 2022. Moodle Enviar bibliografía anotada del proyecto final. Semana 10 L 3/24 Tema 7: Deseo, espiritualidad y liberación femenina en el cine costarricense. Filme: Clara sola, Nathalie Álvarez Mesén, Costa Rica, 2022 Tarea: Ver Moodle M 3/26 Presentación 7 Debate grupal y Hoja de trabajo Tarea: Ver el Filme: Noche de fuego/Prayers for the Stolen, Tatiana Huezo, Méx.-El Salvador, 2021 (Netflix). Ver Moodle Semana 11 L 3/31 Tema 8: Infancia y narcotráfico. Filme: Noche de fuego/Prayers for the Stolen, Tatiana Huezo, Méx.-El Salvador, 2021 (Netflix) M 4/2 Presentación 8 Debate grupal y Hoja de trabajo Tarea: Moodle Semana 12 L 4/7 M 4/9 Composición y reflexión 2 Tarea: Moodle Taller de escritura e investigación: Peer-review Semana 13 L 4/14 Balance cine de mujeres en latinoamérica. Situación actual, tópicos recurrentes. M 4/16 Preparación para la conferencia. Elaboración del póster, programa. Dra. Mesa Morales Enviar Paticipación 3 9 �Selección de moderadores, elaboración grupal de la rúbrica. Semana 14 L 4/21 M 4/23 Día 1 de la Conferencia Paneles 1,2 Día 2 de la Conferencia Paneles 3,4 Resumen del curso ¡Último día de clases! ¡Muchas gracias! EXAMEN FINAL Entrega del ensayo final Dra. Mesa Morales 10 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Syllabi Syllabus Title / Título (Original) A name given to the resources. El nombre original del recurso. The Female Gaze: Women Directors in Latin American Cinema Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. This course delves into Latin American cinema through the lens of female directors and filmmakers, exploring how women have challenged power structures and representation in the film industry while addressing themes such as gender, identity, social justice, violence, historical memory, human rights, colonialism, and postcolonialism. Students analyze films from various regions of Latin America and the Caribbean, focusing on countries such as Cuba, Mexico, Peru, Puerto Rico, Costa Rica, and Bolivia. The course examines both aesthetic aspects and sociocultural contexts, highlighting the unique narratives and perspectives brought forth by these filmmakers. Special emphasis is placed on independent productions and the contributions of female filmmakers traditionally marginalized or underrepresented in mainstream narratives. The course methodology integrates theoretical readings, group discussions, presentations, and multimedia projects, fostering critical dialogue on the role of women in Latin American cinema. Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Bolivia Cuba Costa Rica Mexico / México Puerto Rico Peru / Perú Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Latin America / Latinoamérica Caribbean / Caribe Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Films taught / Películas <a href="https://cinegogia.omeka.net/items/show/376">Yuli</a> <a href="https://cinegogia.omeka.net/items/show/213">También la lluvia</a> <a href="https://cinegogia.omeka.net/items/show/986">La capa azul</a> <a href="https://cinegogia.omeka.net/items/show/987">Biopsia</a> <a href="https://cinegogia.omeka.net/items/show/988">La camarista</a> <a href="https://cinegogia.omeka.net/items/show/563">Canción sin nombre</a> <a href="https://cinegogia.omeka.net/items/show/985">Clara sola</a> <a href="https://cinegogia.omeka.net/items/show/917">Noche de fuego</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Maybel Mesa Morales, Lycoming College Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Female Gaze: Women Directors in Latin American Cinema Description An account of the resource This course delves into Latin American cinema through the lens of female directors and filmmakers, exploring how women have challenged power structures and representation in the film industry while addressing themes such as gender, identity, social justice, violence, historical memory, human rights, colonialism, and postcolonialism. Students analyze films from various regions of Latin America and the Caribbean, focusing on countries such as Cuba, Mexico, Peru, Puerto Rico, Costa Rica, and Bolivia. The course examines both aesthetic aspects and sociocultural contexts, highlighting the unique narratives and perspectives brought forth by these filmmakers. Special emphasis is placed on independent productions and the contributions of female filmmakers traditionally marginalized or underrepresented in mainstream narratives. The course methodology integrates theoretical readings, group discussions, presentations, and multimedia projects, fostering critical dialogue on the role of women in Latin American cinema. Feminism / Feminismo