1 50 65 https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/ac577af3e8d052a1954cd5f0350cc809.jpg?Expires=1781740800&Signature=T%7EDatr2Mud5YK6%7EqBUp-dmZZRsj5jhqEfPkCC1UM0yM41kIlLSiOseKnjO0b1t%7EKnFRkPGoWti67XmMxmn7kgnfr5EsFdZNw5vChOzPADX7epahcEbvz9ZYfuZMMQos7HFexS1-b1Y%7E7z0oTIugg8cZouNekWwFG2p5Uilz8-yXZCenvAlcnV7%7EzRZAiF9QnbDtpmdW5RjP4envF4ZmeEcjuP920L0AP02Q98oCHGOMjQFzL13oGAZ1ya7go7GdZ3lHtw0L3t5sDkxCrRTjhpFR%7EF6frbRFqKevs-pd2iTYJLGJAtlsF6vVvSr1W56gqb5mdzKpS6UIY2JEY7o9sLQ__&Key-Pair-Id=K6UGZS9ZTDSZM bf97bbfcf3013269587a91f171f87bd4 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 suprema Director The director of the film. El/La director/a de la película. Felipe Holguín Caro Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2023 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. Colombia 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. Cumbia Films (Colombia) Ferviente Films (Colombia) 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. Teeming with irrepressible energy, La Suprema takes us back to 2001 Colombia and to a tiny and remote village in the Caribbean region far from any beach and seemingly lost in time. Laureana is a strong-willed teenager who’s not about to conform to what society or her abuela have in store for her. When she finds out via the newspaper that her estranged uncle is days away from fighting in a boxing world championship in Venezuela, she ignites a spark that will quickly get the whole town on board with watching the match live on national television. The problem? It may be the 21st century, but the village has no electricity and no one has a TV set. Laureana enlists the help of Efraín, the local trainer who discovered her uncle years ago. After much hesitation, he agrees to follow her lead and set sail for the big city. All odds are against them, but they know this history-making moment might put their town on the map and it is worth giving it their all. (<a class="in-cell-link" href="https://pragda.com/film/la-suprema/" target="_blank" rel="noreferrer noopener">https://pragda.com/film/la-suprema/</a>) Llena de energía irrefrenable, La Suprema nos lleva a Colombia en el 2001, a un pequeño y remoto pueblo en la región caribeña pero lejos de cualquier playa y aparentemente perdido en el tiempo. Laureana es una adolescente tenaz que no quiere conformarse a lo que la sociedad y su abuela esperan de ella. Cuando se entera a través del periódico que su tío distanciado está a punto de pelear en un campeonato mundial de boxeo en Venezuela, se enciende una chispa que rápidamente llevará a todo el pueblo a unirse para ver el partido en vivo en la televisión nacional. ¿El único problema? A pesar de ser el siglo veintiuno, el pueblo no tiene electricidad y nadie tiene un televisor. Laureana pide la ayuda de Efraín, el entrenador local que descubrió a su tío hace años. Después de muchas vacilaciones, Efraín acepta el reto y salen hacia la gran ciudad. Todo está en su contra, pero saben que este momento histórico podría situar a su comunidad en el mapa y vale la pena arriesgarlo todo. (Traducido por Jocelyn Zhongri) 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. Afro-Latin American / afro latinoamericano Sports / Deportes 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/la-suprema/" target="_blank" rel="noreferrer noopener">https://pragda.com/film/la-suprema/</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 La suprema Description An account of the resource Teeming with irrepressible energy, La Suprema takes us back to 2001 Colombia and to a tiny and remote village in the Caribbean region far from any beach and seemingly lost in time. Laureana is a strong-willed teenager who’s not about to conform to what society or her abuela have in store for her. When she finds out via the newspaper that her estranged uncle is days away from fighting in a boxing world championship in Venezuela, she ignites a spark that will quickly get the whole town on board with watching the match live on national television. The problem? It may be the 21st century, but the village has no electricity and no one has a TV set. Laureana enlists the help of Efraín, the local trainer who discovered her uncle years ago. After much hesitation, he agrees to follow her lead and set sail for the big city. All odds are against them, but they know this history-making moment might put their town on the map and it is worth giving it their all. (<a class="in-cell-link" href="https://pragda.com/film/la-suprema/" target="_blank" rel="noreferrer noopener">https://pragda.com/film/la-suprema/</a>) Afro-Colombian / afro-colombiano Youth / La juventud https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/8a2cf3d0e2155096c9cdf0a0423451d1.png?Expires=1781740800&Signature=iW5WYuHiCBlKAIiAwyEY7gp8jz5ZzlfKfXyC04X-Fbsq-vCvU8GKr3mNYSxZjzlHfpNYTHOYa8yxXGaxYIM2pz2Gy%7E22a7qvdhrzOw8LmuPpEDbHhg-YKLmJV9GxDSjn7rEP75iwnEUxcBO2O-gYi5ZCJPjHziklNnD0fxlSRNa-DHLfYDB3KJLReG6KB1H%7ExRr-aa3kxrAIrQFjjw0oitOb-LCVwYVhmr4%7EnnZKVAsLSBQOGk67wcBbin9iuUPbdAujwWKv3NwPffY6pY4TZFobdMyR6I9qoimtj4mOf60ZRvOVohhLvjdPTw4JlfgmTlnOSjSwNPN-2xg9gDlBww__&Key-Pair-Id=K6UGZS9ZTDSZM e99910ffcdf6c4b1e5f3491df3780b63 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. Igualada Title Igualada: Refusing to Know Your Place Director The director of the film. El/La director/a de la película. Juan Mejía Botero Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2024 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. Colombia 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. Shot in a cinéma verité style, Mejía Botero's film follows Márquez's rise from a local leader in La Toma, a small rural town in Colombia's Pacific Southwest and home to over a quarter-million descendants of enslaved Africans. Rich in natural resources, the region is frequently targeted by multinational corporations and paramilitary groups. It was during a 2020 funeral for five murdered sugarcane workers that Márquez decided to launch her unlikely campaign. The film begins in 2009, when Mejía Botero first began documenting Márquez's efforts as a young land defender. The resulting footage reveals a rare, long-term portrait of a movement and a leader in the making—culminating in a watershed moment in Colombian history. With the support of a small, tireless team, Márquez's grassroots campaign—originally intended to spotlight the struggles of Afro-Colombian, rural, and Indigenous communities—quickly grew into a national movement. Her motto, rooted in African roots, declared: "I am because we are." Despite threats to her life, Márquez defiantly reclaimed the term "igualada"—a pejorative used to belittle those who demand rights seen as above their "place"—and she catapults the struggle for a more just Colombia into the upper echelons of power, rose to become a leading candidate in a broad progressive coalition led by Senator and former guerrilla fighter Gustavo Petro. (<a href="https://www.cinematropical.com/cinema-tropical/francia-mrquez-documentary-igualada-refusing-to-know-your-place-premieres-july-7-on-pbs-pov" target="_blank" rel="noreferrer noopener">Cinema Tropical</a>) <div class="field field-name-field-sinopsis field-type-text-with-summary field-label-above"> <div class="field-items"> <div class="field-item even"> En uno de los países más desiguales de América Latina, Francia Márquez, una activista rural colombiana de ascendencia africana, desafía el status quo con una campaña presidencial que reapropia el término despectivo 'igualada' —alguien que actúa como si mereciera derechos que supuestamente no le corresponden— e inspira a toda una nación a soñar. (<a href="https://cinematecadebogota.gov.co/pelicula/igualada" target="_blank" rel="noreferrer noopener">Cinemateca de Bogotá</a>) </div> </div> </div> <div class="field field-name-field-director field-type-text field-label-above"></div> 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. Cinéma vérité films / Cinéma verité 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. Afro-Latin American / afro latinoamericano Politics / La política 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/VNJkbPW6uDI?si=9SSeK-4EVL5m2Mce" 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 Igualada Description An account of the resource Shot in a cinéma verité style, Mejía Botero's film follows Márquez's rise from a local leader in La Toma, a small rural town in Colombia's Pacific Southwest and home to over a quarter-million descendants of enslaved Africans. Rich in natural resources, the region is frequently targeted by multinational corporations and paramilitary groups. It was during a 2020 funeral for five murdered sugarcane workers that Márquez decided to launch her unlikely campaign. The film begins in 2009, when Mejía Botero first began documenting Márquez's efforts as a young land defender. The resulting footage reveals a rare, long-term portrait of a movement and a leader in the making—culminating in a watershed moment in Colombian history. With the support of a small, tireless team, Márquez's grassroots campaign—originally intended to spotlight the struggles of Afro-Colombian, rural, and Indigenous communities—quickly grew into a national movement. Her motto, rooted in African roots, declared: "I am because we are." Despite threats to her life, Márquez defiantly reclaimed the term "igualada"—a pejorative used to belittle those who demand rights seen as above their "place"—and she catapults the struggle for a more just Colombia into the upper echelons of power, rose to become a leading candidate in a broad progressive coalition led by Senator and former guerrilla fighter Gustavo Petro. (<a href="https://www.cinematropical.com/cinema-tropical/francia-mrquez-documentary-igualada-refusing-to-know-your-place-premieres-july-7-on-pbs-pov" target="_blank" rel="noreferrer noopener">Cinema Tropical</a>) Afro-Colombian / afro-colombiano https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/4feb2fa19e4aad39f05642d5fad62bf4.png?Expires=1781740800&Signature=ebei%7ET021OK5EWm1YVbIBiJPcR93UscZRuZ48vsIj3FPtDyAKH7yDVOJAwvdTLA9lbJl21om4jPlkQ7qDxJ%7EYoS-ApqI7wTaDWdXvxWDuobEmU-gQWP%7EDMOtq-xhWWNHgqA%7EFD2gBeZIp1fbQKZfS9puAGYcZEXCVd4bqozYQH80GurPUhuEWqRPiJoN1tx-2EEwRSRGUwX47LR8s8KN%7Ey3kpRZyHr%7E7ypiirkq6Cs6r3gR2V6A1uC%7E6pPyxNOzQLAtNDFFjVmi65eaMCISqovZTnHWueTveVV33JQQ852GMOo-FPWxBC3azpGYgYUCqw5MtGOErG5cUjlltnJmr2g__&Key-Pair-Id=K6UGZS9ZTDSZM 0555359a0126a86c4f2dfaa98ab4b701 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. Marea verde Title The Road to the Law Director The director of the film. El/La director/a de la película. Ángel Giovanni Hoyos Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2021 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. Argentina Colombia 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. Libero Films (Argentina) 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. Marea Verde es un documental que recorre la historia del uso de Misoprostol y la historia del aborto en la Argentina, visibilizando la lucha feminista que desde más de 20 años exigen a un Estado esquivo y sin respuestas a una problemática social que diariamente deja como saldos mujeres muertas en abortos clandestinos. Pasando por relatos en primera persona, marchas, noticias, vigilias y discusiones políticas hasta lograr el aborto legal en Argentina. (<a href="http://www.proimagenescolombia.com" target="_blank" rel="noreferrer noopener">Proimágenes Colombia</a>) The Road to the Law (Marea Verde) is a documentary that recounts the history of the use of Misoprostol and abortion in Argentina, bringing awareness to the feminist struggle that for more than 20 years has demanded answers from an evasive government about a social problem that has resulted in the daily deaths of women from underground abortions. The film is told through first person accounts, marches, news, vigils and political discussions until legal abortion is achieved in Argentina. (Translated by Éowyn Bailey) 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. Health & Medicine / La salud y la medicina Human Rights / Derechos humanos 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 Marea verde Description An account of the resource Marea Verde es un documental que recorre la historia del uso de Misoprostol y la historia del aborto en la Argentina, visibilizando la lucha feminista que desde más de 20 años exigen a un Estado esquivo y sin respuestas a una problemática social que diariamente deja como saldos mujeres muertas en abortos clandestinos. Pasando por relatos en primera persona, marchas, noticias, vigilias y discusiones políticas hasta lograr el aborto legal en Argentina. (<a href="http://www.proimagenescolombia.com" target="_blank" rel="noreferrer noopener">Proimágenes Colombia</a>) Feminism / Feminismo https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/630def31871401413605973afa2f934d.png?Expires=1781740800&Signature=knpZ4JVYPLI2ztTNZbTVc-qJjsasjPOKKXlAYYIoCNJspG3vxKD5PSicnYjc%7EeRjVzkXI-toRBsEQSJCIkYxWUJh9iV%7EWKOi%7ElFhSN%7EfCwldW%7EsNs1nSENXJpIBPi9d354baku8I%7EWGmiA4Lj5zut5IdgXwo9FLLgqtzwwxhqVY-c9CEZjH9Aj-cf1bQi3e2LS5SfXGFCeW-j1-fsJi1J8wYOJ3SSKZXzohUCy5b3hbjCJYwoQLx81FfqlSK6x0QIsiRqpX4NhHg0c4FRAobLQo-Z2CmPfrWEinczdxy5Hfsx3d4wDKQwTIuj1OqTpsBovl9OtAF6QV85eCNux21kA__&Key-Pair-Id=K6UGZS9ZTDSZM 4d6aa83dd87729f03d940394cb9e2379 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. Un día Title One Day Director The director of the film. El/La director/a de la película. Annalisa Vozza Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2019 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. Colombia 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 bus routine of a young rapper who dreams of leaving the city jungle of Bogotá is disrupted by the persistent presence of his little sister. And gang violence puts his dream of a better life to a hard test. (<a href="https://annalisavozza.com/films/shorts-films/un-dia/" target="_blank" rel="noreferrer noopener">Film's Official Website)</a> La rutina en los autobuses de un rapero joven que sueña con irse de la selva urbana de Bogotá es trastornada por la presencia persistente de su hermana menor. Además, la violencia de las pandillas desafía su sueño de una vida mejor. (Translated by Éowyn Bailey) 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. Music / La música 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. Contemporary / Contemporáneo Available at Website, streaming service, distributor <iframe width="560" height="315" src="https://www.youtube.com/embed/dFkvH4CjITw?si=Mtrw-__JTHN6dWf3" 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 Un día Description An account of the resource The bus routine of a young rapper who dreams of leaving the city jungle of Bogotá is disrupted by the persistent presence of his little sister. And gang violence puts his dream of a better life to a hard test. (<a href="https://annalisavozza.com/films/shorts-films/un-dia/" target="_blank" rel="noreferrer noopener">Film's Official Website)</a> Short Film / cortometraje https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/584b05067c46362e4c3dfef050b94051.png?Expires=1781740800&Signature=nKUjtzqNYGvIFLMNajn9Mpv2zArnl8q8pptI5-OHHj7-vsTZ4guvVDXIeRiuSNQq26isL%7EYKt4Oo7jE7q7dkIO1z9mrnf1cYdMoTPwNmdWCJzGkeD0BvkQDtMnSMFCqCqqledDkUu6EZSNEeC3pSWHinq1wBjx6KylVRgHLibHZtKh3u-mRV-rtEJPr8%7EaZ9IKz2SoAgq%7Ej86DCA-KPk7vBPu42oS6xULTqNpRfAw9hkfASlhusrmUWlciOt3eEzn0fJFmmNolkG7Hm28k9UYTdYRuKjGiVghc1aWN6jzjWzfsgcBV0j13OKOmCUL0lP3FJ4FK7f6O1MwHEiuGwdig__&Key-Pair-Id=K6UGZS9ZTDSZM ee87c557c702091a74c3dd6d77dad882 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. Mu drua Title Mi tierra My Land Director The director of the film. El/La director/a de la película. Mileidy Orozco Domicó Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2011 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. Colombia 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. Mu drua narra cómo Mileidy, una indígena de la comunidad de Cañaduzales de Mutatá-Antioquia, ve su tierra, muestra su relación con su familia, con la naturaleza, las vivencias y costumbres que se tienen en esta comunidad, sugiere dentro del documental algunas transformaciones en las tradiciones del grupo étnico y en el trasfondo de ella como indígena. (<a href="https://www.cinecorto.co/mu-drua/" target="_blank" rel="noreferrer noopener">Cortometrajes Colombianos</a>) Mu drua narrates how Mileidy, an indigenous young woman from the community of Cañaduzales de Mutatá-Antioquia views her land. The film shows her relationship with her family and nature, and the experiences and customs that exist in this community. The documentary suggests some transformations in the group's traditions and in her identity as an indigenous woman. (Translated by Éowyn Bailey) 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 Nature / La naturaleza Relationships / Relaciones 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 Mu drua Description An account of the resource Mu drua narra cómo Mileidy, una indígena de la comunidad de Cañaduzales de Mutatá-Antioquia, ve su tierra, muestra su relación con su familia, con la naturaleza, las vivencias y costumbres que se tienen en esta comunidad, sugiere dentro del documental algunas transformaciones en las tradiciones del grupo étnico y en el trasfondo de ella como indígena. (<a href="https://www.cinecorto.co/mu-drua/" target="_blank" rel="noreferrer noopener">Cortometrajes Colombianos</a>) Embera Indigenous filmmaking / producciones indígenas https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/9f37425f9fb0d1cbad59c2615d72e40d.jpg?Expires=1781740800&Signature=NRhxbl2dyBX6ErLPxUxk9hwjWszQIk2QRCu2CyjDK5koT9uL5Mz8yDczOCgyeb77J4541qhYuSUj4Vc2mCkPHmv18PRagpa7LHQoz5n5CL7Tmq5rskryDPwX5-UwxX4J3WIZcinI2hNOttVJ0M-r-G9305nv9EqyVYOnc1CydYcKOj3lA3CLbgT%7ESdai2jiuQ1eFKaIFNwmrdAN%7Epgo1FVKQ5fh8%7EeovplbwBP-knGk4mha4I-uwm5sWRXXNWRjJXz9zdMO1FhivOsVU6P1GZZg4E-4%7ESEyy%7EUaOrcxKVwIXMGChebUWoeuUB%7ES1hzHDGIHHMges6goByYHAxQhciA__&Key-Pair-Id=K6UGZS9ZTDSZM 47218920b46d9ceca60c3d633e4d9e66 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. Al Sur of The North 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). 2017 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. Colombia 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. Al sur of the north se inmiscuye en una comunidad Wayú, en Colombia, para retratar su cultura y a la vez cuestionar las formas del retrato. Experimentación en torno a la representación de ‘lo indígena’, la obra se inmiscuye en otro tiempo: el de la relación con la naturaleza, pero también con la globalización y la reconfiguración de las identidades. (<a href="http://cinetecavirtual.uchile.cl/cineteca/index.php/Detail/objects/2520" target="_blank" rel="noreferrer noopener">Cineteca de Chile</a>) "Al sur of the north" unfolds in a Wayu community in Colombia in order to portray their culture and, at the same time, question the very form of portraiture. An experiment regarding how "indigeneity" is represented, this film delves into another time: that of its relationship with nature, as well as with globalization and the reconfiguration of identities." (Translated by Quetzali Gómez) Category / Categoría A broad category or mode of cinematographic production. Experimental Films / Cine experimental 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 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 Vimeo: <a href="https://vimeo.com/277573191" target="_blank" rel="noreferrer noopener">https://vimeo.com/277573191</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 Al Sur of The North Description An account of the resource Al sur of the north se inmiscuye en una comunidad Wayú, en Colombia, para retratar su cultura y a la vez cuestionar las formas del retrato. Experimentación en torno a la representación de ‘lo indígena’, la obra se inmiscuye en otro tiempo: el de la relación con la naturaleza, pero también con la globalización y la reconfiguración de las identidades. (<a href="http://cinetecavirtual.uchile.cl/cineteca/index.php/Detail/objects/2520" target="_blank" rel="noreferrer noopener">Cineteca de Chile</a>) Indigenous filmmaking / producciones indígenas Short Film / cortometraje Wayuu / wayú / wayúu / guajiro https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/cf7f4ce998be15804b7d276ed9e853c6.jpg?Expires=1781740800&Signature=MVkrIGMdpY5QKIvqox57aodq%7E6udnvhYV-Q9grZ4cz41iHlc2rKoyDQSqnIvsjg2AAZJOh0G0pVPmxfZ-NOQZ2szedBce5BTduKjoD12vaongApaoEWhKHgOi1PRuwW6ZdGbdRicxOQzVtEUxm%7EY-P4HpECm6iB3B8udHJAgcn7TV8GpZR3TdgJ7yuFtuatYjZwyx6l1cAdFUnk%7EuA3x2SqAQm1ObHWjbmDLFrIpWKeWr4%7ENiV4%7EHZCcaQvxfDmCS-EZR81xyQTFQEz3d8YBrRWlmeZobPYAcvoq-DB5I1JkMcF%7Edj3gDqtG5ctENtL9dv%7EqfNFlkGN780S%7EHghhvw__&Key-Pair-Id=K6UGZS9ZTDSZM 7bb4aa9967cfc19c71b3e42e76e474a9 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 rojo más puro Title The Deepest Red Director The director of the film. El/La director/a de la película. Yira Plaza O'Byrne Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2023 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. Colombia 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. Briosa Films (Colombia) Séptima Films (Colombia) 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 álbum familiar de Yira solo se conserva una foto en la que su padre está junto a los tres hermanos. Aunque ella no notó la ausencia, la realidad es que fue un padre ausente. Su lucha sindical, los congresos, las amenazas y más tarde, los atentados, convirtieron la vida de Luis Alberto Plazas, por su militancia en la UP y en la CUT, en un continuo ir y venir entre Cartagena y Bogotá, Cartagena y Rusia, Cartagena y Medellín… Hoy, con ya más de 70 años sobre sus hombros, padre e hija conviven solos por primera vez y ella inicia una búsqueda por entender las razones y las luchas del hombre político y del hombre padre. Apoyada en material audiovisual de archivo, fotos familiares y recuerdos propios, Yira se cuestiona sus propias inclinaciones políticas, esas que la llevaron en la universidad a militar en la JUCO, “como si la militancia se heredara genéticamente” y las debate junto a un padre que no entiende eso de que cada quien lucha desde donde sabe y con el lenguaje que maneja, porque para él, la calle es casi que el único lugar posible para el activismo. El rojo más puro es un sensible acercamiento a toda una época en la historia de Colombia, al ascenso, y al derrumbe de las ideas del marxismo-leninismo. Una indagación alrededor de los motivos y las formas de una generación que puso centenares de muertos en pos de un ideal y unos ideales que nunca abandonarán. La historia de la clase obrera y la lucha sindical de aquellos que enarbolaron como bandera esa especie de silogismo sin conclusión que hoy escribe Luis Alberto: El amor humaniza al mundo. El capitalismo acaba con el amor. (<a href="https://ficcifestival.com/el-rojo-mas-puro/" target="_blank" rel="noreferrer noopener">FICC Festival</a>) In Yira's family album there is only one photo in which her father is with his three children. Although she did not notice his absence, the reality is that he was an absent father. His committment to the union, participation in congresses, the threats and later, the attacks, due to his active militancy, turned Luis Alberto Plazas' life into a continuous coming and going between Cartagena and Bogotá, Cartagena and Russia, Cartagena and Medellín... Now at more than 70 years old, the father and his daughter spend time together alone for the first time as she tries to understand the reasons and struggles that motivated both the political persona and man who is her father. Using archival audiovisual material, family photos and her own memories, Yira also questions her own political inclinations that led her to join the JUCO in college, "as if militancy was inherited genetically". She debates these ideas with her father who does not understand that everyone fights from their own place in the world and using the language they know, because for him, the street is practically the only place where activism is possible. El rojo más puro takes a sensitive approach to an entire era in the history of Colombia, from the rise and fall of Marxist-Leninist ideas. This is a study of the motives and practices of a generation that sacrificed hundreds of people in pursuit of an ideal, ideals that they will never abandon. This is the story of the working class and their union struggles, those who raised a banner with the Luis Alberto's inconclusive syllogism: Love humanizes the world. Capitalism puts an end to love. (Translated by Quetzali Gómez) Category / Categoría A broad category or mode of cinematographic production. Documentary Films / Cine documental 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. Politics / La política Revolution / Revolución Relationships / Relaciones 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 rojo más puro Description An account of the resource En el álbum familiar de Yira solo se conserva una foto en la que su padre está junto a los tres hermanos. Aunque ella no notó la ausencia, la realidad es que fue un padre ausente. Su lucha sindical, los congresos, las amenazas y más tarde, los atentados, convirtieron la vida de Luis Alberto Plazas, por su militancia en la UP y en la CUT, en un continuo ir y venir entre Cartagena y Bogotá, Cartagena y Rusia, Cartagena y Medellín… Hoy, con ya más de 70 años sobre sus hombros, padre e hija conviven solos por primera vez y ella inicia una búsqueda por entender las razones y las luchas del hombre político y del hombre padre. Apoyada en material audiovisual de archivo, fotos familiares y recuerdos propios, Yira se cuestiona sus propias inclinaciones políticas, esas que la llevaron en la universidad a militar en la JUCO, “como si la militancia se heredara genéticamente” y las debate junto a un padre que no entiende eso de que cada quien lucha desde donde sabe y con el lenguaje que maneja, porque para él, la calle es casi que el único lugar posible para el activismo. El rojo más puro es un sensible acercamiento a toda una época en la historia de Colombia, al ascenso, y al derrumbe de las ideas del marxismo-leninismo. Una indagación alrededor de los motivos y las formas de una generación que puso centenares de muertos en pos de un ideal y unos ideales que nunca abandonarán. La historia de la clase obrera y la lucha sindical de aquellos que enarbolaron como bandera esa especie de silogismo sin conclusión que hoy escribe Luis Alberto: El amor humaniza al mundo. El capitalismo acaba con el amor. (<a href="https://ficcifestival.com/el-rojo-mas-puro/" target="_blank" rel="noreferrer noopener">FICC Festival</a>) Youth / La juventud https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/41ce44b4017073cc8a777f0d9c9df476.jpg?Expires=1781740800&Signature=Zub-20HW7NeT8XVq7zzzSUZyPcWO9OwdjALeNrtJbrcACtZonxf12y1nNRcWLQYzs8%7EGTnqOGYWCpVnej1irCP6QvA83VnaHR1fF6La6ExdniUzAkLJgf3UgYMgZUz5ELuFVE2iMiEZOhc3QJPOFuxzxM0IjO91fabGm9tBPn%7EPzxCjon%7EfAwdlDGRoKbCZaoQLSso11lsWMvK71HY%7Ebh8RQewrSDhE95TYU3mcqA0WyZRXrLL95oNPo%7EszN4cbUJv%7EW08EqmFMXggzJaFbSqWcHsQNqLZaTiXdnuJCxbioJrWd26-9appTjkwJj%7EsPmkZea%7EMt02dtjSvMB04UeQA__&Key-Pair-Id=K6UGZS9ZTDSZM 4c6d45698f3294bd02a63608e0ec866d 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 mal de los 7 días Director The director of the film. El/La director/a de la película. Víctor González Urrutia Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2017 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. Colombia 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. Para protegerlos del mal de ojo, dice la tradición, a los niños recién nacidos hay que “chumbarlos” envolviéndolos en una manta desde los pies hasta el cuello durante siete días. Cuando nace su hijo, Hana decide no hacer caso de lo que cree pertenece a viejas supersticiones. La relación entre la persona y su entorno, las condiciones de vida, las tradiciones y el pensamiento, son el objeto de interés del cine de Víctor González. Por ello lo que ficciona tiene el valor de lo documental en cuanto a retrato de costumbres, cantos y ritos interpretados por actores naturales. Y por eso, también el relato se entreteje con elementos sobrenaturales, míticos y místicos, en un mundo que celebra tanto la vida como la muerte y en cuyas ceremonias mortuorias el rey es el bunde. Más allá de la técnica hay en El mal de los siete días el valor de las historias auténticas, hechas en y por la comunidad. Un cine nacido desde las entrañas, con sentido y contexto y con la honestidad del verdadero contador de historias. (<a href="https://www.retinalatina.org/video/mal-de-los-siete-dias/" target="_blank" rel="noreferrer noopener">Retina Latina</a>) To protect them from the evil eye, tradition says, newborn children need to be be wrapped in a blanket from their feet up to their neck for seven days. When her son is born, Hana decides to disregard what she believes to be old superstitions. In his films, Víctor González is interested in exploring the relationship between the people and their environments, their living conditions, traditions, and beliefs. That is why what he fictionalizes has the documentary value of a portrait of customs, songs and rituals performed by non-professional actors. The story is interwoven with supernatural, mythical, and mystical elements, in a world that celebrates both life and death and where the bunde [dance] is king of funeral ceremonies. Beyond technique, the value of El mal de los siete días lies in its authentic stories, made in and by the community. A cinema that emerges from the inside, with meaning and context, created with the honesty of a true storyteller. (Translated by Quetzali Gómez) 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. Afro-Latin American / afro latinoamericano 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 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 mal de los 7 días Description An account of the resource Para protegerlos del mal de ojo, dice la tradición, a los niños recién nacidos hay que “chumbarlos” envolviéndolos en una manta desde los pies hasta el cuello durante siete días. Cuando nace su hijo, Hana decide no hacer caso de lo que cree pertenece a viejas supersticiones. La relación entre la persona y su entorno, las condiciones de vida, las tradiciones y el pensamiento, son el objeto de interés del cine de Víctor González. Por ello lo que ficciona tiene el valor de lo documental en cuanto a retrato de costumbres, cantos y ritos interpretados por actores naturales. Y por eso, también el relato se entreteje con elementos sobrenaturales, míticos y místicos, en un mundo que celebra tanto la vida como la muerte y en cuyas ceremonias mortuorias el rey es el bunde. Más allá de la técnica hay en El mal de los siete días el valor de las historias auténticas, hechas en y por la comunidad. Un cine nacido desde las entrañas, con sentido y contexto y con la honestidad del verdadero contador de historias. (<a href="https://www.retinalatina.org/video/mal-de-los-siete-dias/" target="_blank" rel="noreferrer noopener">Retina Latina</a>) Afro-Colombian / afro-colombiano Afro-Latin American productions / producciones afrolatinoamericanas / produções afro-latinoamericanas https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/4e9af2060aa678dbe416959376e6dc48.jpg?Expires=1781740800&Signature=eWsoGeu2XSsAFDR1chjPU8MBQWz0ymsf4gJwJwGZUMp0v5dxaQzX%7EG3%7EM%7EwLU3pXNwzyef3zhJO4L9FANZb%7Ew7r4Hrn1c18HyqjimBx39x47iD%7EE9Iq8RgBSRzSUZ6SHXTZPeMZPjG4CYkW6yDrkA-lHsa0atAEPcGSrJMG-TNyK62EliFpP0yWkd%7Ea7f8D5WvgipXVpGxmGtBShhY5qJMnqnVwcd0JJ-kYl6MP0mlq-ccH-TZBoT1eaUh9sOl1Akrob2LTsbYwQvRf2bv1wvmL1VJNhNV9OTXYxK0jLqAAV-TS6LCj%7Ey4sm2rNTEbo2laRy%7ES8MrgE2PDUh5nKDLQ__&Key-Pair-Id=K6UGZS9ZTDSZM f65ebd8b6fc49087f1ea58cd2bce3dd0 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. Memoria viva Director The director of the film. El/La director/a de la película. Ivan Sanjinés Marta Rodríguez Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1992 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 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. Colombia 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. Fundación Cine Documental (Colombia) 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 diciembre de 1991, caen asesinados 20 indígenas paeces en la hacienda "El Nilo" en Caloto, Departamento del Cauca. Esta masacre es filmada por indígenas del departamento de comunicaciones del CRIC y la Fundación de Cine Documental/Investigación Social, realizando un taller de vídeo-documental en Popayán (1992). Marta Rodríguez entra a coproducir este trabajo con el cineasta Boliviano Iván Sanjinés y con la colaboración del indígena páez Jesús Piñakwe, quien es narrador de la historia de sus antepasados Juan Tama y Manuel Quintín Lame y que desde los años treinta lucha por el "no pago de terraje y la recuperación de tierras"; programa que retoma el CRIC cuando nace como organización en 1971. La masacre de Caloto es un signo de la amenaza del narcotráfico en el departamento del Cauca, ya que narcotraficantes aliados con la policía fueron los autores de esta masacre. La hacienda no había sido recuperada por los indígenas, una viuda y los nuevos dueños de la hacienda junto a narcotraficantes los asesinaron. Este documental concluye con una propuesta de paz que lanza el CRIC (Consejo Regional Indígena del Cauca) en el año 1993 (año de la más aguda violencia y terrorismo). Esta propuesta de paz dirigida al país que ha hecho crisis en sus formas de gobierno, llegando la hora que escuche la voz de los pueblos indígenas con su mensaje: "construyamos la paz y detengamos la guerra". (<a href="https://martarodriguez.com.co/memoria-viva-1992-1993#b654586d-8faf-4f05-902d-7a881ef380a1/" target="_blank" rel="noreferrer noopener">Fundación Cine Documental</a>) The film documents the immediate aftermath of a massacre of 20 people in El Nilo, Caloto, a Nasa indigenous community in Cauca department, in December 1991–just months after the ratification of the new constitution–showing both the grief of the community members and the words and actions of the local, regional and national indigenous political movements that rallied around Caloto's subsequent calls for justice. (Wood, David M. J. "The Metamorphosis of Cine Indigen(ist)a: Memoria viva and the Technological Artist in Multicultural Colombia." Latin American and Caribbean Ethnic Studies, vol. 5, no. 2, 2010, pp. 153-173, DOI: <a href="https://doi.org/10.1080/17442221003787092">10.1080/17442221003787092</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. 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 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 Available at Website, streaming service, distributor <iframe width="640" height="360" src="https://player.vimeo.com/video/352364664?h=f1b8c938d6" frameborder="0" allowfullscreen="allowfullscreen"></iframe> <a href="https://vimeo.com/352364664">TRAILER MEMORIA VIVA</a> from <a href="https://vimeo.com/martarodriguez1">Marta Rodriguez</a> on <a href="https://vimeo.com">Vimeo</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 Memoria viva Description An account of the resource En diciembre de 1991, caen asesinados 20 indígenas paeces en la hacienda "El Nilo" en Caloto, Departamento del Cauca. Esta masacre es filmada por indígenas del departamento de comunicaciones del CRIC y la Fundación de Cine Documental/Investigación Social, realizando un taller de vídeo-documental en Popayán (1992). Marta Rodríguez entra a coproducir este trabajo con el cineasta Boliviano Iván Sanjinés y con la colaboración del indígena páez Jesús Piñakwe, quien es narrador de la historia de sus antepasados Juan Tama y Manuel Quintín Lame y que desde los años treinta lucha por el "no pago de terraje y la recuperación de tierras"; programa que retoma el CRIC cuando nace como organización en 1971. La masacre de Caloto es un signo de la amenaza del narcotráfico en el departamento del Cauca, ya que narcotraficantes aliados con la policía fueron los autores de esta masacre. La hacienda no había sido recuperada por los indígenas, una viuda y los nuevos dueños de la hacienda junto a narcotraficantes los asesinaron. Este documental concluye con una propuesta de paz que lanza el CRIC (Consejo Regional Indígena del Cauca) en el año 1993 (año de la más aguda violencia y terrorismo). Esta propuesta de paz dirigida al país que ha hecho crisis en sus formas de gobierno, llegando la hora que escuche la voz de los pueblos indígenas con su mensaje: "construyamos la paz y detengamos la guerra". (<a href="https://martarodriguez.com.co/memoria-viva-1992-1993#b654586d-8faf-4f05-902d-7a881ef380a1/" target="_blank" rel="noreferrer noopener">Fundación Cine Documental</a>) Short Film / cortometraje https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/dfb2e921ef76b229f301e76e2ce2cce6.jpg?Expires=1781740800&Signature=G1AMWkA63O66g2acG31DiUdaZdRZmzxSxUXKqspfC6pBgQVB4rAOXc9TOsJfIBTxUgnRHk546iecb68fXRgCi-hcLmEIJP9SWWpy0sy-Hg%7EjigCn0hbbavI2zSucQlJuE6Ltj5KqVUIKSFwr9NEnFQfwtBHx-GrKskKyHkkldfrVg40Z--WRB4EqhwDfarf4iVKmqV9If8XxHtcXm1HIxQvTRgrL4%7ELZ7OscNGIJRfEh5IxH-KcytSHKXPD76BhXp96SHRw4pxQTbMDpxiMTGhos%7E50JMX5mf0ytPhKjfQ8AGg9jZm7UjQ8wLSr0lBaZN9V1GL0K8PeeMyVUUWYdAA__&Key-Pair-Id=K6UGZS9ZTDSZM 6b471fc491b90cf28f119da0964f5cc9 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. Expedición al Caquetá Director The director of the film. El/La director/a de la película. Cesar Uribe Piedrahita Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1930 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. Colombia 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. Fundación Patrimonio Filmico Colombiano (Colombia) 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. Expedición al Caquetá: registro documental mudo de un viaje en lancha con motor por algunos lugares de las riberas de los ríos Caquetá y uno de sus afluentes, el Orteguaza. Muestra a miembros de la comunidad indígena coreguaje y, también, la implantación de las grandes haciendas ganaderas en la región ubicada en lo que hoy es el Departamento del Caquetá. (<a href="https://cinematecadebogota.gov.co/" target="_blank" rel="noreferrer noopener">Cinemateca de Bogotá</a>) Caqueta Expedition is a silent documentary record of a trip made by motor boat down the rivers of Caquetá and one of its tributaries, the Orteguaza. The documentary shows members of the indigenous Coreguaje community, as well as the establishment of large cattle ranches in the region, that is known today as the Province of Caquetá in Colombia. (Translated by Quetzali Gomez) 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. Ethnographic / cine etnográfico 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. Silent Cinema / Cine mudo Available at Website, streaming service, distributor <iframe width="560" height="315" src="https://www.youtube.com/embed/f9vo9jz1QFQ" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe> YouTube: <a href="https://youtu.be/f9vo9jz1QFQ" target="_blank" rel="noreferrer noopener">https://youtu.be/f9vo9jz1QFQ</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 Expedición al Caquetá Description An account of the resource Expedición al Caquetá: registro documental mudo de un viaje en lancha con motor por algunos lugares de las riberas de los ríos Caquetá y uno de sus afluentes, el Orteguaza. Muestra a miembros de la comunidad indígena coreguaje y, también, la implantación de las grandes haciendas ganaderas en la región ubicada en lo que hoy es el Departamento del Caquetá. (<a href="https://cinematecadebogota.gov.co/" target="_blank" rel="noreferrer noopener">Cinemateca de Bogotá</a>) Short Film / cortometraje https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/929f63aafa801148855d6e08c14bcea4.jpg?Expires=1781740800&Signature=qdkfCDKinAClE0v6DTlpeH954DcfVZ4oSyNdpqgu40PBbM7AWA5%7EPlNYjslHccT83tGJwslHEBS6SETFam0zk6T7taQLCu8hlWId39VM58YYBKc4TqSsf5fseFTL98j0H5hIrMOjwBzUsqXuuYzeXKEfHH55PXQNcVmji-OixNnFQ3A95FjkQrBxMsbVKhx3Kfsh1g8f53z2EopIqIKrCCyRXdcl8wfr1-9%7EEnlDWK0i%7Evv-aNNXYB4GCK62eN0ae2L3YwdEEcjsIsOQ742JIw3oktL6C2cAIFUKjXln8OrzDAeTHP2fGaYdLu1WrsKqGZ4vDQnoADHtRBlbzneWVg__&Key-Pair-Id=K6UGZS9ZTDSZM 2057384f34dc323c239f6f0d38e79a92 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. A mí también me pasó Director The director of the film. El/La director/a de la película. Heny Cuesta Dari Cuesta Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2020 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. Colombia 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. Cimarrón Producciones (Colombia) 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 esta ocasión Heny Cuesta, Zualy Riazco, Maio Rivas, Karen González, Lorena Benitez, Lina Lucumi y yo contaremos las maneras en que hemos vivido el racismo y la discriminación en diferentes etapas y momentos de nuestras vidas y como el mismo se encuentra en microracismos, esas situaciones cotidianas como ver los ojos de un guardia de seguridad puestos sobre ti, como si fueras una ladrona así vayas con la mejor ropa, el que desde pequeña no te veas representada en la televisión y si lo hay es la persona del servicio, la nana, pero no como un papel principal, el siempre vivir con zozobra cuando estás cerca de un policía, el que te digan a ustedes las “negritas” les quedan bien esos colores, tu cabello parase una esponja, pero tú no eres tan “negra”, etc. Con A mí También Me Pasó, queremos generar empatía, que como mujeres negras nos podamos sentir identificadas y apoyadas al escuchar testimonios únicos, pero que a la vez son de todas nosotras, porque lo hemos vivido y padecido en el transcurrir de nuestras vidas, nuestro propósito con este proyecto audiovisual es que todas podamos alzar la voz para denunciar públicamente todos estos actos de racismo que continúan siendo maquillados en el día a día, desde la casa, los medios de comunicación, la política, la educación, maestros que lamentablemente no tienen el más minino conocimiento de lo que es la cátedra afrocolombiana y no enseñan a nuestros niños y niñas que nosotras hacemos parte la construcción de nación con nuestros rasgos, herencia cultural, literaria, intelectual musical y más. (<a href="https://www.cimarronproducciones.com/la-finalidad-de-a-mi-tambien-me-paso/" target="_blank" rel="noreferrer noopener">Cimarrón Producciones</a>) Category / Categoría A broad category or mode of cinematographic production. Documentary Films / Cine documental 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 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 <iframe width="560" height="315" src="https://www.youtube.com/embed/K6zBt0w4RZE" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe> YouTube: <a href="https://youtu.be/K6zBt0w4RZE" target="_blank" rel="noreferrer noopener">https://youtu.be/K6zBt0w4RZE</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 A mí también me pasó Description An account of the resource En esta ocasión Heny Cuesta, Zualy Riazco, Maio Rivas, Karen González, Lorena Benitez, Lina Lucumi y yo contaremos las maneras en que hemos vivido el racismo y la discriminación en diferentes etapas y momentos de nuestras vidas y como el mismo se encuentra en microracismos, esas situaciones cotidianas como ver los ojos de un guardia de seguridad puestos sobre ti, como si fueras una ladrona así vayas con la mejor ropa, el que desde pequeña no te veas representada en la televisión y si lo hay es la persona del servicio, la nana, pero no como un papel principal, el siempre vivir con zozobra cuando estás cerca de un policía, el que te digan a ustedes las “negritas” les quedan bien esos colores, tu cabello parase una esponja, pero tú no eres tan “negra”, etc. Con A mí También Me Pasó, queremos generar empatía, que como mujeres negras nos podamos sentir identificadas y apoyadas al escuchar testimonios únicos, pero que a la vez son de todas nosotras, porque lo hemos vivido y padecido en el transcurrir de nuestras vidas, nuestro propósito con este proyecto audiovisual es que todas podamos alzar la voz para denunciar públicamente todos estos actos de racismo que continúan siendo maquillados en el día a día, desde la casa, los medios de comunicación, la política, la educación, maestros que lamentablemente no tienen el más minino conocimiento de lo que es la cátedra afrocolombiana y no enseñan a nuestros niños y niñas que nosotras hacemos parte la construcción de nación con nuestros rasgos, herencia cultural, literaria, intelectual musical y más. (<a href="https://www.cimarronproducciones.com/la-finalidad-de-a-mi-tambien-me-paso/" target="_blank" rel="noreferrer noopener">Cimarrón Producciones</a>) Afro-Colombian / afro-colombiano Afro-Latin American productions / producciones afrolatinoamericanas / produções afro-latinoamericanas https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/e181259739a3a7b4d6324cde3394255b.jpg?Expires=1781740800&Signature=sFUKLEog3yO-2rUKPBU9H1vd1uT-%7EbC%7Ev-VMDMZDND9VBmog%7EsR2%7EV8T3NdR7yb8Z5MRCrU0plNC8W44263zh9q9hSdfVMWx0oz9ao9NCQmOM79FS2eDe37wYYeXPxYpkF6s-9JaQ5LmTJ-GK4GYChBBnz5hLH0%7ER4mPvVd0j0N-RxrTPMWvPiE88eF4Gr20zxhD1GRGCEBLnEdOwJofOQisyGW4x1YYwhcZUio3gR21tlp7kGJl9ly2OwAFfMJ%7ELsTcGhB%7EJuHtZD4fB4NXQGZYJ6-xi%7EjrlzyvhMcVSRBBeT5hnOEjwbSQLJc5sQ25ZwJDJP08Aiu1iH1HoQztBQ__&Key-Pair-Id=K6UGZS9ZTDSZM 26a44f544f432d214bd3c03eb347ac2e 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 pesca del atún blanco Title Catching the White Tuna Director The director of the film. El/La director/a de la película. Maritza Blanco Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2020 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. Colombia 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. Dessu Productions (Colombia) 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. Mariana es una adolescente afrocolombiana que vive en un poblado de pescadores en el litoral del mar Pacífico y sueña con forjarse un futuro. Para lograrlo, tiene que superar un sinnúmero de dificultades que le impone el lugar hostil, ignorado y aislado por agentes del narcotráfico en el que reside. Una historia basada en hechos reales sobre la pujanza y resistencia de una joven mujer que se atreve a soñar y a luchar por hacer sus sueños realidad. (<a href="https://www.proimagenescolombia.com/" target="_blank" rel="noreferrer noopener">Proimagenes Colombia</a>) Catching the White Tuna is a film about Mariana, a teenage Afro-Colombian girl from a fishing community on the Pacific coast who dreams of creating a better future. To achieve this, she has to overcome a host of difficulties imposed on her by the reality of her environment, ignored and isolated by the drug-traffickers who work where she lives. A story based on real life events about the strength and endurance of a young woman who dares to dream and fights to make her dreams come true. (Translated by Quetzali Gómez) 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 Thrillers / thriller; cine de suspenso 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 Drug traffic / Narcotráfico Identity / Identidad 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 pesca del atún blanco Description An account of the resource Mariana es una adolescente afrocolombiana que vive en un poblado de pescadores en el litoral del mar Pacífico y sueña con forjarse un futuro. Para lograrlo, tiene que superar un sinnúmero de dificultades que le impone el lugar hostil, ignorado y aislado por agentes del narcotráfico en el que reside. Una historia basada en hechos reales sobre la pujanza y resistencia de una joven mujer que se atreve a soñar y a luchar por hacer sus sueños realidad. (<a href="https://www.proimagenescolombia.com/" target="_blank" rel="noreferrer noopener">Proimagenes Colombia</a>) Afro-Colombian / afro-colombiano Youth / La juventud https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/64182a36b520e48f05be5acc3df33d6c.jpg?Expires=1781740800&Signature=ARAxVcq5LE3chugIHUK%7E1GDBy1mCzsbXWUIkM0ZmYt6-tHLuuJXNjc7HOlfmOf2byVmJgV2aPkfn--uaWRDtp1lGt97ogQT8GnXENqXprzJOpMbLTckWkir45%7E03RI50i1RQ%7E3Vsl0U9Pq1VO4R8JSJNckXFmI3Lw0AeYQoao6afc%7Et%7Ei5MhH%7EebNZvJbvbuwCjd9dVawpoA9PM9LNuw4pDKjTH4IPzbWHPJGFLylZCVmeylWzFs5lOl9PMkI8MczufZ6lg528HJ63FKiwGgDm%7EPb5EawyEqrsHV3Mb4X5Ekg1m1bPMEgo7-iozoYN8mCW6Bb1iBeOfukePqyKx%7EDA__&Key-Pair-Id=K6UGZS9ZTDSZM 237787b0783d6d9dca62bf900d2a55b1 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. Irma Director The director of the film. El/La director/a de la película. Carlos Castaño Giraldo Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2019 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. Colombia 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. Telepacífico (Colombia) Consejo Nacional de las Artes y la Cultura en Cinematografía - CNACC (Colombia) 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. Irma es una joven afrocolombiana. Ella es perseguida, como en una pesadilla, por la sombra de su extinto padre boxeador. La madre de Irma intenta alejarla del boxeo, con la convicción de que salvará su vida. Irma es una película que explora temas como la juventud, la violencia psicológica, la resistencia cultural y la magia de la herencia africana del pacífico colombiano. Es un ritual de pasaje. Una historia de sanación y búsqueda de la identidad. (<a href="http://www.proimagenescolombia.com" target="_blank" rel="noreferrer noopener">Proimagenes Colombia</a>) Irma is a young Afro-Colombian girl who lives in the shadow of her late boxer father. Irma's mother tries to pull her away from boxing, believing that she is saving her life. Irma is a film that explores themes such as youth, psychological violence, cultural resistance, and the power of the Colombian Pacific's African heritage. It is a rite of passage. A story of healing and seeking identity. (Translated by Quetzali Gómez) 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. Afro-Latin American / afro latinoamericano Identity / Identidad Sports / Deportes 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 Irma Description An account of the resource Irma es una joven afrocolombiana. Ella es perseguida, como en una pesadilla, por la sombra de su extinto padre boxeador. La madre de Irma intenta alejarla del boxeo, con la convicción de que salvará su vida. Irma es una película que explora temas como la juventud, la violencia psicológica, la resistencia cultural y la magia de la herencia africana del pacífico colombiano. Es un ritual de pasaje. Una historia de sanación y búsqueda de la identidad. (<a href="http://www.proimagenescolombia.com" target="_blank" rel="noreferrer noopener">Proimagenes Colombia</a>) Afro-Colombian / afro-colombiano Youth / La juventud https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/050816b87a659a6febcb50f2697cf434.jpg?Expires=1781740800&Signature=MTHxR8-PyyJ7Dx5HB-4Y-WXNY2D0dlePSmv4pq3pWMt8DD6FdbHGhf0Nz2cwSvjEvssgBig4VJ1r2SoBhk59I-pU7s%7Eqvvb98OOAECHOhHU6xUjog3-XXhu7jJxDo9LBLQMMvi44PcjQ-zWN-cTUYUMJbtY6EqE2cXVmuwerWtB1w0dV6vbVsXISpnzGFNGQdlwXQBi7RWMAUWPD--gutIV7UtpXUfQ9g-mDAZY2zc9phPg3bf9k864vLuia5Qr5Sg4vEVuElrWoMJE7jLYeGLf7gOAhe4ERdJRniKcVm-qlMm7t8MsqX8k7hKTmx6YlK3IaZt0oxnWrAIJnGFIa-g__&Key-Pair-Id=K6UGZS9ZTDSZM 7d285e546f5de7dd90ffa51ffd0b75c9 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. X500 Title X Quinientos Director The director of the film. El/La director/a de la película. Juan Andrés Arango García Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2017 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 French / francés 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. Canada / Canadá Colombia Mexico / México United States / Estados Unidos 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. Filmoption International (Canada) Proimágenes (Colombia) Machete Producciones (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. Al mirar el mapa de América, X500, un pequeño poblado en el estado de Yucatán, México, aparece justo en medio del continente. Desde este punto de vista imaginario, X500 narra la historia de 3 personajes que viven en países diferentes, pero que están unidos por su relación singular con la muerte, la migración y su necesidad de transformación. Alex es un adolescente afrocolombiano que tiene que crear una versión imaginada de su vida como polizonte en USA para justificar la derrota de volver a Buenaventura tras la muerte de su hermano y compañero de travesía. David es un indígena Mazahua que migra a Ciudad de México tras ser incapaz de enfrentar la muerte de su padre, descubriendo que su única opción para enfrentar la discriminación de ser indígena es adoptar la identidad Punk. María, es una adolescente Filipina que llega a Montreal para vivir con su abuela después de la muerte de su madre, mientras transforma el imaginario que tenía de vivir en el norte. Desde ese lugar X500 sigue a estos tres adolescentes por tres países, viviendo tres duelos y encontrando tres formas de seguir adelante. (<a href="https://www.proimagenescolombia.com/" target="_blank" rel="noreferrer noopener">Proimagenes Colombia</a>) X Quinientos tells three parallel stories: those of Alex, Maria and David, young immigrants in North and South America, confronted with the loss of a loved one. Struggling with their grief, they are forced to adapt to a new environment. Despite the thousands of miles that separate them and their radically different lifestyles, their stories echo one another. United by the same desire to survive and integrate to their new surroundings, they each year for a place to call home. They are, each in their own way, in search of an identity of their own in an America that has never been so multicultural. (<a href="https://www.filmoptioninternational.com/x-quinientos" target="_blank" rel="noreferrer noopener">Filmoption International</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. Afro-Latin American / afro latinoamericano Emigration and immigration / Emigración e inmigración Indigenous peoples / Pueblos indígenas Sports / Deportes 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="640" height="360" src="https://player.vimeo.com/video/181062639?h=81eea0793e&color=ffffff&byline=0&portrait=0" frameborder="0" allowfullscreen="allowfullscreen"></iframe> <a href="https://vimeo.com/181062639">X Quinientos - A film by Juan Andrés Arango - Official Trailer</a> from <a href="https://vimeo.com/filmoptionint">Filmoption International Inc.</a> on <a href="https://vimeo.com">Vimeo</a>. Film Guide / Guía de película Add link to related film guide Guía en español: <a href="https://cinegogia.omeka.net/items/show/863">https://cinegogia.omeka.net/items/show/863</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 X500 Description An account of the resource Al mirar el mapa de América, X500, un pequeño poblado en el estado de Yucatán, México, aparece justo en medio del continente. Desde este punto de vista imaginario, X500 narra la historia de 3 personajes que viven en países diferentes, pero que están unidos por su relación singular con la muerte, la migración y su necesidad de transformación. Alex es un adolescente afrocolombiano que tiene que crear una versión imaginada de su vida como polizonte en USA para justificar la derrota de volver a Buenaventura tras la muerte de su hermano y compañero de travesía. David es un indígena Mazahua que migra a Ciudad de México tras ser incapaz de enfrentar la muerte de su padre, descubriendo que su única opción para enfrentar la discriminación de ser indígena es adoptar la identidad Punk. María, es una adolescente Filipina que llega a Montreal para vivir con su abuela después de la muerte de su madre, mientras transforma el imaginario que tenía de vivir en el norte. Desde ese lugar X500 sigue a estos tres adolescentes por tres países, viviendo tres duelos y encontrando tres formas de seguir adelante. (<a href="https://www.proimagenescolombia.com/" target="_blank" rel="noreferrer noopener">Proimagenes Colombia</a>) Afro-Colombian / afro-colombiano Youth / La juventud https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/aaf00b3e82bea26e74aab7bbe4d22ec9.png?Expires=1781740800&Signature=hONTwZmFF97OxyR8mttrl6NBJ2AD1RQB9uZyAGFGRQb9OQCas51wolMfuGN3vUnH-0EO3uptItMSBHBrZlDudCM5HCiFYIhk3z6SF40PB5fdU8Qyf1VqU2Ii77Le1tHh8F1D-oohB5WQHz8AOCDi%7Em3DAEuYEz5F39-NhGHvVJiFT%7ETCp0auVY5S0VZ4hu-ThQhFSWDxlnGl2lxoEeSVNc7RslNfngFXFdDbs22kKU3Pso69uG7s4oa3j-RYeIDxaWj50Rf46tqr42WcH4fgzBf%7E9dyvZVj4a9wbJ6vxPHHQUxL38gWOM4tSHdSGWvRyuwfNs67mnqMTQpK8hDVvaw__&Key-Pair-Id=K6UGZS9ZTDSZM 2b47539206c632f4b903118fdb12167f 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 vuelco del cangrejo Title The Crab Trap Director The director of the film. El/La director/a de la película. Oscar Ruiz Navia 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 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. Colombia 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. Arizona Film Productions (France) Contravia Films (Colombia) 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 La Barra, un alejado pueblo del pacífico colombiano, Cerebro, líder de los nativos afrodescendientes, mantiene fuertes enfrentamientos con El Paisa, terrateniente que planea la construcción de un hotel en la playa. Daniel, un turista extraño y silencioso, queda atrapado en el sitio, esperando una lancha que pueda sacarlo del país. (<a href="http://www.proimagenescolombia.com" target="_blank" rel="noreferrer noopener">Proimágenes Colombia</a>) At La Barra, an isolated village on the Pacific Coast of Colombia, Cerebro (Brain), leader of the native Afro-Colombian community, is at odds with El Paisa (The White Man), a landowner who wants to build a resort on the beach. All this while Daniel, a strange and silent tourist, awaits for a boat to take him out of the country. (<a href="http://www.proimagenescolombia.com" target="_blank" rel="noreferrer noopener">Proimágenes Colombia</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. Afro-Latin American / afro latinoamericano Race / Raza 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 El vuelco del cangrejo Description An account of the resource En La Barra, un alejado pueblo del pacífico colombiano, Cerebro, líder de los nativos afrodescendientes, mantiene fuertes enfrentamientos con El Paisa, terrateniente que planea la construcción de un hotel en la playa. Daniel, un turista extraño y silencioso, queda atrapado en el sitio, esperando una lancha que pueda sacarlo del país. (<a href="http://www.proimagenescolombia.com" target="_blank" rel="noreferrer noopener">Proimágenes Colombia</a>) Afro-Colombian / afro-colombiano https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/7ac5c680905eeb57a5a8baf62dfd2eab.png?Expires=1781740800&Signature=Kc0AeoT%7EKwiMcQ3S21dL5OHWA9N%7E6RK67e7PZG%7EB5LQqR9nOGyqTO4B-%7Eowg8SkGHVw1HdQVO2nASbJ6mmrSTqhwwHFl46qu2pJEWTild7PV4vKSvGGZWXwDj58Wumc7G7PoP0ovY9aPcEjCc50PPs1D76H5g1Jy10ohcUtE4v1tM50O5eT8Gn6B2eTobivcBy9E5n3bQk2U3qdjb10gt13juczyvHxleEiYRFf3tuOZ-WBc6Ya6U6un%7E7o6W2mnEUBbAzzNuKp%7EF07oWRn1sxJcx6EDrCs30Fi38FwLPzMP73lxngzFs643Cgx0HvKyYbuOiYoPKMZ-NTDQO-HEfQ__&Key-Pair-Id=K6UGZS9ZTDSZM 5ae0855e574f7c44c8ce2e280468afad 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. Entre fuego y agua Title Between Fire and Water Director The director of the film. El/La director/a de la película. Viviana Gómez Echeverry Anton Wenzel Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2020 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. Colombia 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. Viso Produccciones (Colombia) RTVC Sistema de Medios Públicos (Colombia) 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. Camilo es el hijo adoptivo de dos indígenas Quillasinga de la laguna de La Cocha en Colombia. Es el único hombre negro en su comunidad y siempre se ha sentido diferente. Durante años se ha preguntado quiénes son sus padres biológicos. El gobernador Quillasinga lo aconseja y le da Ayahuasca, una planta sagrada y guía espiritual. Durante el viaje interior Camilo tiene visiones de su madre biológica. Apoyado por su padre adoptivo, Camilo emprende un viaje en busca de sus orígenes. Cuando la verdad se revela, Camilo encuentra su identidad y logra reconocerse como el hijo de dos razas. (Source: <a href="https://www.docmontevideo.com/peliculas_semana_doc/entre-fuego-y-agua" target="_blank" rel="noreferrer noopener">www.docmontevideo.com/peliculas_semana_doc/entre-fuego-y-agua</a>) Camilo is the adopted son of an indigenous couple of the Quillasinga tribe in the southwest of Colombia. He is the only black person in his community and has always felt different. For years he has been wondering who his biological parents are. He left school due to racism and bullying. The indigenous governor took him under his wing and gave him Ayahuasca, a sacred remedy for spiritual guidance. During this transcendent experience Camilo has visions of his biological mother. After this experience he decides to embark on a journey in search of his origins. The indigenous authorities and everyone in Camilo’s family support his decision. With the help of his father and the indigenous spirituality Camilo feels strengthened and starts to change. He even travels to where his mother was originally from: Tumaco, a city on the Pacific Ocean inhabited predominantly by Afro-Colombians. For the first time in his life Camilo discovers his afro heritage and meets the black community. (Source: <a href="https://www.docmontevideo.com/peliculas_semana_doc/entre-fuego-y-agua" target="_blank" rel="noreferrer noopener">www.docmontevideo.com/peliculas_semana_doc/entre-fuego-y-agua</a>) Category / Categoría A broad category or mode of cinematographic production. Documentary Films / Cine documental 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 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 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 Entre fuego y agua Description An account of the resource Camilo es el hijo adoptivo de dos indígenas Quillasinga de la laguna de La Cocha en Colombia. Es el único hombre negro en su comunidad y siempre se ha sentido diferente. Durante años se ha preguntado quiénes son sus padres biológicos. El gobernador Quillasinga lo aconseja y le da Ayahuasca, una planta sagrada y guía espiritual. Durante el viaje interior Camilo tiene visiones de su madre biológica. Apoyado por su padre adoptivo, Camilo emprende un viaje en busca de sus orígenes. Cuando la verdad se revela, Camilo encuentra su identidad y logra reconocerse como el hijo de dos razas. (Source: <a href="https://www.docmontevideo.com/peliculas_semana_doc/entre-fuego-y-agua" target="_blank" rel="noreferrer noopener">www.docmontevideo.com/peliculas_semana_doc/entre-fuego-y-agua</a>) Afro-Colombian / afro-colombiano https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/7c976fb7b6eaae2bf0d927bbfce74912.png?Expires=1781740800&Signature=kOEm16POucg1LGTthP1nPt%7Eqj2H0JBEspdiVfGq21BqZdSYZMxLiHoqWanr9Bl2Db1%7EJgnjk71MiCNenBxzADraNFywN1aweKhsSk2PsUjaLhKAww8vCfN22dtxUnqGRsleb09ee88cEDkbG4BppgSlcuE-m2QSW67XXGvBOiuAgOs-MQRilj9lwknPdma4T4S6kPFf7gzIhj0NEjsP9VawS7%7E%7ENhxHNvhH2SMmZBcqKBmESBwXod3DwKL-HqjIgnFeqGQ2D-tgVp-l39yj5GhR7M0XXlSCIG60mmRAczRufCFn8yE8kS%7EpFEdCERWZKFmK4VjMVeAMEB7GlHxsIRQ__&Key-Pair-Id=K6UGZS9ZTDSZM 16fafa4936eb139a4ecccfe9cf847ad6 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. Marímbula Title Marimbula Director The director of the film. El/La director/a de la película. Diana Kuellar Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2017 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. Colombia 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. Making Docs (Colombia & Spain) Proimágenes (Colombia) 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 Palenque de San Basilio todos hablan de regresar a la tierra de sus ancestros. Andris y Gabriel (21 y 18 años) son los primeros palenqueros que parten a África buscando las huellas de su héroe Benkos Biohó y la cámara de Diana, la directora, estará ahí para ser testigo de ese momento. Como los sueños no siempre se imponen a la realidad, en Dakar le es negada la entrada a Andris y a todo el equipo de filmación: Diana y Gabriel quedan solos en Senegal. Con su marímbula y una gran desilusión a cuestas Gabriel se dispone a descubrir qué tiene Palenque de África y qué tiene África de Palenque. El protagonista se adentra en Senegal en búsqueda de las huellas de su héroe en una travesía en la que se encuentra con personajes y situaciones que descubren una África no imaginada por él. (<a href="http://www.proimagenescolombia.com" target="_blank" rel="noreferrer noopener">Proimágenes Colombia</a>) Category / Categoría A broad category or mode of cinematographic production. Documentary Films / Cine documental 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 Memory / Memoria Race / Raza 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 Marímbula Description An account of the resource En Palenque de San Basilio todos hablan de regresar a la tierra de sus ancestros. Andris y Gabriel (21 y 18 años) son los primeros palenqueros que parten a África buscando las huellas de su héroe Benkos Biohó y la cámara de Diana, la directora, estará ahí para ser testigo de ese momento. Como los sueños no siempre se imponen a la realidad, en Dakar le es negada la entrada a Andris y a todo el equipo de filmación: Diana y Gabriel quedan solos en Senegal. Con su marímbula y una gran desilusión a cuestas Gabriel se dispone a descubrir qué tiene Palenque de África y qué tiene África de Palenque. El protagonista se adentra en Senegal en búsqueda de las huellas de su héroe en una travesía en la que se encuentra con personajes y situaciones que descubren una África no imaginada por él. (<a href="http://www.proimagenescolombia.com" target="_blank" rel="noreferrer noopener">Proimágenes Colombia</a>) Afro-Colombian / afro-colombiano https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/e8877509367cd47757630791de89c0f0.png?Expires=1781740800&Signature=hZpBbysXGuIo3USM5xuV-2TTRv-pM7udpmKZcITCsz9ijd18c%7EvMZAnG3GcAcudy-GwJ2bYkYBcHwgjbbr%7E1SoLynCa5ZiXArkveS15DF6jSeC9l947V-UqsTuzcWhfXC1DQSkfgYgkNYN6AQSEo8%7EKG3CF97hMV1vTqPZEWvO5kGCaS1Xez23MUAXECzNu6vaOtcIt1f09D5bvX5rqhtCXB80wFMyr4v94GMJ-GOOoUDW-ckU7V5NfNZmEOPHGMeHkC519YygbxybdKhWKLI3k3WysIqjsXT60coGtLX4DmAr3lqWhIC6DUUgOWTBzUYyDQ71dUbEwnNFIU191ZzQ__&Key-Pair-Id=K6UGZS9ZTDSZM e8eeac67d39422ac8aabb980122deb0b 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. Chocó Director The director of the film. El/La director/a de la película. Jhonny Hendrix Hinestroza 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. Colombia 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. Proimágenes (Colombia) Antorcha Films (Colombia) 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. Chocó es una mujer negra de 27 años, que lleva a cuestas una familia de dos hijos menores y a Everlides, su esposo músico que sólo sabe tocar marimba, beber viche y jugar dominó. Chocó es una mujer fuerte y luchadora. En la mañana ella trabaja buscando oro en el río San Juan y en las tardes lava ropa de otras familias para alimentar y educar a sus hijos. Es el cumpleaños de la pequeña Candelaria, por primera vez Chocó le promete una torta, sin embargo, las cosas se complican al tratar de cumplir esta promesa, desencadenando consecuencias inesperadas para Chocó y toda su familia. (<a href="https://www.antorchafilms.com/largometrajes.html#section2" target="_blank" rel="noreferrer noopener">Film's Official Website</a>) Chocó is an Afro-American country woman, who is about 24-27 years old, displaced from her land by violence. She carries a family of two children under 10 and her musician husband Everlides, who only knows how to play the marimba, drink Viche and play domino. Forced to find her own way of living, Chocó works searching for gold in the Atrato River during the morning and washing clothes for other families in the afternoon so she can pay for the education of her children. The money she saves is spent by Everlides in betting on domino and drinking alcohol. After a lot of physical abuse and sexual humiliation from her husband, Chocó decides to have sex with “El Paisa”, owner of the local shop, because this is the only way she finds to buy the cake for her little daughter, Candelaria, who will turn five years old. This will make Chocó furious and will change the history of this family. (<a href="https://www.antorchafilms.com/largometrajes.html#section2" target="_blank" rel="noreferrer noopener">Film's Official Website</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. Afro-Latin American / afro latinoamericano 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 Film Guide / Guía de película Add link to related film guide <a href="https://cinegogia.omeka.net/items/show/906">https://cinegogia.omeka.net/items/show/906</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 Chocó Description An account of the resource Chocó es una mujer negra de 27 años, que lleva a cuestas una familia de dos hijos menores y a Everlides, su esposo músico que sólo sabe tocar marimba, beber viche y jugar dominó. Chocó es una mujer fuerte y luchadora. En la mañana ella trabaja buscando oro en el río San Juan y en las tardes lava ropa de otras familias para alimentar y educar a sus hijos. Es el cumpleaños de la pequeña Candelaria, por primera vez Chocó le promete una torta, sin embargo, las cosas se complican al tratar de cumplir esta promesa, desencadenando consecuencias inesperadas para Chocó y toda su familia. (<a href="https://www.antorchafilms.com/largometrajes.html#section2" target="_blank" rel="noreferrer noopener">Film's Official Website</a>) Afro-Colombian / afro-colombiano Afro-Latin American productions / producciones afrolatinoamericanas / produções afro-latinoamericanas https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/3da6b720d52021635c6f939c046c111b.jpg?Expires=1781740800&Signature=FlEaEZ%7ENama6Ed8hszuwf5qFozezyeG0Q1mOV0NujE-r-Z5EEZGvTY3N%7EktOLo%7ENJi9lp9sN1Tamg4wH-8pXu4y6Rk25aYkp6j%7EiEKLP0JyxPROYGx1V-m5wv5zT5SmAbPMJ9CfxCnEF-GQygK-gciJ0cZEVZFtP8yr8TzjeuRwwjhYcKpmM0ERBEb9ptwJF59MmHCLBdNTa8TpGS%7ETNKzP2igQ%7EMk0zAwpmF6dIv%7EeECiH1B2dn6o3etvof4D911IHlMFOGPLtpywzxczdKKWeOiaHiRk3STvHSbtK93mWrRG91BKrkyiMDS2z%7EjbqZvhubhkOKu2r3IhOgk0zp5g__&Key-Pair-Id=K6UGZS9ZTDSZM 2f98b046abeba10e9ff8c74f58570657 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. Mamá Chocó 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. Colombia 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. Making Docs (Colombia & Spain) Director The director of the film. El/La director/a de la película. Diana Kuellar 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. Spanish / español 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. Chocó es una de la regiones con mayor riqueza natural e hidráulica en el mundo, de ahí viene nuestro personaje: Paulina, una mujer fértil como su tierra, madre de 26 hijos, partera y artista. Una persona con una alegría y amor por la vida sorprendentes. Un día un bombardeo la obliga a dejar su casa y su tierra junto con su familia y vecinos. Junto a miles de desplazados camina durante meses hasta que llegan a Cali, la tercera ciudad de Colombia. Abandonados a su suerte no tienen otra opción que hacinarse en una casa de madera, plástico y tierra. Es el símbolo de millones de desplazados por la guerra de sus hogares en el campo, junto al mar o en la selva, donde saben pescar, cultivar y criar ganado, pero en las ciudades no tienen opciones, nadie le da trabajo a un desplazado. Con cantos, Paulina evoca a su pueblo y nos lleva en un viaje imaginario a una región rica y a la vez desolada por la guerra, donde escuchamos la voz de los que se quedaron. Es la crónica del dolor del destierro y la lucha por vivir dignamente en un lugar que llame hogar. (<a href="https://mamachoco.wordpress.com/" target="_blank" rel="noreferrer noopener">Film's Official Website</a>) Chocó is one of the regions with the greatest natural and hydraulic wealth in the world, hence our character: Paulina, a fertile woman like her land, mother of 26 children, midwife and artist. A person with a joy and love for life surprising. One day a bombing forces her to leave her house and her land together with her family and neighbors. Along with thousands of displaced people, they walk for months until they reach Cali, the third city in Colombia. Left to their own devices, they have no choice but to settle down in a house made of wood, plastic and dirt. It is the symbol of millions of people displaced by war from their homes in the countryside, by the sea or in the jungle, where they know how to fish, cultivate and raise livestock, but in cities they have no options, nobody gives a displaced person a job. With songs, Paulina evokes her people and takes us on an imaginary journey to a region rich and at the same time desolated by war, where we listen to the voice of those who stayed behind. It is the chronicle of the pain of exile and the struggle to live with dignity in a place that calls home. (<a href="https://search.alexanderstreet.com/" target="_blank" rel="noreferrer noopener">Alexander Street</a>) Category / Categoría A broad category or mode of cinematographic production. Documentary Films / Cine documental 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 Emigration and immigration / Emigración e inmigración Exile / Exilio 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 Mamá Chocó Description An account of the resource Chocó es una de la regiones con mayor riqueza natural e hidráulica en el mundo, de ahí viene nuestro personaje: Paulina, una mujer fértil como su tierra, madre de 26 hijos, partera y artista. Una persona con una alegría y amor por la vida sorprendentes. Un día un bombardeo la obliga a dejar su casa y su tierra junto con su familia y vecinos. Junto a miles de desplazados camina durante meses hasta que llegan a Cali, la tercera ciudad de Colombia. Abandonados a su suerte no tienen otra opción que hacinarse en una casa de madera, plástico y tierra. Es el símbolo de millones de desplazados por la guerra de sus hogares en el campo, junto al mar o en la selva, donde saben pescar, cultivar y criar ganado, pero en las ciudades no tienen opciones, nadie le da trabajo a un desplazado. Con cantos, Paulina evoca a su pueblo y nos lleva en un viaje imaginario a una región rica y a la vez desolada por la guerra, donde escuchamos la voz de los que se quedaron. Es la crónica del dolor del destierro y la lucha por vivir dignamente en un lugar que llame hogar. (<a href="https://mamachoco.wordpress.com/" target="_blank" rel="noreferrer noopener">Film's Official Website</a>) Afro-Colombian / afro-colombiano https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/9b1d667574df1dccc84072df1a3a8486.png?Expires=1781740800&Signature=Xtn1l26yV4BgxXyE34RpqrMVv2XhiO7SQQ0ynx43yzx4bocE8BRGl3BkUtEV7ZOuErtv9qvScgFX5yEipe6zNLTZjm7hAAxy66kYtb1yr2QVRiEkfl0DVuOfq1PeB3n-IKYpm1jHtNI2F4gsLkmmtIhQN%7E9Isqiat7si2fdtdoy0W8ILqzzaQjJQGFwwLDGqagr5QZCsRGnsdg3%7E%7EtwoyNLCEeGHJHx6IYTLOuVeTG6XDg1eVpVf4L-K5WIEtGebPUtR3jV4q1uMX%7EiIxP6EKXZeEVda9mNzfKtCe-DEtpGtEBWgNb-GvjKKfqDSQGOI-cf-UD144IiHIuaIpSqGIg__&Key-Pair-Id=K6UGZS9ZTDSZM c792858da0ac5c3f17419211297fe415 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. Nacer de nuevo Title To Be Born Again Director The director of the film. El/La director/a de la película. Marta Rodríguez Jorge Silva Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1987 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. Colombia 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. Fundación Cine Documental (Colombia) 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. Un retrato lleno de poesía de dos ancianos, María Eugenia Vargas (71 años) y Carlos Valderrama (75 años), damnificados de la tragedia causada por la avalancha del volcán Nevado del Ruiz. La subida del río Gualí a raíz de la erupción del volcán Nevado del Ruiz, en noviembre de 1985, arrastró casas, personas y animales. Esta pieza nos muestra la vida de María y de Carlos en las carpas habilitadas para las personas damnificadas (<a href="https://www.mostrafilmsdones.cat/es/project/nacer-de-nuevo/" target="_blank" rel="noreferrer noopener">Mostra Internacional Films de Dones Barce</a>). Es un homenaje a la fuerza y a la valentía de los personajes que se enfrentan a otra forma de vida en medio del abandono total y una reflexión sobre la muerte, el amor y la vida. (<a href="https://proimagenescolombia.com/index.php" target="_blank" rel="noreferrer noopener">Proimagenes Colombia</a>) A portrait of two elders, María Eugenia Vargas (71 years old) and Carlos Valderrama (75 years old), who were victims of the tragedy caused by the volcanic eruption of the Nevado del Ruiz. The rise of the Guali River and landslides following the eruption of the Nevado del Ruiz volcano in November 1985 destroyed houses, people and animals. This film shows the life of María and Carlos surviving in tents set up for those affected by the natural disaster. It is a tribute to the strength and courage of people who have to create another way of life in the midst of total abandonment, and a reflection on death, love and life. (Translation by Quetzali Gomez) 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 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 Identity / Identidad 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 Nacer de nuevo Description An account of the resource Un retrato lleno de poesía de dos ancianos, María Eugenia Vargas (71 años) y Carlos Valderrama (75 años), damnificados de la tragedia causada por la avalancha del volcán Nevado del Ruiz. La subida del río Gualí a raíz de la erupción del volcán Nevado del Ruiz, en noviembre de 1985, arrastró casas, personas y animales. Esta pieza nos muestra la vida de María y de Carlos en las carpas habilitadas para las personas damnificadas (<a href="https://www.mostrafilmsdones.cat/es/project/nacer-de-nuevo/" target="_blank" rel="noreferrer noopener">Mostra Internacional Films de Dones Barce</a>). Es un homenaje a la fuerza y a la valentía de los personajes que se enfrentan a otra forma de vida en medio del abandono total y una reflexión sobre la muerte, el amor y la vida. (<a href="https://proimagenescolombia.com/index.php" target="_blank" rel="noreferrer noopener">Proimagenes Colombia</a>) Short Film / cortometraje https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/51ae1f9e9bc3bba76f6182f025a04c6b.jpeg?Expires=1781740800&Signature=i-DJm-FgbmdBjZSz9f3hwXZ%7EQ5baNMyDVavRS-yCcpECg4Mxl6X1HxfMDLxBwGVuFdY77fyj1eN%7EQ2sEucVJsho6CMV6PKgUmu7XGelad7RgDE%7EFxnXcoj3uymD5qp50YXZ6FQAb10I4Ei4r9BRL%7EiU2EPgDX3i8qQu5-g%7E8g%7E4Q0YlmIYltiKh%7EPGBQEtBY5xZO787inLHUVX0%7Es6J1Q9s3mJPXyZmw1dWDdnhp5yyD14T8L7Zpi59VXQa%7EcU0agjeAZMmGOu%7E98-TwnfTLC9XG81tH80fAoXZDveJuWOQ3BzqHXEhjXeMxClfU97Nfcz5R927J5eEfzJeZ-vq6Tg__&Key-Pair-Id=K6UGZS9ZTDSZM 5f48ce28edbe4fd703e869f350721531 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. Miguelito: Canto a Borinquen Title Miguelito: A Song to Puerto Rico Director The director of the film. El/La director/a de la película. Sam Zubrycki Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2019 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. Colombia Puerto Rico United States / Estados Unidos 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. Jotz Productions 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. Miguel Ángel Gonzáles Sánchez, apodado Miguelito, era un niño de Puerto Rico que ayudó a sostener a su pobre familia cantando en las calles. Allí fue visto por el legendario productor Harvey Averne, quien contrató al niño de once años, produjo un álbum titulado Canto a Borinquen (Elogio de Puerto Rico) y organizó un concierto de salsa en el Madison Square Garden. Esperando que sucedan grandes cosas, la familia se mudó a Nueva York con la esperanza de que despegue la carrera de Miguelito. Aunque sus canciones finalmente se convirtieron en éxitos de culto en toda Latinoamérica, el disco no tuvo éxito financiero. La familia regresó a Puerto Rico y Averne perdió de vista al niño que simplemente había desaparecido. El cineasta Sam Zubrycki quiso averiguar qué había sucedido realmente. (<a href="https://www.revistaenfoque.com.co/estilo-de-vida/la-verdadera-historia-de-miguelito-canto-borinquen-llega-colombia" target="_blank" rel="noreferrer noopener">Revista Enfoque</a>) In 1973, the eleven-year-old Miguelito was discovered singing in San Juan airport by the legendary New York record producer Harvey Averne. Within a year, he went from the slums of Manuel A Perez to recording an album with the finest salsa musicians of the time, to finally performing with Eddie Palmieri at Madison Square Garden in front of 20,000 people. Every radio station played some of his tracks, like Payaso and Canto a Borinquen. A year later, he had disappeared from public life. Reminiscent of Searching for Sugar Man, filmmaker Sam Zubrycki and legendary music producer Harvey Averne follow Miguelito’s steps to find him. Featuring incredible archival footage of NYC in the 70s’ and salsa performances from Papo Lucca’s La Sonora Poncena, Malo Malo and many others, this is a film that celebrates the musical and cultural depth of the Caribbean, as well as the music industry, but most of all, Miguelito’s life, music, and the world he inhabited. (<a href="https://pragda.com/film/miguelito/" target="_blank" rel="noreferrer noopener">Pragda</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. Docu-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. Music / La música 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/miguelito/" target="_blank" rel="noreferrer noopener">https://pragda.com/film/miguelito/</a> Film Guide / Guía de película Add link to related film guide <a href="https://cinegogia.omeka.net/items/show/741">https://cinegogia.omeka.net/items/show/741</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 Miguelito: Canto a Borinquen Description An account of the resource Miguel Ángel Gonzáles Sánchez, apodado Miguelito, era un niño de Puerto Rico que ayudó a sostener a su pobre familia cantando en las calles. Allí fue visto por el legendario productor Harvey Averne, quien contrató al niño de once años, produjo un álbum titulado Canto a Borinquen (Elogio de Puerto Rico) y organizó un concierto de salsa en el Madison Square Garden. Esperando que sucedan grandes cosas, la familia se mudó a Nueva York con la esperanza de que despegue la carrera de Miguelito. Aunque sus canciones finalmente se convirtieron en éxitos de culto en toda Latinoamérica, el disco no tuvo éxito financiero. La familia regresó a Puerto Rico y Averne perdió de vista al niño que simplemente había desaparecido. El cineasta Sam Zubrycki quiso averiguar qué había sucedido realmente. (<a href="https://www.revistaenfoque.com.co/estilo-de-vida/la-verdadera-historia-de-miguelito-canto-borinquen-llega-colombia" target="_blank" rel="noreferrer noopener">Revista Enfoque</a>) Youth / La juventud https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/3168e935ed381c3675b6182d585d0649.jpeg?Expires=1781740800&Signature=FvRVnNkPt6yP1%7EH9OaKT8trAffqPx56zTdqXzG-Nnnol2n9ZTUJJwTjVYm8BAZYyB7XgMOVreN58rf08Ssb5B2S3GTrzPta-BA9bVR5faOrlS-NLM%7EplQe5LLmm5LgGcwh-9v0ot2dRCUdQhc-gSDCsaHCPUJsoxyYTSZP8sCVem-ZmaP9H%7Ea3aJ%7EKnludg2n%7E90kYDbyDDQ%7EpRAbTiaZL9TaTqxjxrl-haNsLPUuEcS32HFZbrBnwoa4iOH24%7EMEFHbRA2hjTo2Fw2-NKw%7EsTG5P4aL4MdCpMD4GVV%7EFhkmIYaazfRQ4kSwD8S2c4I5rmLxgYca1he9rbBAit1h6A__&Key-Pair-Id=K6UGZS9ZTDSZM 1a851d6dd1fabeb27f5a812652689c2d 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. Somos calentura Title We are the Heat Director The director of the film. El/La director/a de la película. Jorge Navas Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2018 Film Guide / Guía de película Add link to related film guide <a href="https://cinegogia.omeka.net/items/show/682">https://cinegogia.omeka.net/items/show/682</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. 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. Colombia 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. AG Studios (Colombia) Magma Cine (Argentina) Mon Amour Producciones 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 puerto de Buenaventura, donde la riqueza y la miseria se cruzan sin tocarse, las bandas criminales condenan a los jóvenes a una vida al margen de la ley. En medio de esta situación, HARVEY y sus tres amigos, campeones locales de baile, sobreviven del rebusque mientras encuentran la manera de escapar de su cruda realidad. Durante el campeonato nacional de baile urbano que se realiza en la ciudad, desafian su destino resurgiendo como guerreros, encontrando su valor en los sonidos del Pacífico y los beats de la Salsa Choke y el Latin Hip-hop. Sin embargo, su vida marginal será su más grande obstáculo, ellos tendrán que decidir si cambian la violencia por el baile y las balas por el verso. (<a href="https://www.proimagenescolombia.com/secciones/cine_colombiano/peliculas_colombianas/pelicula_plantilla.php?id_pelicula=2247" target="_blank" rel="noreferrer noopener">Proimágenes Colombia</a>) Our protagonist, Harvey, and his three friends, local urban dancers, are constantly trying to find a way to escape their harsh reality. During a national championship of urban dance that takes place in the city, they challenge their destiny by resurfacing as warriors, finding their value in the sounds of the Pacific and the beats of Latin Hip-hop. However, their marginal life will be their biggest obstacle, they will have to decide if they change the violence for the dance and the bullets for the verse. Source: Vergel, Gina. "<a href="https://soundsandcolours.com/articles/colombia/colombian-film-festival-nyc-puts-somos-calentura-heat-front-center-44993" target="_blank" rel="noreferrer noopener">Colombian Film Festival in NYC puts 'Somos calentura (We are the Heat)' Front & Center</a>." Sounds and Colors, 1 April 2019<a class="waffle-rich-text-link">. </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. Afro-Latin American / afro latinoamericano Music / La música Violence / Violencia 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 Somos calentura Description An account of the resource En el puerto de Buenaventura, donde la riqueza y la miseria se cruzan sin tocarse, las bandas criminales condenan a los jóvenes a una vida al margen de la ley. En medio de esta situación, HARVEY y sus tres amigos, campeones locales de baile, sobreviven del rebusque mientras encuentran la manera de escapar de su cruda realidad. Durante el campeonato nacional de baile urbano que se realiza en la ciudad, desafian su destino resurgiendo como guerreros, encontrando su valor en los sonidos del Pacífico y los beats de la Salsa Choke y el Latin Hip-hop. Sin embargo, su vida marginal será su más grande obstáculo, ellos tendrán que decidir si cambian la violencia por el baile y las balas por el verso. (<a href="https://www.proimagenescolombia.com/secciones/cine_colombiano/peliculas_colombianas/pelicula_plantilla.php?id_pelicula=2247" target="_blank" rel="noreferrer noopener">Proimágenes Colombia</a>) Afro-Colombian / afro-colombiano https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/fa5109d52e8c6a1326a3bfdd3b4ae87f.jpeg?Expires=1781740800&Signature=EL4zWNQ5ex-d3bwAD51nXnNdzUS2pcJtDIwX0uSHODeoNMednI0zjcMqlHEcf9K6IDAwIEo7yxa-xuybxHaXvuZkMzdgHG5jzpuPbkqxJZ3I8YZ9Sn82Mz-0v1RG4aSzIlXSJyYmQOfKKmbANqZ6gv-UFSXVLHxp6H2YqriZPs7zhT%7E2N5uQ9Nn7D7r9rOEc6g7ztuqMg2WR9jqSL19cVl8P3fXoziEiJNRhHU8WLYqMaptJKr2hOHF%7EBcrquVkvyFLac9u0HRQ2tFCOPke%7Ew6-inaM8sPkFwGAOri0sgwPsikOcXiMlSyOLlr%7ENMOegDAsXmVmqtUkeiEBSHLAMbA__&Key-Pair-Id=K6UGZS9ZTDSZM 2c1df08627c540baae5ae2a27a320a3f 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. Nuestra voz de tierra, memoria y futuro Title Our Voice of Land, Memory, and Future Director The director of the film. El/La director/a de la película. Marta Rodríguez Jorge Silva Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1981 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. Colombia 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 Cubano del Arte e Industrias Cinematográficas - ICAIC (Cuba) Fundación Cine Documental (Colombia) 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 [...] 1982 documentary is a collaborative effort by the Colombian political filmakers Marta Rodrgiuez and Jorge Silva and the indigenous farmers of Coconuco, in the southwestern highlands [of Colombia]. Combining a Marxist cinematic visual language with an indigenous cosmogony, the film depicts the centuries-long opression and resistance of farmers and indigenous peoples. In striking black-and-white, the content ranges from interviews, rallies and meetings, to mythologised scenes with the Devil. It is a powerful advocate for unity and organisation in the face of exploitation by both colonial family landowners and international corporations, and of oppression by the government, the church and the military. Featuring a great use of montage and sound to convey meaning, from folk music to the sharpening of machetes (<a href="https://homemcr.org/film/nuestra-voz-de-tierra-memoria-y-futura/" target="_blank" rel="noreferrer noopener">Film Festival website</a>) [Este] documental de 1982 es un esfuerzo colaborativo de los cineastas políticos Marta Rodríguez y Jorge Silva y los campesinos indígenas de Coconuco, en el altiplano suroeste colombiano. Combinando un lenguaje visual cinematográfico marxista con la cosmogonía indígena, la película retrata la opresión y la resistencia de los campesinos y de la gente indígena durante siglos. (Translation by Quetzali Gomez) 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. 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 Memory / Memoria 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 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 Nuestra voz de tierra, memoria y futuro Description An account of the resource This [...] 1982 documentary is a collaborative effort by the Colombian political filmakers Marta Rodrgiuez and Jorge Silva and the indigenous farmers of Coconuco, in the southwestern highlands [of Colombia]. Combining a Marxist cinematic visual language with an indigenous cosmogony, the film depicts the centuries-long opression and resistance of farmers and indigenous peoples. In striking black-and-white, the content ranges from interviews, rallies and meetings, to mythologised scenes with the Devil. It is a powerful advocate for unity and organisation in the face of exploitation by both colonial family landowners and international corporations, and of oppression by the government, the church and the military. Featuring a great use of montage and sound to convey meaning, from folk music to the sharpening of machetes (<a href="https://homemcr.org/film/nuestra-voz-de-tierra-memoria-y-futura/" target="_blank" rel="noreferrer noopener">Film Festival website</a>) Indigenous filmmaking / producciones indígenas https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/0e843760f0cd2628cae90dea34bf9c71.jpeg?Expires=1781740800&Signature=XNK6xLKIRK2%7EhkunGSIqhQeLYtavTKbiXnJRbNA4sdCIFDzr-8iE%7EGVX7F2b6My5B30ERsOTUKHYZ-jliEs-xFzDoUeuWt1b28YcSNLweVDwIMbcB737VOnnAmTdyTk16okrJN%7EYsKu6ZhpO2nYy1YCQtgWhBAu9RoT7MoQUA8OQd1Jkp%7EDxppvrMIElj1su%7EXPh%7E1IsuX%7EYfJQPRbVHNKMC4AGjc0vMrcMSCFRTtN%7EV-wDcpr83Wq7shx32wv2a3HOLcwwRJ40ICrQJ8slprHtuM7zoRdDM4kve7Gz4YNRVKHW2U2TnpbGt86kNtbzgl%7E-pnx-i4c61us46BVO%7EjQ__&Key-Pair-Id=K6UGZS9ZTDSZM 2d6c1453a9503731836491ab7884e3a5 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. Monos Title Monkeys Director The director of the film. El/La director/a de la película. Alejandro Landes Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2019 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. Colombia 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. Stela 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. Alejandro Landes’s Monos tracks a young group of soldiers and rebels who run wild in the mountains of an unspecified South American country, while keeping watch over an American hostage, Doctora. The teenage commandos perform military training exercises by day and indulge in youthful hedonism by night, an unconventional family bound together under a shadowy force known only as The Organization. After an ambush drives the squadron into the jungle, both the mission and the intricate bonds between the group begin to disintegrate. Order descends into chaos and, within Monos, the strong begin to prey on the weak in this vivid, cautionary fever-dream. (<a href="https://pragda.com/films/" target="_blank" rel="noreferrer noopener">Pragda</a>) Monos, de Alejandro Landes, sigue a un grupo de soldados y rebeldes jóvenes y salvajes que habitan en las montañas de un país sudamericano no especificado, mientras vigila a una estadounidense secuestrada, Doctora. Los comandos adolescentes realizan ejercicios de entrenamiento militar de día y disfrutan del hedonismo juvenil de noche, formando una familia no convencional pero unida bajo una fuerza oscura conocida como La Organización. Después de que una emboscada empuja el escuadrón hacia la selva, tanto la misión como los vínculos estrechos entre los miembros del grupo comienzan a desintegrarse. El orden se convierte en caos y los fuertes comienzan a cazar a los débiles en este vívido sueño febril de advertencia. (Translation by Julia Kallen) 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 Thrillers / thriller; cine de suspenso 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. Violence / Violencia 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/monos/" target="_blank" rel="noreferrer noopener">https://pragda.com/film/monos/</a> Film Guide / Guía de película Add link to related film guide <a href="https://cinegogia.omeka.net/items/show/701">https://cinegogia.omeka.net/items/show/701</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 Monos Description An account of the resource Alejandro Landes’s Monos tracks a young group of soldiers and rebels who run wild in the mountains of an unspecified South American country, while keeping watch over an American hostage, Doctora. The teenage commandos perform military training exercises by day and indulge in youthful hedonism by night, an unconventional family bound together under a shadowy force known only as The Organization. After an ambush drives the squadron into the jungle, both the mission and the intricate bonds between the group begin to disintegrate. Order descends into chaos and, within Monos, the strong begin to prey on the weak in this vivid, cautionary fever-dream. (<a href="https://pragda.com/films/" target="_blank" rel="noreferrer noopener">Pragda</a>) Youth / La juventud https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/b7ef9e6547ad28a243117fe1c1b45efe.pdf?Expires=1781740800&Signature=ZXjmEpMDFK6%7EY8JXFWv36szkNv5YfdXoJvLIs9jF6h7xWIggaMUfbM%7EwEKO%7EDbHimDJsJEHtlewvGE36KTBE5gKsJtQvna6ikIwGSZE8YDkQ02OLubhruXwZIziEwHNEEqqw%7Ep7OUP-iGHQiHBeRRHHLb6HdxPCAUSRG7bE5HrGIeh6Z51JUfqHX1wt2bvslUSN%7EsYuEgSQ9dt6a3cn-FCxdpLypW0fAXDQnRMMSj7hPY2mXaObArbSxr%7EpDarAEPrDKlOClawRY9scbjKOZOGSojPboGHAA9DudMR-KeFqROCPDTBVcKU5czxApYdqjMPn5uQMdEqCEfwoU8wTcCQ__&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/25d17ba0f1b2fea0769fa30e7d6c7036.jpeg?Expires=1781740800&Signature=sMqfpPw1zteDmsByFGgTUv3OZvAJz2PAPchKGvvEoU4CbTmpkOeoToo9oxP32oYLkPFu8c8AYGetYpe-Lu7S6wQSDzsCo53xsE9FhihRQZuPlRHCghy47k4tL70xQJIXyIg6ucBpM2GzZYqg9LdMcq4LUVvZF8Djc0LcosI9%7ER6XePDhuz2gb0fHkKl2b0fwCNFU9v3L1MiK%7Eye0xKZTAPH60mpdYvAmwp1ktjOmQkxcAosDIbGa4qy7vJkD5CJZhtdDSAXj5mcIeIP1cTSe-h1AtY3d4lyNAynEum-IDirimkGG-zoOTOGYCW3JO0KXIvddChaAXK%7EndcbZDFO63Q__&Key-Pair-Id=K6UGZS9ZTDSZM 6dcf3d3b20b8062be4fed1c7861c2a7e 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 aula vacía Title The Empty Classroom Director The director of the film. El/La director/a de la película. Mariana Chenillo Pablo Fendrik Carlos Gaviria Tatiana Huezo Lucrecia Martel Nicolas Pereda Eryk Rocha Daniel and Diego Vega Pablo Stoll Ward 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. Argentina Brazil / Brasil Colombia El Salvador Mexico / México Peru / Perú 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. Canana Films (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. Bajo la dirección creativa de Gael García Bernal, once directores retratan el impacto de la deserción escolar en América Latina a través de un largometraje maravillosamente diverso y complejo. Viaja a siete países y explora las razones por las que casi la mitad de los estudiantes de secundaria nunca se gradúa. (<a href="https://cineaparte.com/" target="_blank" rel="noreferrer noopener">Cine Aparte</a>) Nearly half of all young people in Latin America never finish high school. To explore this dropout crisis, creative director Gael García Bernal gathered 11 award-winning filmmakers who have created a captivating anthology of short films, both narrative and documentary. There is no easy solution to this complex issue, and each short delves into the underlying reasons, from poverty to societal traditions, that students aren’t graduating. This omnibus features films by multi awarded filmmakers Argentina’s Lucrecia Martel (The Headless Woman) and Pablo Fendrik (Ardor), El Salvador’s Tatiana Huezo (The Tiniest Place), Mexico’s Mariana Chenillo (Pragda’s own PARADISE) and Nicolas Pereda (Greatest Hits), Peru’s Daniel and Diego Vega (The Mute), Uruguay’s Pablo Stoll (Whiskey), Brazil’s Eryk Rocha (Cinema Novo) and Flavia Castro (Diaries, Letters, Revolutions), Colombia’s Carlos Gaviria (Potraits in a Sea of Lies). Among many issues, the short films explore the links between the dropout crisis and violence; how to identify students at risk of dropping out of school in Latin America; the lack of interest in school that is preventing students from graduating; school exclusion in indigenous communities; the not-so-typical challenges to finishing high school faced by a deaf student; the relationship between the financial cost to staying in school and its benefits; and what happens when drop out students want to go back. (<a href="https://pragda.com/film/empty-classroom" target="_blank" rel="noreferrer noopener">Pragda</a>) Category / Categoría A broad category or mode of cinematographic production. Documentary Films / Cine documental 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 Educational / Cine didáctico 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. 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/empty-classroom/" target="_blank" rel="noreferrer noopener">https://pragda.com/film/empty-classroom/</a> Film Guide / Guía de película Add link to related film guide <a href="https://cinegogia.omeka.net/items/show/667">https://cinegogia.omeka.net/items/show/667</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 El aula vacía Description An account of the resource Bajo la dirección creativa de Gael García Bernal, once directores retratan el impacto de la deserción escolar en América Latina a través de un largometraje maravillosamente diverso y complejo. Viaja a siete países y explora las razones por las que casi la mitad de los estudiantes de secundaria nunca se gradúa. (<a href="https://cineaparte.com/" target="_blank" rel="noreferrer noopener">Cine Aparte</a>) Youth / La juventud https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/79a8a9a08bb455d7f1bbec116b585118.png?Expires=1781740800&Signature=Pr4V7zNBnN4FVqzc2HPRZLF3BFxtnTfgEZcTS3kh4fFTBjXd%7E6hlWp4XRXPx9YqPf1sP0hcNpO%7E-3w0Xw%7EUy3MWGv%7EeryRBbc0nRhyUx6bcYAvLxYXnxU6aeIpx570qhxo-Hj51lU8iaPHap638OT9rBJKyg0dQFvDusrLxWv1cB%7E64ACQbm5brC1OIjKKUbOeTg%7EDbwhRUBbKDNwFi8q2Eh%7E0y1Bf9adM3xWlPDWv-GH6Tc1Zj37Ev3%7EjisKnzuVgIkqHZd-NXKYI%7Ehd9efUsG%7Eem2DqLHMLAwZKCYPNC1KENX57VrXQIcQhM1QskFPh4Zi7idV1QyPvGKzjygZ8A__&Key-Pair-Id=K6UGZS9ZTDSZM 4fa136dbe054eb15760a5a11c32bf7b5 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. Ciro y yo Title Ciro and Me Director The director of the film. El/La director/a de la película. Miguel Salazar Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2018 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. Colombia 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. La Esperanza Producciones (Colombia) Proimágenes Colombia (Colombia) 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. Ciro Galindo nació el 29 de agosto de 1952 en Colombia. Fuera donde fuera, la guerra siempre lo encontraba. Tras veinte años de amistad con Ciro, comprendí que su vida resumía la historia de Colombia. Como tantos colombianos, Ciro es un sobreviviente, que después de sesenta años de huir de la guerra, sueña con vivir en paz y con dignidad. (Film's Official Website) Ciro Galindo was born on August 29, 1952, in Colombia. Wherever he went, war always found him. His children were recruited by the armies of war; his family was repeatedly displaced; and his wife Anita, an indigenous woman, died of sadness. Foreign to the system, but a victim of the system, Ciro has led a heroic anonymous struggle to live life on his own terms. After twenty years of friendship, I understood that Ciro’s life sums up the history of Colombia. He is a privileged on-site witness of a war that seems distant and confusing. Ciro and Me narrates Ciro’s journey to meet his past in a quest to rebuild his life and create a future for him and his son. Like so many Colombians, Ciro is a survivor who after sixty years of fleeing the war, dreams of living in peace and dignity. (<a href="https://pragda.com/film/ciro-and-me/" target="_blank" rel="noreferrer noopener">Pragda</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. 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. Migration, Internal / Migración interna 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 Available at Website, streaming service, distributor Pragda, <a href="https://pragda.com/film/ciro-and-me/" target="_blank" rel="noreferrer noopener">https://pragda.com/film/ciro-and-me/</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 Ciro y yo Description An account of the resource Ciro Galindo nació el 29 de agosto de 1952 en Colombia. Fuera donde fuera, la guerra siempre lo encontraba. Tras veinte años de amistad con Ciro, comprendí que su vida resumía la historia de Colombia. Como tantos colombianos, Ciro es un sobreviviente, que después de sesenta años de huir de la guerra, sueña con vivir en paz y con dignidad. (Film's Official Website) https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/a054174bd1ab326fac4534b24bec2f10.pdf?Expires=1781740800&Signature=i9crX4zt71O76BaDTl4wsVmE2EnL0FHf5G4hueRqzIm-g-QwRqcTssmE3TruIs8Z8TU23z9j%7ErnC9bYq3p1p2i9iQD9WJk7qsi0D9beL%7ENm-mrD2xnsj6XucCHx9iMtvn-JrIzcuWVcR2NzH4sMiyjJJ8JVGSEsZZuBwIKJJjAvYYV4X9J7aLKrqwd-574Xil3QRIT%7E2hTDxTLSyz1A3LnR3ANxp48%7EGTcp%7EJiZevncG6BJzgv2XCsjjCg3cPtjZYTNdl55wWLM-8fGeCWF4nAHhYWoWv-atgQpFV5IYPJX-rSa5zVPDYwQW3o5%7EXrb6l6duMJ-iTocWz0wpgG35gg__&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/fb43b760a1ba01f06402feb217d71aed.pdf?Expires=1781740800&Signature=AquD1rN0DyI7DZraN5Gi%7EOlOva6IiCnZrOIifWI1PbmQEKPaf1WAp2Q3nAbsJUirjrU5FOQkJ9FxcpeG3d%7E9gKQp4KGqA-uuM6pyMBl0vzTtp1TxOIEaBXTioEg4tibn0RQgLVYlEP7DamUN%7E%7Ey7U4gSU6-n-BoCsdvuxg7gyMF30DGC%7ES%7EUuAGxwE6DyEAXLNsKsnlM9IUDIwL1VhHhyXO2l9FYyEObzpZl8G0qBUpeTLWUALqoQvLgqNGYOv0p30AnL-KRXGTpvJn0zcyAHVnnpnxKkF7vDRNDWjAOoG6DciwpMgbXHOc0QAx7bOa%7ESD4G%7EwqqE276h%7EhDsMs8Fg__&Key-Pair-Id=K6UGZS9ZTDSZM 3d54ecff3b2ca6315174f4316e8a1aae PDF Text Text Contributed by Bridget Franco, College of the Holy Cross LATIN AMERICA THROUGH CINEMA (MONT 104G) Synchronous Class Sessions > Tuesday & Thursday, 11:30am-12:45pm Prof. Bridget Franco, Department of Spanish, Email: bfranco@holycross.edu Zoom Office Hours: Mondays 10-11am; Fridays, 12-1pm; 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: Spanish (SPAN) major (elective credit); Latin American, Latino & Caribbean Studies (LALC concentration credit) Global Society Cluster This year’s Global Society cluster will explore the theme of Displacement, Disruption & Creation from multiple perspectives and approaches, including cinema, literature, visual art, history, and theater. Together, we will focus on a range of geographical regions including Africa, Europe, Latin America, and the Middle East, as well as the United States, a culturally diverse nation of immigrants. Global Society seminars will explore a variety of topics, including the experiences of migrants, refugees and diasporic communities, public art as disruptive social practice, the complex realities that drive displacement and movement across boundaries, filmic and theatrical representations of multi-lingual communities, systems and infrastructure that contribute to the way we live, and the construction of identity through visual and literary narratives. Cluster cocurricular activities will encourage building new perspectives through dialogue, active listening and writing, as we reflect on our shared responsibilities as global citizens in the world. 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 local and global communities. Students in the Global Society cluster will have opportunities to participate in interactive performances and the creative arts. �Global Society Required Cluster Events Sunday, September 13 @ Time TBD Crocodile River Performance & Workshop, https://crocodilerivermusic.com/ Sunday, October 18 @ 7:00-8:30pm (ET) Story Circle with Hartbeat Ensemble, https://www.hartbeatensemble.org/ In order to receive credit for attending and engaging in these cluster events, you must complete and submit a follow-up reflection activity as part of your grade. Details on our Canvas website. 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 selfunderstanding 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 CrossCultural 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 reach out to me or speak to a representative at the Office of Financial Aid for assistance. The Office of Multicultural Education maintains a Lending Library, which rents books to students for free. You can send an email to maleman@holycross.edu with book requests. 1) A Short Guide to Writing About Film by Timothy Corrigan. 9th ed. Pearson, 2014. [ISBN-10: 0321965248; ISBN-13: 9780321965240]. Available through the HC Bookstore, Amazon or other book sellers. 2) Online Film Glossaries: • Cineglos, http://sites.holycross.edu/cineglos/ (open-access Spanish-language film glossary with examples of techniques from Latin American and Spanish cinema) • Columbia Film Language Glossary, https://filmglossary.ccnmtl.columbia.edu/ (openaccess features English-language glossary with key terms in film studies, illustrated with detailed explanations, film clips, and visual annotations) 4) Weekly readings posted on Canvas 5) We will watch 10 Latin American films this semester. You are responsible for watching the movies each week on your own. You should also plan to view the films and/or specific scenes a 2nd or 3rd time, especially when moderating or reviewing films. I highly recommend that you set aside a day and time, no later than Sunday evening, to complete one viewing of the weekly film. You should 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 weekly assignments, 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 comprise the films. ACCESS TO FILMS: Almost all the films will be available for free through our Canvas website, or through Kanopy, Swank, or Alexander St. Videos (video streaming services accessible via the Holy Cross library catalog). You must log in to the library catalog system using your Holy Cross credentials to gain access to these platforms. Pending availability, there may be one film that you have to rent (via Amazon Prime or Netflix) this semester. WATCHING FILMS: The films that we will screen this semester have been selected to introduce you to a variety of perspectives, regions, communities, languages, politics and ways of life that exist in Latin America. 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, 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 as a community. �WEEKLY ASSIGNMENTS Beginning on September 22nd, small groups of students will be responsible for preparing and/or presenting different assignments related to the weekly films. Please take note of the dates that you and your partner(s) are assigned to complete these tasks (on Canvas). The work is spread out over the course of the semester, so groups will be responsible for their tasks on different dates and for different films. I highly recommend carving out a weekly meeting time when you and your partner(s) can meet virtually to discuss and work on your assignments. You are encouraged to come to my virtual Zoom office hours (Mondays 10-11am; Friday 12-1pm; or by appointment) to ask questions or discuss the assignments. Below is an overview of the different assignments that will be due between September 22 – November 5. Detailed instructions, examples and group assignments will be available in Canvas. TUESDAYS • FILM MODERATORS (M): Responsible for creating a film guide with discussion questions for the class (due Sunday by 3pm, ET). During Tuesday’s class, moderators will give a graded presentation with context about the director and the film, and they will moderate a discussion based on their film guide questions. • FILM REVIEWERS (R): In addition to the film review for Alamar, each student will write a second graded film review during the fall semester. The first draft is due on the Tuesday after the film is screened and will be peer-reviewed during class. The final draft is due on Thursday for grading. You should schedule a session at the Center for Writing for the relevant week to ensure that you attend a consultation session before the final draft is due on Thursday. 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. • DISCUSSION QUESTIONS (DQ): Most groups will answer the discussion questions on the weekly film guide created by the moderators and upload their responses to the relevant Discussion Forum on Canvas before class begins on Tuesday. This weekly exercise will help you to discern elements of the films that are significant, interesting, or problematic, and to develop your critical writing skills. Note: Moderators and film reviewers are exempt from this assignment on the relevant Tuesday. THURSDAYS • ARTICLE PRESENTERS (AP): On Thursday, 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 film as a reference point. The Article Presenters will also present the reading in class on Thursday, and use their questions as the basis for a broader discussion with everyone. • VIDEO ESSAY (VE): Create a short digital video essay that focuses on a film term from Corrigan’s textbook, using scenes or stills from the specific film(s) we are studying to provide examples, illustrate film technique(s), or accompany the narration. �GROUPS & DEADLINES Please refer to Canvas for Group assignments. I highly recommend carving out a weekly meeting time when you and your partner(s) can meet virtually to discuss the films and work on your assignments. Some due dates may change (later, never earlier), depending on guest speaker availability. Film Guide due, 3pm Film Director (Country/Region, Year) TUESDAY Moderators (M) Reviewers (R) – 1st draft due Discussion Questions (DQ) THURSDAY Video-Essay (VE) Article Presentation (AP) Motorcycle Diaries Walter Salles (Latin America, 2004) September 8 (R) ALL STUDENTS (film review) n/a Alamar Pedro González Rubio (Mexico, 2009) September 15 (R) ALL STUDENTS (1st draft due today) September 17 (R) ALL STUDENTS (final draft today) 9/20 El techo Patricia Ramos Hernández (Cuba, 2016) September 22 (M) Group 1; (R) Group 2 (DQ) Groups 3, 4, 5, 6, 7 September 24 (VE) Group 3 (AP) Group 4 9/27 Pelo malo Mariana Rondón (Venezuela, 2013) September 29 (M) Group 5; (R) Group 6 (DQ) Groups 1, 2, 3, 4, 7 October 1 (VE) Group 7 (AP) Group 1 10/4 Cidade de Deus Fernando Meirelles & K. Lund (Brazil, 2002) October 6 (M) Group 2; (R) Group 3 (DQ) Groups 1, 4, 5, 6, 7 October 8 (VE) Group 4 (AP) Group 5 10/11 Ixcanul Jayro Bustamante (Guatemala, 2015) October 13 (M) Group 6; (R) Group 7 (DQ) Groups 1, 2, 3, 4, 5 October 15 (VE) Group 1 (AP) Group 2 10/18 The Embrace of the Serpent Ciro Guerra (Colombia, 2016) October 20 (M) Group 3; (R) Group 4 (DQ) Groups 1, 2, 5, 6, 7 October 22 (VE) Group 5 *Guest Speaker 10/25 Vengo volviendo Gabriel Paéz & Isabel Rodas (Ecuador, 2015) October 27 (M) Group 7; (R) Group 1 (DQ) Groups 2, 3, 4, 5, 6 October 29 (VE) Group 2 (AP) Group 3 11/1 Relatos salvajes Damián Szifron (Argentina, 2014) November 3 No class November 5 (AP) Group 6 11/8 Machuca Andrés Wood (Chile, 2004) November 10 (M) Group 4; (R) Group 5 (DQ) Groups 1, 2, 3, 6, 7 November 12 (VE) Group 6 (AP) Group 7 �VIRTUAL CLASSROOM COMMUNITY • Attendance Good attendance and punctuality are expected for this class and will affect your grade. Our synchronous sessions will not be recorded, so if you miss a class, it is your responsibility to get in touch with other students from class to borrow notes and to review the Canvas website for any missed course materials or updates. You may also come to my virtual office hours (Mondays 10-11am; Friday 12-1pm; 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. After the first week of classes, students are allowed two absences without a penalty. • 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 (through spoken comments and questions, and/or written feedback in the chat or discussion boards), not what you know in your head. 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. • Team Meetings During the last 15 minutes of most class sessions (12:30-12:45pm), I will hold tutorial-style meetings with small groups of students. Over the course of the fall semester, each small group will meet with me and other group members at least 5 times. We will use these tutorial sessions to build community, to answer questions about course material, to discuss issues related to surviving and thriving during your first semester of college, and to provide targeted guidance on your weekly assignments. Students who do not have a scheduled group tutorial on a particular class day will use this time for a variety of asynchronous activities that will vary from week to week. Groups and meetings are available on Canvas and the weekly Modules. • Virtual 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. 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 October 30 is one of our course requirements… so please give it a try! �WRITING AS A PROCESS FINAL PROJECT (ESSAY & ORAL PRESENTATION) For your final project, you will choose a Latin American film that we have not screened for class and develop a critical film essay. As part of our emphasis on writing as a process, a librarian and a Center for Writing specialist will visit class to discuss best practices for researching your topic. 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 prepare an oral presentation which will take place during the last two weeks of the fall semester. We will work on this project in steps and detailed instructions will be provided for this assignment on Canvas. CENTER FOR WRITING https://www.holycross.edu/academics/support-and-resources/center-for-writing/writers-workshop 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. WHAT’S MY GRADE? Classroom Community Grade 10% (Includes attendance, participation, preparation, other assignments, 2 cluster events and reflection, minimum one office hours visit) Film Moderator 10% Film Reviews (2) 30% Discussion Questions 10% Video Essay 5% Article Presentation 5% Final Film Project 30% (Includes one Center for Writing consultation, an oral presentation, and the final 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. 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. GRADING SCALE � 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 (*modified for remote learning, fall 2020) 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="layoutArea"> <div class="column"> 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. </div> </div> </div> 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 Brazil / Brasil Chile Colombia Cuba Ecuador 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 <div class="page" title="Page 5"> <div class="section"> <div class="layoutArea"> <div class="column"> <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/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/125">Machuca </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/302">El techo</a> <a href="https://cinegogia.omeka.net/items/show/297">Vengo volviendo</a> </div> </div> </div> </div> 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 (*modified for remote learning, fall 2020) 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/58eef7952a7e1c85e695092e4fbda810.pdf?Expires=1781740800&Signature=ArqN%7EmqHianibLrY8ktH4b651DYN1cJt7H4%7Ep2VTRB19Uhmc1GsaTbvuO%7E1CpXyFdOa8-5jGu8uZ5ezcOlJwWB7pB7pe4pm6HR2fNpfLKVv6oENIRIdYqmE1PmY1VK9-V7f0ZJTm4Gl86bEe%7Ezt7AianBs%7ExIAuv5O0CPKQqM9UTGA9XiuNDdB-P3k3z1iJl7wJYkLqqZRXcci7NULZskxzR5ykb-z1eJGRgDgqj0afJo0-KkqqVrwdlMZhMefm2Pdv0BGwzH33ZPuN%7EosxV3roIqsqDaNOlXorW3An4SWLKJ0yE3ZyvvTNFpcbrf-XGbq-EqPJiaCWNzIGnwMxolQ__&Key-Pair-Id=K6UGZS9ZTDSZM 7b9b09edc3c00bc49d3dd635a08a08af PDF Text Text Contributed by Michelle L. Farrell, Fairfield University Fall 2020 SP 3271: Hispanic Film Fairfield University Michelle Leigh Farrell, PhD INSTRUCTOR INFORMATION Professor: Dr. Michelle Leigh Farrell Email: mfarrell3@fairfield.edu Course time: Tuesdays and Fridays 3:30-4:45 pm Zoom Office hours: Mondays 3:30-5:30 pm (image from Havana Film Festival NYC) In our Hispanic film course we examine diverse cinemas made in the region and how Latin American filmmakers represent, reject, reconstruct, maintain or challenge their realities. We look at how films are made, how they are funded, and how films reach audiences to question which films we see, and which ones are hidden from our view. The most accessible films available on major US platforms such as Netflix and Hulu do not begin to represent the diversity of world cinema, nor that of even US cinema. Between 2007-2018 only one of the 1335 directors of the top grossing films in the US was a Latina director, while 4% were Latino directors (Smith et al 6). Of the top-grossing US films in those same years, the most common representation of Latino/Latin American characters was that of a criminal, followed by a low-income person, and then an immigrant (Smith et al 7). In Latin America of the 100 top-grossing films in Ibero-American cinemas 83.6% are from Hollywood, 3% are from the region (González 4). While US blockbuster films are greatly limited in their portrayals of the lived experience, they are highly visible in Latin America with Netflix with the highest presence in Latin America with the exception of Cuba. However on Netflix Latin American films represent only 3% of the platforms offerings. In this course we examine works from the region to see how artists use cinema to challenge, break with, or redefine their realities sharing complexities beyond the limited roles of Latin Americans in Hollywood film. In these examples of more nuanced representations of Latin Americans, we see the crucial importance of self-representation, and diversity in front of and behind the camera. After taking this course, I want you to walk away knowing that the camera is not neutral, that audiovisual language and devices shape the seamless world that we see, that it matters who is telling the story, and that movies are highly political and culturally-entrenched vehicles circulating with unequal visibility to form and question our understanding of ourselves and others. As life-long learners I hope you continually challenge yourself to see films beyond those highly visible platforms to begin to break with the aforementioned statistics thus participating in local micro-acts of social justice. First, you will reflect on Hollywood’s representation of Latin American people, and question the consequences of repeated racial and gendered stereotypes �Objective: You will identify Latin American ethnic stereotypes in contemporary US programming. Objective: You will analyze institutional structures that have reproduced these stereotypes within the US film system Objective: You will apply knowledge, awareness, and skills to analyze gender and race inequality in consumption of US media locally and abroad Second, you will think critically about Latin American social and political movements to reject reductionist film images, and challenge normative versions of the world we see. Objective: You will identify the platforms and institutions that enable the exhibition of specific films over the visibility of others Objective: You will learn how to apply this knowledge beyond the limits of this course to see how decisions on the material you watch online can also be a way to disrupt systems of power. Third, you will explore cinematographic language and the distribution of film to think critically about yourselves as producers and consumers of media Objective: You will demonstrate media literacy through clear and effective writing such as weekly essays and film reviews Objective: You will create your own video essay to combine your media and production literacies, to offer an analysis of and contribute to the visibility of the films we have studied Course Resources: Cineglos: this is an open access bilingual film glossary you watch and write about each week http://sites.holycross.edu/cineglos/ Video Essays: to give you an idea of the final project you will make- some of the video essays on this international site were made by students from a past version of this class. https://cinegogia.omeka.net/videoessays Cinegogía: this is an open access platform for Latin American Cinema https://cinegogia.omeka.net/ Spanish Grammar Practice Online: Online resource for help with grammar and writing in Spanish Dictionary: online Spanish dictionary: La Real Academia Española https://www.rae.es/ PDFs of the readings and short videos- are located on Blackboard (Bb) in Course Content folder. Course films are located under “Films” in Bb. These films and many more are also available on the library’s online film platform database Kanopy. Take a look! Film Festivals: To see the latest 2020 Latin American cinema and support diversifying contemporary filmmakers you will virtually “attend” two film festivals. You will write formal film reviews about these movies. �Our ability to take part in these film festivals, and the live question and answer sessions with Latin American directors is something special this year. While the pandemic is an obstacle for many classes, in this course the online aspects also offer an opportunity to connect with directors in other ways that were impossible in previous semesters due to costs and time. To recognize the financial difficulties of this pandemic, we will use open-access free materials instead of the $84 textbook. The resource you will pay for is your entrance to see one film in the Boston Latino International Film Festival. Your ticket will cost about $15 for the streaming movie premiere and question and answer session with the director. The second film festival is free for us (feel free to invite friends and family members to either of the two festivals). You will write a review of the film premiere that you attend. In other words your work will make visible films that have yet to reach distribution platforms like Hulu and Netflix! The strongest and most edited reviews will be considered for professional publication so that your voice on the latest films coming from Latin America is heard. Additional course materials: “¿Qué sucede …si la evolución de la técnica cinematográfica hace posible que ésta deje de ser privilegio de unos pocos?” “Por un cine imperfecto” (1969) Julio García Espinosa Technology: Since we are studying film and the importance of many voices behind and in front of the camera, we too can use film to analyze it while experimenting with other forms of writing and seeing. We will use screenshots, sound, recordings, and basic editing that we can do on our phones/computers to begin to make decisions on the images we see. -Update your Zoom and keep an eye on re-installing the latest version -Download the latest version of iMovie on your laptop, tablet or phone, if you have access to a Mac. If you have a PC download a free editing option that you have (you probably have this on your phone). -Find out how to take a screen shot on your Mac or PC (we will do this throughout the course to study film language (cinematography)). Screen shots are better quality than taking a picture of the screen with your camera. Let’s change the numbers on who makes and creates film-at least in our class! Your video essays will become a public way to increase the visibility of these films- strongest examples will be chosen for publication! �Grade Breakdown: • • • • • • Daily participation Bb writing assignments film criticism (Tuesdays by 10:00 am) Bb cinematography writing (Fridays by 10:00 am) 15% Digital glossary project- weekly Wiki, and peer responses) Three formal film reviews (1 and 2 with mandatory re-writes) Five-minute Video Essay- pairs o Four part: abstract, story board, rough cut, &final version 10% 15% Total 100 % 10% 30% 20% What we do: Tuesdays and Fridays we meet on Zoom together up until Sept 18. Tuesdays: We are together. On Tuesdays, our work will be synchronous online, meaning that we will meet virtually on Zoom together at our regularly scheduled class time. You will be expected to log on to class having: 1) read the assigned materials in the readings and video folder on Bb 2) viewed the film 3) submitted your discussion posts to Bb by 10:00 am on the day of class. I will take attendance and track class participation. Fridays: On all Fridays before class time you will complete course work on your own and submit assignments to Bb by 10:00 am per usual. I will give you written feedback on your writing, argument, and analysis that I expect you will incorporate in your future writing-incorporating week-to-week feedback is part of your grade. On Fridays prior to Sept 17 we are all together on Zoom. Starting on Sept 18 going forward, you will turn in your morning work per usual at 10:00 am and then during the Friday class session you will meet with your partner in person* or via Zoom. Together you will work on the ongoing film glossary Wiki and response project. Turn in the class session pair work to your wiki and response by the end of the class session. *In-person pair work is subject to public health concerns. All students on campus and taking course completely virtually will have alternatives and access to assignments. If there is a health concern- please tell professor as soon as possible. Wiki project: re-create your own versions of the glossary terms you have chosen for this week. For example you will re-create the wide-angle shot that we have studied this week-, outside using natural light (always best for inexpensive cameras). This puts you in the position of �director of photography to experience how these technical resources change the item that you are looking at. You will place the screenshots from the films that week that you and your partner have taken, as well as your re-shots on your team wiki. You will include the definition of the term, in Spanish, and a leak to the Cineglos item. This Wiki will form a type of working interactive glossary of your own study in cinematography as well as closer look at Latin American cinema. You are in the driver’s seat interacting with filmmaking. Finally you and your partner will comment on another person’s Friday cinematography morning writing to see how other students are incorporating technical knowledge into their film analysis. Your comments should be at least 100 words and meaningfully connecting threads throughout the semester. (See Bb for guidance on giving comments). I will share a schedule for comments to ensure everyone receives peer reflection throughout the semester. More on glossary work on Bb. 10% of grade. Summary: I. Bb writing assignments: (Tuesdays & Fridays due at 10:00 am) II. Wiki and in-person peer Fridays: together during the session time without me. The peer response writing and Wiki due at end of scheduled class session (Friday at 3:15 pm). More explanation on the above forms of writing: Tuesday writings on Bb are: Film Criticism writings: Due by 10:00 am (individual). You will reflect on an aspect of the week's theoretical reading and films before coming to class. Use this space to draw larger connections from the previous readings, the current readings, and films. This is a weekly assignment and will serve as a lower-stakes space to work on your writing skills, while also providing a forum to critically reflect on the materials. Take these weekly reflections as an opportunity to deeply connect the readings with the film. They count towards your grade and reflect your weekly progress. Each week these will be graded on 1-3 point scale each week. 3 is the highest grade earned on a 1-3 point scale -careful analysis of the theoretical reading -specific connection with previous readings -attention to the essay question -edited Spanish grammar and style This approach has been a great success in previous classes since it helps to write often while testing out ideas, arguments and language in a lower-stakes writing environment. I expect you to edit these short assignments before posting. Your video essay final project may develop from your Tuesday and Friday writing. �You will need to ensure that you have edited your work. I will comment on your papers and will expect that you apply any grammar, style, and argument remarks to the following week’s short essays. Check my comments to develop your writing. Individual Cinematography writings are focused on the week’s film and the use of a cinematography term. These are due by Friday 10:00 am. I will assign terms from the Cineglos website. I will ask you to read the definition of each of the three terms, and watch the short clips exemplifying each term. From there you will choose one of the terms, take a screen shot of an example of the term that you spot in the week’s assigned film and write a 250-word analysis showing how the term affects or adds to a selected scene. The purpose of this writing is for you to begin to notice how these resources shape the film that we see. Submit shot with your Bb writing. These weekly writings are graded on a 1-3 lower stakes: 3 being the highest grade. A 3 means that the writing includes: -careful analysis -specific connection with previous readings and analytical readings -focused use of cinematographic item -edited Spanish grammar and style -inclusion of screen shot from film All of these shots will become part of our Wiki cinematography glossary so please take shots with care. Film Reviews: Each student will write three film reviews of approximately 600-750 words each (about 3 double-spaced pages). The objective of film reviews is to synthesize information, apply the language of film, and to develop your own analytical voice in film criticism. Film Review explanation on Bb. Final Project: Video essay: You will build on our class discussions and Bb writings in groups of two to create a five-minute film focused on one or two specific cinematography term and its use in the film. You will be assessed on the content of the digital essay presentation, creativity, use of language in the narration, script, textboxes, and credits, and how engaging the video essay in sharing your film analysis. This is an opportunity to showcase the skills that we will have practiced throughout the semester in our weekly Bb writings and in our glossary work. My focus is for you to make decisions in filmmaking- thus we will have a multi-step process to support this project. More information on Bb in November. Modules: I have organized the course into modules in case we need to shift content due to unforeseen challenges in an unstable world. 1. Introduction-Why study Latin American film? 2. Film Reviews: What are they? What is their purpose? How do I write one? �3. Cinematography Glossary-What is cinematography and why does it matter? 4. Film Festivals: What are they? How are they different from Netflix? 5. Video Essays: Pulling it all together. You have now made filmmaking decisions combining voice, sound, cinematography, script, and images. Fostering our Class Community: Community Norms: this is a community where we discuss representations of ethnicity, race, and gender, stereotypes, and institutional bias. We will challenge our assumptions, images, and previous beliefs by questioning common representations. During the class we will discuss community norms-so that we can make explicit brave spaces to grow, develop, and question film that is omnipresent but far from neutral. We will create a community of learners courageously reflecting on the images that we see. Course Responsibilities Positive Online Learning: This course was designed for online learning, supplemented by inperson learning experiences (glossary/cinematography re-creating project). In-person experiences on campus will complement the work we do online particularly providing opportunities to become familiar with cinematography on your own terms. However, we live in a dynamic world and this project may need to shift online due to public health needs. The course was designed to afford space for the many shifts and the diverse situations of each of our community members. The online learning modality has afforded certain opportunities that we have never had in previous versions of the course: the ability to attend two international Film Festivals together and be some of the first people to review film premieres of new cinema. The course work is flexible in that in the face of an emergency we will make changes. That means we can make the most of the advantages of an online environment—its flexibility, variety, immediacy. You should expect to meet regularly on Zoom during our assigned class time. Some of those sessions will involve all members of the class (Tuesdays); others will be small peer meetings or individual conferences (Fridays). The zoom links for class meetings will be posted in the Bb folder for each section of the course. You are responsible for checking Bb frequently as well as your Fairfield.edu email as they are crucial to our class communication. All work will be submitted through Bb unless otherwise noted. Participation: Given the current pandemic, participation takes different forms, yet is still central to our class community. Participation means supporting our own and each other’s learning while contributing to a class community. That means turning in our weekly essays on time, responding to each other’s writing with meaningful comments to further develop our writing and understanding of film. There will a significant amount of discussion and group work. We will each write a reflection on our cyber participation meaning how we have supported our own learning as well as the learning of our peers throughout the course. �Participation means: o Signing in to class on time o Beginning sessions prepared: films viewed/ texts thoughtfully read o Focusing on the session instead of other websites, phones, or other people o Turning in weekly Bb work on time o Commenting on peer’s work on time o Adding to class community through peer comments, peer work, sessions, and breakout rooms o Speaking solely in Spanish during session, breakout rooms, and projects o Working as a true equal in pair work (Wiki, video essay, peer comments) o Consulting syllabus and Bb frequently to plan your work and answer questions o Checking email and Bb frequently to stay on top of work or public health changes Pedagogy and Preparation: All courses in the Dept. of Modern Languages and Literatures use a flipped classroom approach (as do the majority of university courses in the US). With a flipped classroom approach, students come prepared having read, and reflected on materials before coming to the class synchronous/asynchronous session. Note that the readings in Spanish are designed for speakers of Spanish and students of film which means that you may need to read articles twice or re-watch scenes in films. This is normal and is not cause for concern-it is where the real learning happens. Attendance: This course includes online instruction synchronous with me (via zoom), asynchronous, on-campus experiences, and community learning through film festivals. All are essential to your learning. Attendance is central to your and to your community’s learning. Note: As we learned last spring, the world is unpredictable. If you or someone you are responsible for becomes seriously ill, expectations for attendance will be modified as needed-please remain in contact with the professor and your partner to continue to foster a classroom community. According to the Dept. of Modern Languages & Literatures students are expected to attend scheduled class sessions. Since this class meets twice per week the Department allows a maximum of two absences. Each absence after the first two will result in a reduction of your final grade by 2.5 points per additional absence. A student with three absences and a final grade of 87 will earn a grade of 84.5. After six absences, you will earn an F for the course. To respect our class community and the course discussion- two late Zoom sign ons, or arrivals, (of five minutes or more) will equal one unexcused absence. This also includes arriving to scheduled inperson on campus meetings with your partners on time. Missed Class Policy: If you miss a Tuesday class session, it is your responsibility to obtain the notes from a fellow classmate. I will not respond to emails or requests for notes or materials covered in a class that you have missed. I will, however, happily meet with you during office hours to discuss course content. Emails: To contact your peers or myself through Bb- use the ‘communication’ tab and choose the email option. I will respond to all emails within 24 hours of receiving them, but I will not �respond to emails sent to me after 6pm until the following day. Email Etiquette: -Use formal writing in emails -Start your email with a greeting, not with Hey. (Estimada, Querida, Buenos días) -You can refer to me as Dr. Farrell, Dra. Farrell, Professor Farrell, Profe -Make sure you have double-checked your syllabus and Bb before you ask a question that is already answered in this extensive document or online -Write in Spanish as much as you can -Conclude all emails with a closing: (Saludos, gracias, muchas gracias, aprecio su tiempo, espero su respuesta, agradezco su tiempo, many thanks, regards, best, thank you for your time) Academic Support Services: Fairfield is committed to providing accessibility to learning an equal opportunity to access the benefits, rights, and privileges of its services, programs, and activities. If you have a documented disability and wish to discuss academic accommodations, please contact the Office of Accessibility. I am also here to support you during office hours to discuss learning and studying strategies. Privacy: To ensure a safe and fair learning environment as well as strictly adhere to copyright rules, all online materials, lectures, videos made by the professor and/or fellow students are protected under Privacy and Copyright Law. No student or device can record, distribute, or copy materials from the class, fellow students, including professor’s classes or lectures, nor record Zoom synchronous course sessions without prior written agreement. Distribution of materials off or online (e.g. placing on YouTube) is strictly prohibited and violates the course Privacy and US Copyright Law. This will ensure that we feel comfortable sharing our voices in Spanish without fear of being recorded. Additionally to create a class community, we hope that all members will use their video to share your voice and face during the class session. In efforts to continue our study of cinematography please use a background picture to experiment with images. Get creative please with your background pictures from the films we see. Health and Wellbeing: Fairfield University is committed to advancing the mental health and wellbeing of its students. Counseling & Psychological Services offers free, confidential psychological services to help students manage personal challenges that may interfere with your wellbeing. If you or someone you know is feeling overwhelmed, depressed, and/or in need of support, services are available. For help, contact Counseling and Psychological Services at (203) 254-4000 ext. 2146. Cell phones, texting, etc.: To foster a supportive class community we will all commit to being cyber present with our classmates and professor during our class sessions. Checking in with cell �phones, back-grounding the class session will make us feel even more distant and will result in a lower grade. Academic Honesty: Academic honesty is the most important aspect of our work as students, thinkers and writers. We need to give credit to others’ works as well as others’ need to properly cite our work. Plagiarism is when we present another person’s ideas, words, translations, or parts of papers as our own without citing their work. The University’s academic integrity policy is available in the Undergraduate Course Catalog Academic Honesty section. ~Section inspired by Dr. Betsy Bowen’s EN 1720 syllabus SP 3271 Fall 2020 COURSE SCHEDULE --------------------------------------------------Module 1: Introduction-Why study Latin American film? Tuesday Sept 1: Introduction to the course via Zoom -Read syllabus before our class session Logistics, Bb, dates, how to turn in work, synchronous vs. asynchronous classes -Professor will email you pairs by the end of the day HW due before next class on Sept 4 Always check Bb class folder on course content for readings, writings, videos, and discussion board assignments ***Additional in person experience**** --Meet with your peer on campus to get to know them, then film an interview of them, we want to hear your voice asking questions and their responses. Follow a short guide for filming in the course content folder Bb and post these as well to our Bb site. (if you are on unable to on campus please meet record with your peer using Zoom)- this helps us to meet our community as well as begins our path in filmmaking (follow short guide for filming) Friday Sept 4: Introduction to Cineglos and Cinegogia: Guest visit Dr. Bridget Franco Courageous conversations in class discussion We discuss your Bb writings, and the readings you have prepared for class. For all Fairfield courses TUESDAY 8th follows a Tuesday class schedule. This course does not meet. Module II: Cinematography Glossary-What is cinematography? Why does it matter? Friday Sept 11: In class: Discussion of Blackboard, texts, and video �Tuesday Sept 15: Councilwoman Module III: Film Reviews: What are they? What is their purpose? How do I write one? Friday Sept 18: Turn in your Friday 10:00 am Discussion board individual writing. Pair-Fridays cinematography glossary work begins Tuesday Sept 22: In class: Discussion of Bb, texts, and Ixcanul Friday Sept 25: Asynchronous class: turn in your work by 10:00 am per usual. No peerglossary work todayWe will not meet for class through zoom on Sept 25 to ensure that everyone is able to “attend” the Boston Latino International Film Festival. Please be sure to take screen shots of the use of any of our glossary terms in the film you decide to watch at BLIFF-please include at least two screen shots with your formal film review you turn in. You will turn your review as a doc. Choose film from Boston Latino International Film Festival (BLIFF) (Sept 23-27) Prepare formal film review due on BLIFF chosen film on Sept 29 -Take good notes, label and save at least 10 screen shots. The screen shots will help you remember the film. Tuesday Sept 29: Film Review 1 Due Today (with screen shots). Come to class ready to share about your film, your experience, the use of the cinematography that we have discussed, and your experience at the film festival. Friday Oct 2: Santa y Andrés (Cuba) + glossary meeting Tuesday Oct 6: Santa y Andrés (discussion) Friday Oct 9: Mi amiga del parque (Argentina) + glossary meeting Tuesday Oct 13: Mi amiga del parque (Argentina) Friday Oct 16: Entre nos + glossary meeting Second version of Film Review 1.2 due by 10:00 am Friday During class session: Continue on glossary Tuesday Oct 20: Entre nos �Friday Oct 23: The Tenth Man (El Rel del Once Argentina) + glossary meeting Tuesday Oct 27: The Tenth Man (El Rel del Once Argentina) Friday Oct 30: Nana (La República Dominicana) + glossary meeting Tuesday Nov 3: Nana (La República Dominicana) Friday Nov 6: Second Mother (A que horas ela volta? Brazil) + glossary meeting Film Review 2 due TODAY -10:00 am Tuesday Nov 10 Second Mother (A que horas ela volta? Brazil) What is a video essay? Module V: Video Essays: Writing with images Friday Nov 13: Bb topic + Glossary meeting + video essay meeting Tuesday Nov 17: ½ class session- discussion on video essay Remainder of class session: Story board with partner (See Bb) Attend film Festival Yale University Nov 15-Nov 19 Choose one film to Review. Third Film Review due in BB by Dec 1. Friday Nov 20: Attend Film Festival: Yale University Film Review III due by Dec 1 Turn in by 10:00 am abstract on pair video essay and story board Nov 23 & Nov 26: Thanksgiving break Tuesday Dec 1: Film Review III due on Bb Meet for zoom class as usual-check Bb for hw due on Dec 1 Friday Dec 4: Short Zoom meetings with professor for all groups of two to review video essays -Script for video essays due by 10:00 am for video essays Tuesday Dec 8: ½ meeting class Zoom meetings with professor for all pairs - review of video essays Edits due on script for video essays by 10:00 am for video essays Friday Dec 11: Rough cut showing of video essays- feedback from students and professor, post comments to each others’ rough cuts on Bb Disc. board. Turn in final version of video essay via Blackboard Friday 3:00 pm Dec 18th. Gracias por ver, pensar, y analizar el cine latinoamericano conmigo este semestre J. � 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. Hispanic Film (*modified for remote learning, fall 2020) 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 our Hispanic film course we examine diverse cinemas made in the region and how Latin American filmmakers represent, reject, reconstruct, maintain or challenge their realities. We look at how films are made, how they are funded, and how films reach audiences to question which films we see, and which ones are hidden from our view. The most accessible films available on major US platforms such as Netflix and Hulu do not begin to represent the diversity of world cinema, nor that of even US cinema. <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> In this course we examine works from the region to see how artists use cinema to challenge, break with, or redefine their realities sharing complexities beyond the limited roles of Latin Americans in Hollywood film. In these examples of more nuanced representations of Latin Americans, we see the crucial importance of self-representation, and diversity in front of and behind the camera. </div> </div> </div> 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 Brazil / Brasil Colombia Cuba Dominican Republic / República Dominicana Guatemala United States / Estados Unidos 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 Entre nos <a href="https://cinegogia.omeka.net/items/show/340">Ixcanul</a> <a href="https://cinegogia.omeka.net/items/show/694">Mi amiga del parque</a> <a href="https://cinegogia.omeka.net/items/show/500">Nana</a> El rey del Once <a href="https://cinegogia.omeka.net/items/show/546">Que horas ela volta?</a> <a href="https://cinegogia.omeka.net/items/show/418">Santa y Andrés</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Michelle Leigh Farrell, Fairfield 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 Hispanic Film (*modified for remote learning, fall 2020) Description An account of the resource <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> In our Hispanic film course we examine diverse cinemas made in the region and how Latin American filmmakers represent, reject, reconstruct, maintain or challenge their realities. We look at how films are made, how they are funded, and how films reach audiences to question which films we see, and which ones are hidden from our view. The most accessible films available on major US platforms such as Netflix and Hulu do not begin to represent the diversity of world cinema, nor that of even US cinema. <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> In this course we examine works from the region to see how artists use cinema to challenge, break with, or redefine their realities sharing complexities beyond the limited roles of Latin Americans in Hollywood film. In these examples of more nuanced representations of Latin Americans, we see the crucial importance of self-representation, and diversity in front of and behind the camera. </div> </div> </div> </div> </div> </div> https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/c5958091402201086c364101771c0436.png?Expires=1781740800&Signature=l3j1BAHhJ30PcXE6ff%7EUQJynjAz0CnbcO-SEebpCV2ueBB2sHJXJabio2sHhRv84HeuLyoPTImtIyoifTTWXxTXhyAN%7E6pONy15G5j-OyHzUNpMbcdUnQYEGDjKx-1%7EQxaqaOO8tomKeNPUbQlfJwzlU-N5lVgRMQAvpwml9wxcRs6kaDpPRM%7E1Mzk5Obl-tt154LP8PDpVyaGdAtuptfwIaGaGEl-uyTxTtf08crQWhJxOjXIEHLLutLiZkdnRI8RbSobs2NZAR85hMNwdJcpkij20SeHQ4I2eFfS2%7Eg0ddYGGLyjg637WEx1fewiQG3-Ac6WifVVNkwNigibfEGQ__&Key-Pair-Id=K6UGZS9ZTDSZM 59613532229b0f98fb504d523f499f38 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. Lapü Director The director of the film. El/La director/a de la película. César Alejandro Jaimes Juan Pablo Polanco Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2019 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. Colombia 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. Los Niños Films (Colombia) 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. On a windy night in the Colombian desert, a young Wayúu woman named Doris sleeps in her hammock and dreams of reuniting with a deceased cousin. When she awakens and shares the encounter with her grandmother, they agree that her vision suggests the beginning of an ancient ritual, one central to their culture’s relationship with death, dreams, and memory. According to custom, Doris must travel to her cousin’s grave and exhume the body from its coffin. Only after she cleanses her cousin’s bones will the physical and spiritual barriers of death crumble. (Film's Official Website) Durante una noche ventosa en el desierto colombiano, una joven mujer wayúu llamada Doris duerme en su hamaca y sueña con reunirse con un primo que ha fallecido. Cuando despierta y comparte el encuentro con su abuela, están de acuerdo en que su visión sugiere el inicio de un rito antiguo, uno central para la relación de su cultura con la muerte, los sueños y la memoria. Según la tradición, Doris debe viajar a la tumba de su primo y exhumar el cuerpo de su ataúd. Sólo después de limpiar los huesos de su primo se derrumbarán las barreras físicas y espirituales de la muerte. (Translated by Andrew Toth) Category / Categoría A broad category or mode of cinematographic production. Documentary Films / Cine documental 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. 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 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 Lapü Description An account of the resource On a windy night in the Colombian desert, a young Wayúu woman named Doris sleeps in her hammock and dreams of reuniting with a deceased cousin. When she awakens and shares the encounter with her grandmother, they agree that her vision suggests the beginning of an ancient ritual, one central to their culture’s relationship with death, dreams, and memory. According to custom, Doris must travel to her cousin’s grave and exhume the body from its coffin. Only after she cleanses her cousin’s bones will the physical and spiritual barriers of death crumble. (Film's Official Website) Wayuu / wayú / wayúu / guajiro https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/45b3a1f1d242af1fde5e46d1d66f508d.png?Expires=1781740800&Signature=fiUmEmJDYGNBSUh79RQvIRmTalujAuzzyYQk9niIM4SGLJRtEaXaPTBk9RRbqfOVvdjByfkMNXaMJAZ%7ELJEPNcZTNMar6PajZYOLbilRaOBPfyg5hRdUJ3rNjsv4yto3xbz76PcRwNFGOsCLioG0F6cXwjcvrsbEz4Gb7MUXD1MzqWJ7zMWl66K04iJaIuw%7ETK7CAZe7Yd6xBq1NaXOn1IfPXjTt2vgezgSIhFOmBKRtfrrPcV%7ElTA1gSBT5K1M-4AuQJbIlnaaTmbRkST9NAbeQB2s7hZNhnT3TTLPL81mBsa1dNsFpAUuZB71xlQSPm9Zm2OxcXjpZ4eoUOGB3FA__&Key-Pair-Id=K6UGZS9ZTDSZM a8d73e262bb36eb4467e3344f078c42e 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. Gonawindúa Director The director of the film. El/La director/a de la película. Giuliano Cavalli Jorge Mario Suárez Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2011 Film Guide / Guía de película Add link to related film guide <a href="https://cinegogia.omeka.net/items/show/571">https://cinegogia.omeka.net/items/show/571</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 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. Colombia 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. Murillo Films 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. Luego de una adivinación, Kankuémaku, un viejo Mama Koggi encomienda a Cenkui, su joven aprendiz a realizar un pagamento (trabajo espiritual) para cancelar las deudas con la naturaleza en la línea negra. Su camino es la manifestación del recorrido del agua desde la pureza de los cerros hasta el mar, recorrido que ha sido manipulado por el hombre blanco que paulatinamente ha ido poblando de manera irresponsable la Sierra Nevada de Santa Marta considerada por lo Koggis el corazón del universo. (<a href="https://vimeo.com/channels/murillofilms/65193032" target="_blank" rel="noreferrer noopener">Film's Official Website</a>) Inspired by a vision, Kankuémaku, an elder Koggi leader (or "Mama"), instructs his young apprentice to make a payment in the form of a spiritual deed to forgive the debts they have with the natural world. The younger apprentice's journey follows the path of the pure water that flows from the mountains to the sea. It is a path that has been altered by white men who have irresponsibly inhabited the Sierra Nevada region of Santa Marta, considered to be the heart of the universe by the Koggi people. Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción 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 <a href="https://vimeo.com/channels/murillofilms/65193032" target="_blank" rel="noreferrer noopener">vimeo.com/channels/murillofilms/65193032</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 Gonawindúa Description An account of the resource Luego de una adivinación, Kankuémaku, un viejo Mama Koggi encomienda a Cenkui, su joven aprendiz a realizar un pagamento (trabajo espiritual) para cancelar las deudas con la naturaleza en la línea negra. Su camino es la manifestación del recorrido del agua desde la pureza de los cerros hasta el mar, recorrido que ha sido manipulado por el hombre blanco que paulatinamente ha ido poblando de manera irresponsable la Sierra Nevada de Santa Marta considerada por lo Koggis el corazón del universo. (<a href="https://vimeo.com/channels/murillofilms/65193032" target="_blank" rel="noreferrer noopener">Film's Official Website</a>) Short Film / cortometraje https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/4dfe9b498c5a6deb98dd9328f129d31c.jpg?Expires=1781740800&Signature=lhLqUKNGhlROSV3X6hweX%7EDDRZ6WlUMIrowAyC3kINz8O9oNslo76b2AutQjT0olqYNEmg-zkXhTrdbwr562xcclCFFbSZaM9ZN55k1YDfgIBUGcd5zl-LaviHDu6O71EZ5iHF6cRVJFba3dlb3bkzH3UNV9mdAIshj%7ENOtKfQGJ7lV%7ENKNTNATJU2lyBol72Ur9VGdM9HETqKFtv2Pul9EtjMsqQqlbR%7EHtOyiZ8sGW0zcYtfJbNDCnf1%7EkoMYd0bEuVf%7EUoH7QnO3HBXL3hhr2SqW80SotW288HNgFd%7E0EjuZiNf%7EmD5pwsUcAzQziIc3WCHB61x-Pmjq86sOAfA__&Key-Pair-Id=K6UGZS9ZTDSZM 4b441c6cce4406ce9d5c594896d62dd5 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. Voces de resistencia Director The director of the film. El/La director/a de la película. José Varón Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2017 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. Colombia 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. Centro de Estudios Afrodiaspóricos, Universidad Icesi de Cali (Colombia) Ford Foundation (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. Voces de resistencia es un proyecto audiovisual del Centro de Estudios Afrodiaspóricos (CEAF) de la Universidad Icesi de Cali, financiado por la Fundación Ford, y realizado en alianza con el Centro de Ética y Democracia (CED), que busca visibilizar y fortalecer procesos organizativos de mujeres afrodescendientes. El proyecto busca divulgar, circular y fomentar el alabao como expresión musical de las comunidades afrocolombianas en el departamento del Chocó. En este sentido, la universidad quiere atender la necesidad del grupo de cantadoras y cantadores de Pogue de crear productos audiovisuales y discográficos que den cuenta de sus esfuerzos por preservar los cantos y tradiciones de su comunidad. (<a href="https://www.icesi.edu.co/vocesderesistencia/" target="_blank" rel="noreferrer noopener">Film's Official Website</a>) Voices of Resistance is an audiovisual project produced by the Center for African Diaspora Studies (CEAF) at the University Icesi of Cali. The project was financed by the Ford Foundation and conducted in partnership with the Center of Ethics and Democracy (CED). This project aims to showcase and strengthen black women's organizational processes. Voices of Resistance seeks to disseminate, circulate, and promote the "alabao", a musical expression of Afro-Colombian communities in the Choco province. The university wants to address the needs of the singers of the Poque group by creating media and recordings to help preserve the songs and traditions of this community. (Translated by Andrew Toth) 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 Music / La música 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 Voces de resistencia Description An account of the resource Voces de resistencia es un proyecto audiovisual del Centro de Estudios Afrodiaspóricos (CEAF) de la Universidad Icesi de Cali, financiado por la Fundación Ford, y realizado en alianza con el Centro de Ética y Democracia (CED), que busca visibilizar y fortalecer procesos organizativos de mujeres afrodescendientes. El proyecto busca divulgar, circular y fomentar el alabao como expresión musical de las comunidades afrocolombianas en el departamento del Chocó. En este sentido, la universidad quiere atender la necesidad del grupo de cantadoras y cantadores de Pogue de crear productos audiovisuales y discográficos que den cuenta de sus esfuerzos por preservar los cantos y tradiciones de su comunidad. (<a href="https://www.icesi.edu.co/vocesderesistencia/" target="_blank" rel="noreferrer noopener">Film's Official Website</a>) Afro-Colombian / afro-colombiano Afro-Latin American productions / producciones afrolatinoamericanas / produções afro-latinoamericanas https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/c9c67f64dbab0d2d4206f88e48d03f5f.png?Expires=1781740800&Signature=iZL03fIGH77KUUY7pZ1DYIf57mER3NwVQvtJI5Ro8rlXaYDf5Q86zib606XsFCCigzziq2vzVRoAFgX0CtOXmqecw43WWskQJs5EHGZ29JHS0OFQNujL8Xis5z2of8GM2DHKDzwcwz3l1L7mvnFsnCcpIAC8dbjQMsMVjdj1CQR17k3PuQ6zeTv3jVV7ZPEN6IP03rn3Ch5SgOHRH9NIPDH955JxqS5teq3v%7ECcmlK5vKLPDQWLj6uKFCqeqgtRsEfKqzcSf6EPahoZeqnm0oOeGwtwlNo2geanhlwm44LbRXswYIsAxk4SdQ-zoH-ckoC9gEu7VvRRSqeznBwqquw__&Key-Pair-Id=K6UGZS9ZTDSZM ea0e38cc218d187c689b74fb5490474f 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. Plan de Vida Title Life Plan Director The director of the film. El/La director/a de la película. Serge Marti Mikey Watts Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2016 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 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. Colombia 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. LifeMosaic (UK) Climate and Land Use Alliance - CLUA (U.S.) Ford Foundation (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. The Misak are an indigenous people whose territory is located in Cauca, Colombia. As with many indigenous peoples in Latin America, the Misak lost large parts of their territory during colonial rule. In the 1980s, they started a process of land reclamation and were eventually successful in gaining formal land rights recognition. Since then, the Misak have developed their Life Plan as a tool for self-determined development to ensure their gains would be preserved for future generations. (Film's Official Website) Los misak son un pueblo indígena cuyo territorio se encuentra en Cauca, Colombia. Como muchos pueblos indígenas de América Latina, los misak perdieron grandes partes de su territorio durante la época colonial. Durante los años ochenta iniciaron un proceso de recuperación de tierras y finalmente obtuvieron el reconocimiento formal de los derechos a la tierra. Desde entonces, los misak han desarrollado su plan de vida como una herramienta para el desarrollo auto-determinado para asegurar que sus ganancias sean preservadas para las generaciones futuras. (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. 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. Country life / El campo 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 <a href="https://www.youtube.com/watch?v=JGuktg_K0R0" target="_blank" rel="noreferrer noopener">https://www.youtube.com/watch?v=JGuktg_K0R0</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 Plan de Vida Description An account of the resource The Misak are an indigenous people whose territory is located in Cauca, Colombia. As with many indigenous peoples in Latin America, the Misak lost large parts of their territory during colonial rule. In the 1980s, they started a process of land reclamation and were eventually successful in gaining formal land rights recognition. Since then, the Misak have developed their Life Plan as a tool for self-determined development to ensure their gains would be preserved for future generations. (Film's Official Website) Indigenous filmmaking / producciones indígenas Misak / Guambiano / Wampimisamera https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/deeb2639f252330a6c7f53df0ed0f6f8.png?Expires=1781740800&Signature=il18QEJmPRlVUpMgOzax9OtfyIL3OHnPANg45m2BjOGFOzDCVqwPS-jIf6juCG1o8Vs-D2p96lYTMVM%7ET-cvN%7EZL7GWRcF0ko79FeZ4rVDEQU6AGcHTJRli38bpyYNQ2ewt9dar9l2%7Enn1CHCEoKkXPSYk5m29a%7EJ0KCK42IDZ4rAwbzlGcldJjHrGUXLKUPkMyF8GsIlzdGeVFqQUjLkWIl5g2hQzmFGD2s4wHtfPwEZ5GsgPI%7EKhXMzi11Cw-5Pmh-ehzNnFVp9qKX0x7F1azRXs8KCvic1c7VzrK-CCl8EGcLB8LrEpmvuWVuKEGXkAmEicp4QXkOE%7ExxpEAJ4g__&Key-Pair-Id=K6UGZS9ZTDSZM ef84bcd936ace1177ed5f6b7b10bddb2 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 Dorado Director The director of the film. El/La director/a de la película. Carlos Saura Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1988 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. Colombia 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. Spanlesky Film (Spain) Compañía Iberoamericana de TV (Spain) Chrysalide Film (Spain) 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 film tells the epic story of an expedition that took place between 1560 and 1561, headed by Pedro de Ursúa, in search of "El Dorado." The territory they explored subsequently became Colombia. Three hundred men sold their property and souls to travel down the biggest and least known river in the world. After the rebellion of Lope de Aguirre (who took over command) against Philip II, the king of Spain, this expedition became one of the best-known episodes in the conquest of "The New World." Accompanied by a team of all types, Lope de Aguirre's adventure will end in tragedy, exposing the full range of human miseries. (<a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener">IMDB</a>) La pelicula cuenta la historia épica de una expedición que tuvo lugar entre 1560 y 1561, encabezada por Pedro de Ursúa, en busca de "El Dorado." El territorio que exploraron posteriormente se convirtió en Colombia. Trescientos hombres vendieron sus propiedades y almas para viajar por el río más grande y menos conocido del mundo. Después de la rebelión de Lope de Aguirre (quien asumió el mando) contra Felipe II, el rey de España, esta expedición se convirtió en uno de los episodios más conocidos de la conquista de "El Nuevo Mundo". Acompañada por un equipo de todo tipo, la aventura de Lope de Aguirre terminará en tragedia, exponiendo una gama de miseria humana. (Translated by Abi Dresser) 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 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 Violence / Violencia 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 Dorado Description An account of the resource The film tells the epic story of an expedition that took place between 1560 and 1561, headed by Pedro de Ursúa, in search of "El Dorado." The territory they explored subsequently became Colombia. Three hundred men sold their property and souls to travel down the biggest and least known river in the world. After the rebellion of Lope de Aguirre (who took over command) against Philip II, the king of Spain, this expedition became one of the best-known episodes in the conquest of "The New World." Accompanied by a team of all types, Lope de Aguirre's adventure will end in tragedy, exposing the full range of human miseries. (<a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener">IMDB</a>) https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/abbfd1b2d1ddd5976183e7c0213b957b.jpg?Expires=1781740800&Signature=adTIET8Sf0IL2g0Q-oPHDBA13u1p8vOLcalTae-QhoTA%7EFTICKIe06Tgi0qmuHfXfUSnDzbE17yyziwK%7EOYoEsaOWIvhFzPEFy58XlLwcUSlHP74Lvx8vboXhbhW3dV4kY%7EKEMZpcwirkoa0%7Ev7BSgFxI9ldwgCVlhMhN%7EDYOcTAO3uVelZ-GQEgDjDo-rVxOZ0imt3yKpOQzH0z7QtO7tPFw4NlfbVUGemgDNjI67IhkZK6K3gCQKKw5u0hvn8tAQ-wh6BXrSCocZvSFBj8UfjmcDhusv6DEkmgyKoCpD7U%7E8uaaEiv61FjzfjmzffprDcJIUqM1sTD%7EKFhpueiFQ__&Key-Pair-Id=K6UGZS9ZTDSZM 4e8ba9d0ee175dcdf8ebef4c7280c998 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 Playa D.C. Title D.C. Beach Director The director of the film. El/La director/a de la película. Juan Andrés Arango García 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. Colombia 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. Burning Blue (Colombia) Séptima Films (Colombia) Bananeira Films (Brazil) 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. Tomas, an Afro-Colombian teenager who fled the country’s Pacific coast pushed out by the war, faces the difficulties of growing up in Bogotá, a city of exclusion and racism. When Jairo, his younger brother disappears, Tomas plunges in the streets of the city searching for Jairo. This initiatory journey compels him to face his past and to leave aside the influence of his brothers in order to find his own identity. Tomas reveals a unique perspective of a vibrant and unstable city that, like Tomas, stands on the threshold between what once was and what might be. (<a class="in-cell-link" href="https://en.unifrance.org/movie/34912/la-playa" target="_blank" rel="noreferrer noopener">https://en.unifrance.org/movie/34912/la-playa</a>) Tomas, un joven afro-colombiano, huye de la costa del Pacífico del país y enfrenta las dificultades crecientes en Bogotá, una ciudad llena de exclusión y racismo. Cuando Jairo, su hermano menor desaparece, Tomas se sumerge en las calles de la ciudad en busca de Jairo. Este viaje de iniciación lo obliga a enfrentar su pasado y dejar de lado la influencia de sus hermanos para encontrar su propia identidad. Tomas revela una perspectiva única de una ciudad vibrante e inestable que, como Tomas, se encuentra en el umbral entre lo que una vez fue y lo que podría ser. (Translated by Paola Martinez) 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. Afro-Latin American / afro latinoamericano Identity / Identidad Race / Raza Urban Life / Vida urbana 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/632">https://cinegogia.omeka.net/items/show/632</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 La Playa D.C. Description An account of the resource Tomas, an Afro-Colombian teenager who fled the country’s Pacific coast pushed out by the war, faces the difficulties of growing up in Bogotá, a city of exclusion and racism. When Jairo, his younger brother disappears, Tomas plunges in the streets of the city searching for Jairo. This initiatory journey compels him to face his past and to leave aside the influence of his brothers in order to find his own identity. Tomas reveals a unique perspective of a vibrant and unstable city that, like Tomas, stands on the threshold between what once was and what might be. (<a class="in-cell-link" href="https://en.unifrance.org/movie/34912/la-playa" target="_blank" rel="noreferrer noopener">https://en.unifrance.org/movie/34912/la-playa</a>) Afro-Colombian / afro-colombiano https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/b6345e6ea7494208683256ca78886fbc.jpg?Expires=1781740800&Signature=r4cTvkOdDth-WQPCCbloWEDHdSM-JkqAxaNu1meJUydcVeDErTdUpy8xhqC8wXWP%7Et%7EGNT6-2O9akeYW1K4yevNQIA1vBX4og5Sjbh%7E0AIO%7EcqS4ePr1GkL89EoEE16Vq-qm1yyPubPHJtvOlPYAsLxfs%7Em8WCvNa7FC2dbYBtaT9pdFOIgxfYtk5h0sdzLbtBfSQ5Z6ofWh-i9CKFvmsFeqNMyt81Gwzb17qtcah85v-ge8faIFhkHykiSol4qKccUCbnYL%7EaTrUfIZ-LIpQvYe58RD8jgKWKv30XRQ5acpxoFgtsQ%7E1ejGHWqRHHq9arfue5KhfzPIX80OkDqf3Q__&Key-Pair-Id=K6UGZS9ZTDSZM 50df508ffdc3751c3e0ba5167e3227f8 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. Manos sucias Title Dirty Hands Director The director of the film. El/La director/a de la película. Josef Wladyka Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2014 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. Colombia 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. HEART-headed Productions (U.S.) Kubotafilms (U.S.) Straight Up Films (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. A desperate fisherman and a naive young man embark on a dangerous journey trafficking drugs up the Pacific coast of Colombia. Hidden beneath the waves, they tow a narco-torpedo filled with millions of dollars worth of cocaine. Together they must brave the war-torn region while navigating the growing tension between them. (<a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener">IMDB</a>) Un pescador desesperado y un joven ingenuo emprenden un peligroso viaje traficando drogas en la costa pacífica de Colombia. Remolcan un narco-torpedo, escondido bajo las olas, lleno de millones de dólares de cocaína. Juntos deben enfrentar la región devastada por el conflicto armado mientras navegan la tensión creciente entre ellos mismos. (Translated by Paola Martinez) 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 Thrillers / thriller; cine de suspenso 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 Drug traffic / Narcotráfico Violence / Violencia 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/680">https://cinegogia.omeka.net/items/show/680</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 Manos sucias Description An account of the resource A desperate fisherman and a naive young man embark on a dangerous journey trafficking drugs up the Pacific coast of Colombia. Hidden beneath the waves, they tow a narco-torpedo filled with millions of dollars worth of cocaine. Together they must brave the war-torn region while navigating the growing tension between them. (<a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener">IMDB</a>) Afro-Colombian / afro-colombiano https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/97e8979368cd52346586685c95396e4a.png?Expires=1781740800&Signature=bPSJwMiHvxxEmvm0%7Eh-cXtZFycFmr%7EOblmv8ODpHer2MD5k9u612BeFz22ee1haDrQk-lvKwuwqqbJTKu5w89ZIlRb7LTEzP0DIHmTtdQsCP3LUzF8iSmf0aJzMZd7REXKAVikP5es0%7E4L8Mvta1XrGZB23FKwIZA94gLwQAb0FLWiMUba0qT5LMg9NDl58-pva4FisgdvD2vtd3jzl90KpWk5f2NfAu5db927PIgCEze2gIcvBf-z8ZzlFIOVXjsHTXPL7YxwwvsYIWX7x7Jv6CfnJzpbS1MyKuOp6q-70zovZDUxOl09oNwjXpwncClsr8znMhokD1%7EXWYpEmvsw__&Key-Pair-Id=K6UGZS9ZTDSZM 38ebfe4e709bf3061d65c78eb0953cfe 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. Pájaros de verano Title Birds of Passage Director The director of the film. El/La director/a de la película. Ciro Guerra Cristina Gallero Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2018 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 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. Colombia 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. Ciudad Lunar Producciones (Colombia) Blond Indian Films (Colombia) Pimienta Films (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. Relata la época de la llamada 'Bonanza marimbera', cuando el lucrativo negocio de la venta de marihuana a Estados Unidos fue un presagio de lo que marcaría al país por décadas. En La Guajira, una familia wayuú vivirá en carne propia el choque entre ambición y honor. Su cultura, sus tradiciones y hasta sus vidas, serán amenazadas por una guerra entre hermanos cuyas consecuencias se podrán sentir en el mundo entero. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>) Birds of Passage narrates the era of the so-called 'Bonanza marimbera', when the lucrative business of selling marijuana to the United States was an omen of things to come that would mark the country for decades. In La Guajira, a Wayuú family experiences the clash between ambition and honor firsthand. Their culture, their traditions and even their lives will be threatened by a war between kin whose consequences are felt throughout the world. (Translated by Bethania Jimenez) 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. Drug traffic / Narcotráfico Ethnicity / Etnicidad 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. Contemporary / Contemporáneo Film Guide / Guía de película Add link to related film guide Guía en español: <a href="https://cinegogia.omeka.net/items/show/463">https://cinegogia.omeka.net/items/show/463</a> Guide in English: <a href="https://cinegogia.omeka.net/items/show/652">https://cinegogia.omeka.net/items/show/652</a> Available at Website, streaming service, distributor Pragda, <a href="https://pragda.com/film/birds-of-passage" target="_blank" rel="noreferrer noopener">https://pragda.com/film/birds-of-passage</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 Pájaros de verano Description An account of the resource Relata la época de la llamada 'Bonanza marimbera', cuando el lucrativo negocio de la venta de marihuana a Estados Unidos fue un presagio de lo que marcaría al país por décadas. En La Guajira, una familia wayuú vivirá en carne propia el choque entre ambición y honor. Su cultura, sus tradiciones y hasta sus vidas, serán amenazadas por una guerra entre hermanos cuyas consecuencias se podrán sentir en el mundo entero. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>) Wayuu / wayú / wayúu / guajiro https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/0651e6c6f620e6abf2fd1ed5ec3e56f7.pdf?Expires=1781740800&Signature=Jzype0TACt8zYgU2Za7QLyD1gEq-q5EZ%7ElFA5gp5uEby0K4lzZDI2FT0QMv74I49bPfaEyVkNMEKq-24Fo95UePdygfilnrNLSWb7U3Ol8CiwWYLfpSAN74YngjMUTZG9Pc8G%7EpFp5WhAK9HVPMWMwlgN9vwVsCg8w2QrGXGM5vnb3P71E7PhgQ%7ELhbdEd0rW86LLz4MsWeepFhpv5o1WzeWrq6Ck3QCceP-Z1uwcyPsN5ozc6ap5dO9%7E6n27M1I3tcUQIGVOLqVBywAORcT1uZr7eiPC9AeoJbKMLRda%7EtR6a1-nafW%7EVZKUAhvWpPHN8FiuLtKDcLaotIRIbf-Bg__&Key-Pair-Id=K6UGZS9ZTDSZM 84f8b694ad29c3454d328ef77b1a34c2 PDF Text Text Contemporary Spanish and Latin American Cinema Providence College 2020 Professor: Dr. Maybel Mesa Morales Department of Foreign Language Studies E-mail: mmesamor@providence.edu Course Ed Tech Tools Sakai OneDrive Wix.com Hypothes.is Zoom Wiki Classroom Forum Course description This interdisciplinary course seeks to review and analyze the complexity of contemporary society through the study of Latin American and Spanish film production. We will explore topics that relates to issues of ethnicity, class representation, immigration and exile, dictatorship, experiences of war and violence, globalization, gender, as well as sexual and racial identities, among other themes. The course has a transatlantic approach covering different genres, styles, and filmmakers from Mexico, Cuba, Spain, Argentina, Chile, Brazil, Colombia, and Uruguay. Class discussions in Forum, activities, presentations, reflections, and a final multimodal research project will help to improve and expand students’ analytical skills as well as their Spanish language proficiency. Dr. Mesa Morales 2020 1 �Course objectives: To foster transcultural, translingual and digital competence. To acquire the audiovisual language needed to speak and write critically about film, text and images. To analyze and interpret film through discussions, debates, and essays using proper film terminology in Spanish. To encourage students to think critically about the interconnections between film, culture and society in Spain and Latin America. To formulate arguments by using primary and secondary sources as evidence. To promote learning about multiliteracy. To develop skills to succeed in a global world that increasingly requires creativity, collaboration, critical thinking and adaptability. Films: La Historia oficial (Luis Puenzo, 1985) Argentina No (Pablo Larraín, 2012) Chile. Nostalgia de la Luz (Patricio Guzmán, 2010) Chile. Pelo Malo, (Mariana Rondón, 2013), Venezuela Even the Rain/ También la lluvia (Icíar Bollaín, 2010) España. Estación do Brasil (Walter Saller, 1998) Brasil Who is Dayani Cristal ( Marc Silver, 2013) México Sin nombre, (Cary Fukunaga, 2009) México-USA Fresa y Chocolate (Tomás Gutiérrez Alea & Juan Carlos Tabío, 1993) Cuba Santa y Andrés, Carlos Lechuga, 2016) Cuba My Life without Me/ Mi vida sin mí, (Isabel Coixet, 2003) España Te doy mis ojos (Icíar Bollaín, 2003) España Ixcanul (Jayro Bustamante, 2015) Guatemala Pájaros de Verano/Birds of Passage (Ciro Guerra & Cristina Gallero, 2018) Colombia. Required texts: There are no required commercial materials for the class. Reading materials selection: A selection of the following reading materials will be available either at the Phillips Memorial Library, the website or on Sakai for the class. Afinoguénova Eugenia. “Cognición Audiovisual: Un Lenguaje Para Analizar El Cine.” Hispanofila, vol. 177, no. 177, 2016 “Análisis Del Discurso Cinematográfico En También La Lluvia.” Articulaciones Del Desarraigo: El Drama De Los Sin Hogar y Sin Mundo, by Wooldy Edson Louidor, 1st ed., Pontificia Universidad Javeriana, Bogotá, D. C., 2016, pp. 107–116. JSTOR, www.jstor.org/stable/j.ctv893gwg.8. Accessed 21 May 2020. Behar, Ruth. “Queer Times in Cuba.” Bridges to Cuba/Puentes a Cuba, edited by Ruth Behar, University of Michigan Press, ANN ARBOR, 2015, pp. 394–415. JSTOR, www.jstor.org/stable/10.3998/mpub.8818436.66. Accessed 11 May 2020. Cabello del Moral, Pedro. Ixcanul, una mirada kaqchikel contra el neoliberalismo y el neocolonialismo. http://istmo.denison.edu/n36/dossier/06-Istmo36-2018-Cabello.pdf Dr. Mesa Morales 2020 2 �Castillo, Debra A. “Trafficked Babies, Exploded Futures: Jayro Bustamante’s Ixcanul.” Indigenous Interfaces: Spaces, Technology, and Social Networks in Mexico and Central America, edited by JENNIFER GÓMEZ MENJÍVAR and GLORIA ELIZABETH CHACÓN, by ARTURO ARIAS, University of Arizona Press, TUCSON, 2019, pp. 119–140. JSTOR, www.jstor.org/stable/j.ctvfjcwwj.10. Accessed 11 May 2020. “Collapse and Rebirth of an Industry.” Latin American Cinema: A Comparative History, by Paul A. Schroeder Rodríguez, 1st ed., University of California Press, Oakland; California, 2016, pp. 245–260. JSTOR, www.jstor.org/stable/10.1525/j.ctv1xxx7g.13. Accessed 11 May 2020. Córdova, Amalia. “Review of Jayro Bustamante’s Ixcanul.” NACLA Report on the Americas, vol. 49, no. 1, Mar. 2017, pp. 114–115. EBSCOhost, doi:10.1080/10714839.2017.1298259. De Valk, Mark, and Sarah Arnold. The Film Handbook. Taylor and Francis, 2013. Deveny, Thomas G. Migration in Contemporary Hispanic Cinema. Scarecrow Press, 2012. Farrell, Michelle Leigh. “Pelo malo: Representing Symbolic Violence in the Intricacies of Venezuela’s Contemporary Film Landscape”, Cincinnati Romance Review, Volume 42 Spring 2017: (190-210). https://digitalcommons.fairfield.edu/modernlanguagesandliteraturefacultypubs Feenstra, Pietsie, and Hub Hermans. Miradas Sobre Pasado Y Presente En El Cine Espanol (1990-2005). Rodopi, 2008. Hermans, Hub, and Pietsie Feenstra. Miradas Sobre Pasado y Presente En El Cine Espanol (1990-2005). Brill | Rodopi, 2008. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=246861&site=ehostlive. Hernández Leslia Jaimes. “El Maltrato De Género: Análisis De La Película ‘Te Doy Mis Ojos.’” Espacio Abierto. Cuaderno Venezolano De Sociología, vol. 25, no. 2, 2016. https://providencecollege.on.worldcat.org/oclc/6668991862 Lefere, Robin, and Nadia Lie, editors. Nuevas Perspectivas Sobre La Transnacionalidad Del Cine Hispánico. Brill Rodopi, 2016. Luna, Ilana Dann. “También La Lluvia: Of Coproductions and Re-Encounters, a Re-Vision of the Colonial.” Colonial Itineraries of Contemporary Mexico: Literary and Cultural Inquiries, edited by OSWALDO ESTRADA and ANNA M. NOGAR, University of Arizona Press, 2014, pp. 190–210. JSTOR, www.jstor.org/stable/j.ctt183pchk.13. Accessed 21 May 2020. Metz, Christian, and Donna Jean Umiker-Sebeok. Language and Cinema. Mouton, 1974. Metz, Christian, and Dana B Polan. Impersonal Enunciation, or the Place of Film. Translated by Cormac Deane, Columbia University Press, 2016. Ortea, Marta del Pozo. "Mi vida sin mí: una aventura performatista de Isabel Coixet." Confluencia: Revista Hispánica de Cultura y Literatura, vol. 34 no. 2, 2019, p. 76-85. Project MUSE, doi:10.1353/cnf.2019.0008. \ Dr. Mesa Morales 2020 3 �Peralta Nueno, Clara, Marta Peralta Campo, Raquel Salillas Guillén, Lidia Sanz Pérez, Andrea Barlés Sauras, & Deborah Naverac Bonet. "Ma ma (2015): un reflejo de la mujer española con cáncer de mama." Revista de Medicina y Cine [En línea], 13.4 (2017): 177-181. Web. 20 may. 2020 Pérez-Melgosa, Adrián. "Low-Intensity Necropolitics: Slow Violence and Migrant Bodies in Latin American Films." Arizona Journal of Hispanic Cultural Studies, vol. 20, 2016, p. 217-236. Project MUSE, doi:10.1353/hcs.2016.0048. Post-Theory : Reconstructing Film Studies, edited by David Bordwell, and Noel Carroll, University of Wisconsin Press, 1996. ProQuest Ebook Central Quiroga, José. “Homosexualities in the Tropic of Revolution.” Sex and Sexuality in Latin America: An Interdisciplinary Reader, edited by Daniel Balderston and Donna J. Guy, NYU Press, 1997, pp. 133–152, www.jstor.org/stable/j.ctt9qgbkg.11. Santi, Enrico Mario. "Fresa y Chocolate: The Rhetoric of Cuban Reconciliation." MLN, vol. 113 no. 2, 1998, p. 407-425. Project MUSE, doi:10.1353/mln.1998.0031. Schroeder, Paul A. Latin American Cinema : A Comparative History. University of California Press, 2016. Zanzana, Habib. “Domestic Violence and Social Responsibility in Contemporary Spanish Cinema: A Portfolio View of Behavioral Dynamics.” Hispania, vol. 93, no. 3, 2010, pp. 380–398. JSTOR, www.jstor.org/stable/25758209. Accessed 11 May 2020. Teaching style: This class will combine a synchronous and asynchronous learning approach. Every week students will receive a module on Sakai that includes a video lecture or a Power Point presentation, readings, a mandatory film and some optional films. It will also include a discussion assignment in Forum and a personal reflection that you can submit as a text or video. The group will also have synchronous sessions with Zoom every Thursday for student´s presentations. These meetings will provide you with the opportunity of real time interaction and collaboration with the professor and your classmates. The rest of the week, students can work on assignments on their own pace. Weekly module structure: LEARN REFLECT WATCH DISCUSS READ RESEARCH Dr. Mesa Morales 2020 4 �Students’ obligations in achieving objectives and goals: -Syllabus: It is your responsibility to read this syllabus and to refer to it regularly for class preparation, assignment due dates, policies, and information. -Class Preparation, Screenings: In order to participate fully in this class, you are expected to conscientiously prepare assignments and actively interact with other students in Forum discussions. -Missed exams and graded assignments: No late work/ make-up exams will be permitted except when the instructor is provided with official explanatory documentation that excuses the absence or missed work. Course evaluation Evaluation 5% Participation 15% Weekly Discussion 20% 15% Presentation Report eportfolio Wix 20% 15% 10% Final Project Reflection The final course grade is determined by the following scale of percentage points A 93-100 B 83-86 C 73-76 D 64-66 A- 90-92 B- 80-82 C- 70-72 D- 60-63 B+ 87-89 C+ 77-79 D+ 67-69 F 0-59 The student … A/AALWAYS provides insightful, relevant, and informed contributions to class discussions; demonstrates excellent preparation with all assignments thoroughly completed prior to beginning of class; ALWAYS uses Spanish in class. B+/B/BUSUALLY provides insightful, relevant, and informed contributions to class discussions; demonstrates good preparation with all assignments completed; mostly stays in the target language but has also used English during class. Dr. Mesa Morales 2020 5 �C+/C/CSOMETIMES provides insightful, relevant, and informed contributions to class discussions; demonstrates inconsistent preparation. Explanation of evaluation procedures § Participation The success of this class hinges on student’s active participation in synchronous and asynchronous modes. You will evaluate your own participation by using a rubric posted in Sakai. Grades will be posted on Sakai in weeks 5, and 9. Elements considered part of the participation: -Weekly Discussion in Forum (Sakai): Students must upload a weekly reaction of 250 words based on a question provided by the professor. Each student will comment at least two of their classmates´s posts. Deadline for reaction post and comments: Sunday11:59 pm -Mini Classroom Wiki: Students have to collaborate every week in the classroom wiki by adding definitions to different tags suggested for the professor. Students will also have the opportunities to suggest another tags that they consider relevant for the movie analysis and understanding. - Active participation on the Zoom meeting: Attendance to the Zoom meeting are mandatory to have an outstanding participation in this course. Students are expected to engage, work in breakout sessions, and to actively participate in the discussion during the meeting. § Analytical Presentation: Students will make a creative and organized multimodal presentation about one of the films in order to apply contents we have learned in the class. Students will analyze the chosen film, emphasizing in aspects such as historical and cultural context, structure, cinematic elements, content, distribution and reception. The presentation also will promote collective reflection and engage the class in meaningful dialogue. Detailed instructions will be provided in Sakai. The assessment of the presentation will be based on the following criteria: i) Content: Depth of material analysis ii) Structure: Organization of the presentation iii) Language: Vocabulary and Grammar. Resource for film vocabulary (cineglos) iv) Multimodality: multimodal elements to support and illustrate the ideas iv) Discussion: Level of engagement with the audience through the questions/activities developed for the discussion § Film reports: Students are expected to write movies reports or close analysis responding to the question/s given out in the class or on Sakai which will develop your analytical and interpretative skills. § Eporfolio-Blog with Wix: From the beginning of the semester students will work on the development of an e-portfolio or a blog, in which they will incorporate the assignments completed during the semester, and they will reflect on their learning. This blog should be a reflection of students’ creativity, effort, and collaboration in class. The blog can be completed on Wix or Weebly platforms. More information on this component will be provided on Sakai. § Final project Video essay: For this project, students will collaborate to produce a two-five minute video essay on iMovie focused on a topic of their interest. Instructions, rubric, guide and examples of video essays will be provided for the professor on Sakai. Dr. Mesa Morales 2020 6 �Course policies Academic Honesty: As outlined in the Providence College Undergraduate Catalog, “violations of academic integrity are harmful not only to our own pursuit of Truth, but are detrimental to the entire learning community of our College in that they dishonor our efforts and compromise our dedication to a spirited pursuit of learning. To such an end, we expect our faculty, students and administrators to support this culture of honesty, integrity and respect for the Truth.” Acts of academic dishonesty (plagiarism, copying, forgery, lying, collusion, cheating, etc.) are subject to an appropriate penalty (an “F” on the assignment or in the course, suspension, and/or expulsion) (57-59). Classroom behavior: Students are expected to interact with the instructor and other students with respect and courtesy. Students should attend every class session prepared to learn and work. Participation in class is expected, which includes both speaking up and listening. Give class your full attention while here. Complete all assignments including the readings in a timely fashion. Do not bring and/or use cell phones or recording equipment to class without the instructor's consent. Students whose behavior is disruptive either to the instructor or to other students will be asked to leave. Disability accommodations: Providence College is committed to providing students with disabilities equal access to programs, facilities, and activities. Students with documented disabilities may register with the Office of Academic Services to request academic accommodations. The Assistant Director for Disability Services will discuss each student's unique needs and help to determine the types of accommodations that are appropriate. Please contact the Office of Academic Services for more information (Phillips Memorial Library, Room 250; Phone: 401.865.2494; oas@providence.edu) Diversity: “Providence College seeks to ensure that diversity, in its many forms, is considered in every aspect of campus life by making diversity a factor in, and component of, all decision”. **Please be aware that during the semester the professor may choose to make changes in the syllabus. Semana 1 Semana 2 Semana 3 Dr. Mesa Morales 2020 SCHEDULE Course introduction and syllabus presentation. Understanding media: how to analyze a movie? Film Glossary: http://sites.holycross.edu/cineglos/ Crear blog en Wix.com, incluir foto y biografía Compartir: Presentación Who Am I? en Forum, Sakai Topic 1: Dictatorships and Post-dictatorships Ver y Analizar: La Historia oficial (Luis Puenzo, 1985) Argentina Optional: No (Pablo Larraín, 2012) Chile Nostalgia de la Luz (Patricio Guzmán, 2010) Chile. Deadline: Enviar Schedule para Presentación Topic 2: Race and Sexuality Ver y Analizar: Pelo Malo, (Mariana Rondón, 2013), Venezuela Deadline: Enviar link del blog en Wix.com, incluir foto y biografía 7 �Semana 4 Semana 5 Semana 6 Semana 7 Semana 8 Semana 9 Semana 10 Presentación 1 Topic 3: Colonialism, Postcolonialism and Globalization Ver y Analizar: También la lluvia/ Even the Rain (Icíar Bollaín, 2010) España Deadline para el Reporte 1 Presentación 2 Topic 4: Ethnicity Ver y Analizar: Ixcanul (Jayro Bustamante, 2015) Guatemala Optional: Pájaros de Verano/Birds of Passage (Ciro Guerra & Cristina Gallero, 2018) Colombia Deadline: Enviar tema, abstract y bibliografía. Presentación 3 Tópico 5: Women and Disease Ver: Ma Ma (Julio Medem, 2016) España Optional: Te doy mis ojos (Icíar Bollaín, 2003) España My Life without Me/ Mi vida sin mí, (Isabel Coixet, 2003) España Presentación 4 Topic 6: Censorship and Sexuality Ver: Fresa y Chocolate (Tomás Gutiérrez Alea & Juan Carlos Tabío, 1993) Cuba Optional: Vestido de novia (Marilyn Solaya, 2014) Cuba Santa y Andrés, Carlos Lechuga, 2016) Cuba Presentación 5 Topic 7: Migration and Diaspora Ver: Who is Dayani Cristal ( Marc Silver, 2013) México Optional: Sin nombre, (Cary Fukunaga, 2009) México, USA Presentación 6 Deadline para Reporte 2 Peer Review section for Final Project Deadline: Enviar draft para Peer review final project Final Project Presentations: Video-ensayo/ Multimodal Essay Wix Publicactions Course reflection FECHAS LÍMITES IMPORTATES: Semana 3 CREAR blog en Wix.com, incluir foto y biografía REPORTES: Semana 4 Deadline para el Reporte 1 Semana 8 Deadline para Reporte 2 PRESENTACIÓN: Debes escoger tu tema desde la Semana 2. Las presentaciones empiezan en la Semana 3 y terminan en la semana 8. Dr. Mesa Morales 2020 8 �FINAL PROJECT: VIDEO ESSAY Semana 5 Enviar: Tema, Abstract y bibliografía. Semana 9 Enviar draft para Peer review final project Semana 10 Presentar Final Project y Reflexión Dr. Mesa Morales 2020 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. Contemporary Spanish and 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 interdisciplinary course seeks to review and analyze the complexity of contemporary society through the study of Latin American and Spanish film production. We will explore topics that relates to issues of ethnicity, class representation, immigration and exile, dictatorship, experiences of war and violence, globalization, gender, as well as sexual and racial identities, among other themes. The course has a transatlantic approach covering different genres, styles, and filmmakers from Mexico, Cuba, Spain, Argentina, Chile, Brazil, Colombia, and Uruguay. Class discussions in Forum, activities, presentations, reflections, and a final multimodal research project will help to improve and expand students’ analytical skills as well as their Spanish language proficiency. 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 Brazil / Brasil Chile Colombia Cuba 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/28">Central do Brasil </a> <a href="https://cinegogia.omeka.net/items/show/79">Fresa y chocolate</a> <a href="https://cinegogia.omeka.net/items/show/72">La historia oficial</a> <a href="https://cinegogia.omeka.net/items/show/340">Ixcanul </a> <a href="https://cinegogia.omeka.net/items/show/96">No</a> <a href="https://cinegogia.omeka.net/items/show/108">Nostalgia de la luz</a> <a href="https://cinegogia.omeka.net/items/show/407">Pájaros de verano</a> <a href="https://cinegogia.omeka.net/items/show/303">Pelo malo</a> <a href="https://cinegogia.omeka.net/items/show/418">Santa y Andrés</a> <a href="https://cinegogia.omeka.net/items/show/354">Sin nombre</a> <a href="https://cinegogia.omeka.net/items/show/213">También la lluvia</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Maybel Mesa Morales, Providence College Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial - ShareAlike 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 Contemporary Spanish and Latin American Cinema Description An account of the resource This interdisciplinary course seeks to review and analyze the complexity of contemporary society through the study of Latin American and Spanish film production. We will explore topics that relates to issues of ethnicity, class representation, immigration and exile, dictatorship, experiences of war and violence, globalization, gender, as well as sexual and racial identities, among other themes. The course has a transatlantic approach covering different genres, styles, and filmmakers from Mexico, Cuba, Spain, Argentina, Chile, Brazil, Colombia, and Uruguay. Class discussions in Forum, activities, presentations, reflections, and a final multimodal research project will help to improve and expand students’ analytical skills as well as their Spanish language proficiency. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/b1871517b839ccd20056adf2a1821dc6.png?Expires=1781740800&Signature=ODrP-IURNXnPSDOQQ-maTT0ItDxpp2xKtfkJ9JeFbJwkJtJ%7E0rMeKV1JKnNA9GkML-d%7E7O32DknNxVO0o3GcWAVg1aORzMC78ZH3BA7pCsds5YI2s7yTYftbmqTe21rK6oHoC6XNPngDDFsZqbS3AwiCK3J5aDI3QKRqRx2geegSaOnOkuJKRt6hVE3nP-0SOe%7E3JY4qfHF3ONxtIawRzzCfuJ7%7EaMeMdcVKAvsWr7XqnnF2-JiA2jSb3Aix56H3s1k5XQemRsANs8eQdEDv1Emxdxyp9aJtYGHQhTZWLave%7E-BJWB7EB6tKgNO8oN7V4OFO0E4155A%7E2%7E26FIz-gQ__&Key-Pair-Id=K6UGZS9ZTDSZM c608272ed2dd032ffd3a7d6215e5aee5 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. Rodrigo D: No futuro Title Rodrigo D: No Future Director The director of the film. El/La director/a de la película. Víctor Gaviria Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1990 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. Colombia 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. Compañía de Fomento Cinematográfico (Colombia) Producciones Tiempos Modernos Ltda (Colombia) Fotoclub 76 (Colombia) 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. Rodrigo, a poor and troubled teenager in the barrios of Medellin, Colombia, struggles to find hope in a world ravaged by violence and chaos. An aspiring drummer in a punk band, he uses his music to try to drive the despair out of his head. Rodrigo and his friends are bored teenagers living in Medellin. Rodrigo wants to start a punk band. The youths mainly loaf around the hillside shanty towns and, for kicks, steal a bike or car, or shoot someone. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>) Rodrigo, un chico pobre de los barrios de Medellín, Colombia, lucha por encontrar la esperanza en un mundo tan violente y caótico. Aburridos, Rodrigo y sus amigos que viven en Medellín quieren empezar una banda punk. Como baterista en una banda de música punk, Rodrigo utiliza la música para tratar de eliminar sus pensamientos tristes. En general, los jovenes pasan los días en los barrios y a veces roban una bicicleta o un carro, o disparan a una persona por diversión. (Translated by Sarah Shorter) 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 Crime and Gangster films / cine de crimen y gángsters 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. Popular Culture / Cultura popular Urban Life / Vida urbana Violence / Violencia 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 Rodrigo D: No futuro Description An account of the resource Rodrigo, a poor and troubled teenager in the barrios of Medellin, Colombia, struggles to find hope in a world ravaged by violence and chaos. An aspiring drummer in a punk band, he uses his music to try to drive the despair out of his head. Rodrigo and his friends are bored teenagers living in Medellin. Rodrigo wants to start a punk band. The youths mainly loaf around the hillside shanty towns and, for kicks, steal a bike or car, or shoot someone. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>) Youth / La juventud https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/375c5d4de37fd1b4ae9dc05d62bb05e7.png?Expires=1781740800&Signature=nif0heZvG6GWGxYE7jDWvKfRDSUxwKU84t-V78c2D7326%7EWSTp9EvPbyvGLCi6fL-gjGTWXtUxQrpFMLSGhbQCq08HCsk3QNS6qgyxMxlOdzyeo2XzefpuBaFmQXZay%7Eaonm0qtzvzQ9eAXJswVpUdmaS7LfclwKkPgdwr0xRMrWcakNybN2VWzR%7E1EfOKKMwv3z-3z96t6cgqFk04YI%7E8Jhu%7EKe3KL0Q5WbEszS%7Eb1jza5u1Bbynp8X68xMcPuW0lmo5B5dSzLxjOwSzjWiJgcz965zOPgfl4ENKeMQ%7ECa2NmDNKvbIADKsq22MUelF6Z23gey9QHLP3R15fKVLDQ__&Key-Pair-Id=K6UGZS9ZTDSZM 0ab4276b50ce214cf983a9d4153b9de4 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 Sirga Director The director of the film. El/La director/a de la película. William Vega 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. Colombia 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. Contravia Films (Colombia) Ciné-Sud Promotion (France) Film Tank (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. Alicia está desamparada. Escapando de la violencia armada en la que perdió a sus seres queridos llega hasta La Sirga, el hostal de Óscar, el único familiar que le queda. En la Sirga a orillas de una gran laguna intentará reconstruir su vida. Pero este lugar en el que se siente a salvo no será ajeno a los conflictos. El regreso de Freddy, el hijo que Óscar esperó durante años, sus enigmáticas intenciones y su posible vínculo con uno de los actores de la guerra, traen hasta La Sirga lo que Alicia más teme. (Film's Official Website) Alicia is helpless. Traumatizing war memories invade her mind like a ceaseless storm. Uprooted from her destroyed village by the armed conflict, Alicia tries to start a new life in La Sirga, a dilapidated hostel on the shores of a great lake in the highlands of the Andes. The place belongs to Oscar, her only surviving relative. There, on a swampy and murky beach, she will try to settle down until her fears and the threat of war resurface again. (<a href="https://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. Migration, Internal / Migración interna 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. 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 Sirga Description An account of the resource Alicia está desamparada. Escapando de la violencia armada en la que perdió a sus seres queridos llega hasta La Sirga, el hostal de Óscar, el único familiar que le queda. En la Sirga a orillas de una gran laguna intentará reconstruir su vida. Pero este lugar en el que se siente a salvo no será ajeno a los conflictos. El regreso de Freddy, el hijo que Óscar esperó durante años, sus enigmáticas intenciones y su posible vínculo con uno de los actores de la guerra, traen hasta La Sirga lo que Alicia más teme. (Film's Official Website) War Films https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/8fede62df9550a60c90f66f7ae744017.jpg?Expires=1781740800&Signature=tNfpFyzvFPje2XoftHe05W-etuksHnA%7EDigRZaHDdzZspDoeOM6eRVvJva7e61ehegbjl6c0UVNFhTJcKBvfIIQB6F950YPZBsdTYJ5Z5U75lzxC%7EycLQ-cyfRS55pVrcnxXU-PuGqnpJgLIPesjFElH24g4qcjv3T645sVKEdO9jKKpyIHP10lxQADjg6Yk%7EFaSshpkU91G2nb7WARQ8CR27Z7MICFfwQbgDNZT5vl88Sv6yHequdAZF1zzkGtstaaCsrdCfCKSaKqhOXnYqub8Ayd50RujNuv2t-XeNXwOegK1l3FCZy7uqkXni5M5c7FCOGQKgSaBSfVBZI8kDg__&Key-Pair-Id=K6UGZS9ZTDSZM 8b5ec9d141cac634a5d7e52a9e1ef092 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 abrazo de la serpiente Title Embrace of the Serpent Director The director of the film. El/La director/a de la película. Ciro Guerra 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 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. Colombia 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. Ciudad Lunar Producciones (Colombia) Caracol Televisión (Colombia) Dago García Producciones (Colombia) 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. As the film opens, we are gliding along the Amazon River toward someone perched along the shore. This is Karamakate [...] a shaman in the jungle, and one of the last of his people. He is being approached by Theo von Martius (inspired by Theodor Koch-Grünberg), a German ethnographer and his assistant Manduca, an Amazonian man in European dress. Theo has fallen ill, and the many shamans who have tried, but failed, to cure him have pointed him in the direction of Karamakate, who they believe can heal Theo with a sacred entheogenic plant called yakruna. As the three begin their journey up the river to find the plant, the film quickly moves forward in time. Karamakate is now an old man, once again living in isolation, but the extreme toll of being the sole heir of his peoples’ memories has caught up with him. He is now visited by Evan, an American (inspired by famed ethnobotanist Richard Evans Schultes), who once again convinces Karamakate to head out in search of yakruna. Source: Allen, Ian. Review of Embrace of the Serpent. Comparative Education Review vol. 63, no. 4, November 2019, pp. 658-659. Al abrir la primera escena, nos deslizamos sobre el Amazonas hacia alguien esperando en la orilla del río. Este es un chaman llamado Karamakate que vive en la selva y es uno de los ultimos sobrevivientes de su tribu. En el primer viaje se le acercan Theo von Martious (inspirado por Theodor Koch-Grünberg), un etnógrafo alemán y su ayudante Manduca, un hombre indigeno en vestuario europeo. Theo está enfermo, y muchos chamanes han intentado curarlo, pero han fallado así que lo dirijen a Karamakate, quien creen que tiene la capacidad de curarlo con la ayuda de la planta sagrada llamada yakruna. Mientras los tres comienzan su viaje por el río para encontrar la planta, la película avanza rápidamente en el tiempo. Karamakate es ahora un viejo, y es el unico heredero de los recuerdos de su tribu. Ahora lo visita Evan, un estadounidense (inspirado por el famoso etnobotánico Richard Evans Schultes), quien una vez más convence a Karamakate a salir en busca de yakruna. (Translated by Paola Martínez) 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 Nature / La naturaleza 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 Guía en español: <a href="https://cinegogia.omeka.net/items/show/358">https://cinegogia.omeka.net/items/show/358</a> Guide in English: <a href="https://cinegogia.omeka.net/items/show/602">https://cinegogia.omeka.net/items/show/602</a> Guide 2 in English: <a href="https://cinegogia.omeka.net/items/show/653">https://cinegogia.omeka.net/items/show/653</a> Available at Website, streaming service, distributor Pragda, <a href="https://pragda.com/film/embrace-of-the-serpent" target="_blank" rel="noreferrer noopener">https://pragda.com/film/embrace-of-the-serpent</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 El abrazo de la serpiente Description An account of the resource As the film opens, we are gliding along the Amazon River toward someone perched along the shore. This is Karamakate [...] a shaman in the jungle, and one of the last of his people. He is being approached by Theo von Martius (inspired by Theodor Koch-Grünberg), a German ethnographer and his assistant Manduca, an Amazonian man in European dress. Theo has fallen ill, and the many shamans who have tried, but failed, to cure him have pointed him in the direction of Karamakate, who they believe can heal Theo with a sacred entheogenic plant called yakruna. As the three begin their journey up the river to find the plant, the film quickly moves forward in time. Karamakate is now an old man, once again living in isolation, but the extreme toll of being the sole heir of his peoples’ memories has caught up with him. He is now visited by Evan, an American (inspired by famed ethnobotanist Richard Evans Schultes), who once again convinces Karamakate to head out in search of yakruna. Source: Allen, Ian. Review of Embrace of the Serpent. Comparative Education Review vol. 63, no. 4, November 2019, pp. 658-659. Amazon / Amazonas https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/cb13c7b84c5bfa085ac99e7d0749656a.pdf?Expires=1781740800&Signature=wDn0NsiPRm5kEuDT-O34o60XIne%7EEtLJlwSOqtWW2R59cf6H-r3pFiArHVRCfh1kMDFJiwje9dnBd30BC3IO0AX%7EdRFPWC7m1G9bZTPopU8yKFwLXqxt87jD7x7SQYPOitMLMbvBKZ7se5I1FeONKeD8pkznXPe2LKFhdZgHDp-rvk66xtVartlKFqMGyrQ-XVtwVz0fL9DfIhp7Cj2tddTqi5lqq2I6Voo3E8Yan3thYjz1XqrBRi43Zme6EBcCMmED5%7EjEOAiYZgeGgfnWDUNyX0IUxolM7yYud0A5VRijTurWPVoGa6gNQaAYEAFtwwqKAWGpOS-fje2JVKpRAA__&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/45075970e9a080c1207de5c632ba8b64.pdf?Expires=1781740800&Signature=DcDyFmDd313cu%7ElOxJ6X0rezUv7aG%7EUhYs0rufn-TI2lTjFP%7EPPh%7EDsimuT7V%7Elvr5vVZzjVXvweIE7M5IR112sEr22IDlREbHtc6NjSllmsR2VCf1u-cB9zHbhxsqtRGwnaL0IcTFQBMLjtM7Ywxl6OEpz2SudQseqeMIUnRV4-uddZ6apG%7ERwOWOCRv4wHQd-LdNWkV6-eEd4z1CxsJvUxulAPNtHXo-MlqXrLaBsA0bm80erOueKsWgcoE0kxBlc40T6%7EWJ2iDKgIbghFvqQ7WPJ-9jG0VThvmOYSmK-Gsq3ONErivsB%7EcUe4%7E71FIsjpAYvf1t1eUsvmOWJCPA__&Key-Pair-Id=K6UGZS9ZTDSZM 866c1577f78dd5dd6d5bc06d1a9608b0 PDF Text Text Contributed by Sarah Shamash, Emily Carr University Critical Studies Syllabus/Course Outline Course title Topics in Film/Video Theory Course mnemonic MHIS 429 Day + time TH 3:50PM - 6:40PM M 8:30AM - 11:20AM Section number S001 Term start date January 7, 2019 Credits 3 Term end date April 18, 2019 Location MAIN B1120 MAIN D1375 Prerequisites MHIS 205 Reading the Screen and MHIS 206 Reading Media Culture Instructor Information Instructor Sarah Shamash Email sshamash@ecuad.ca Office number TBA Office hours By appointment Office telephone 604-844-3800 local TBA Website Catalogue Description | www.ecuad.ca In this course students will investigate a specific topic in film and video analysis.Priority is given to IMED and ANIM students in Years 3 and 4. You may register/waitlist for this course as of the Registration Rule Release Day Course Content Topic: Transgressive Gazes across the Americas - Cinema through a women centric lens By tracing a women centric social, geo-political, cultural, historical, cinematic map, we will be looking at the praxis of key women filmmakers across the Americas. From Alanis Obomsawin, to Arlene Bowman, to Ann Marie Fleming, to Amanda Strong in Canada to Chicana filmmakers in the US (i.e. Lourdes Portillo, Sylvia Morales), to Latin American filmmakers (Marta Rodriguez [Colombia]), Patricia Ferreira Yxapy [Brazil], Lucrecia Martel [Argentina]), we will examine the intersectional politics evidenced in their films. This examination will feature discussions grounded in critical approaches to, and analyses of, the historical, theoretical, political, social, economic, and cultural framework of these filmmakers. We will also be revisiting concepts from film theory, such as cult theory and auteur theory, which are traditionally centred around the Euro-Western white male imaginary, in order to subvert, transgress, and redefine film theory from a women and women of color perspective. By deconstructing some of the dominant, oppressive discourses and colonial systems that provoked the counter-narratives and resistance manifest in various women made cinematic works, our goal is to expand our understanding of film culture. Course Learning Outcomes Drawing on fundamental skills in film analysis, interdisciplinary methods, and research, 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 women centered film practices by synthesizing a variety of theoretical and critical approaches. Students will exercise their ability to defend a critical position in oral discussions and presentations while making connections to the course content and their own cinematic praxis. Objectives: �• Investigate the heterogeneous contexts for the emergence and development of selected cinematic films, practices, and movements that embed feminist aesthetics and their contribution to film studies. • Apply critical perspectives to creatively engage with the course materials. • Inspire students to be curious about understanding film, art, and the world at large, from a feminist and decolonial perspective. • Broaden an understanding of the scope of film culture. Outcomes: • Summarize critically dense theoretical readings. • Apply theoretical approaches in analyzing films. • Acquire a broader range of knowledge of various feminist decolonial perspectives and theories across interdisciplinary boundaries (i.e. Film Studies, Indigenous Studies, Education, Gender Studies, Latin American Studies, Studies in Feminist Thought). • Exercise critical thinking, original research, and interpretation to discuss the films and related theories. • Learn about and engage in critical in-depth discussions, readings, and films regarding Intersectional Feminist frameworks within a local and global context. Resource Materials Introduction: This course is intended for fourth year level film studies students as well as students from a cross section of disciplines. From Chicana films to New Latin American Cinema to Fourth Cinema aesthetics, this film course bears witness to a selected cross section of cultural, historical, political, social decolonial and feminist aesthetics on a hemispheric scale spanning from the 1980s to the present. Course format: Students will attend lecture / screenings and discussions. Lecture / screenings will take place Monday's 9am - 11:20am in Theatre D1375 Discussion / seminars will take place Thursday's, 3:50pm - 6:40pm classroom B1120 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. We will also be welcoming two guest speakers this term who will be presenting their films and engaging discussion with the class. 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. All readings will be posted as PDFs on moodle. Seminar / discussions are an opportunity for students to lead, moderate, participate, share, present and engage in discussion with their peers and with the course materials, by voicing their responses in an informed yet informal critical discussion of screenings and readings. As such, readings are mandatory and a crucial part of participation for the course. Evaluation Criteria Attendance %10 Participation %10 Film analyses / Reading responses (5 total) %50 Research presentation + bibliography %20 Letter to a woman identified filmmaker %10 Total 100% Evaluation Criteria Definitions 1. Class attendance, professionalism and participation (seminar discussions): 20% Regular attendance and participation in screenings, and lecture / seminars will constitute 20% of the course evaluation. Professionalism is based on punctuality, avoiding unnecessary use of devices during class time, effective and professional email communication, and preparedness for class and assignments. Activities such as regular participation in seminar discussions will serve as a basis for this evaluation as well as each student's rotating role to lead and bring discussion questions to the group for weekly discussions. Seminar discussions will be structured around lecture topics, screenings, and readings. �2. Film analyses / Reading responses: 50% 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. Students will do a total of five film analyses / reading responses from five of the course weeks of their choices except for week 1 which is mandatory. 3. Research presentation: 20% Class presentations will take place during weekly seminars (weeks 8-9-10-11) and students will present on one or more of the films or filmmakers from the class or introduce a new female filmmaker or film(s) to the class as part of their presentation. Students are encouraged to use outside sources for this research presentation. Students will submit a bibliography of their research to the instructor along with a printed copy of their presentation text. 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, in the format of an academic conference presentation, while broadening their knowledge of the course topic and sharing their findings with their peers. Presentations will be evaluated on organization, coherence, oral expression, effective pacing, use of visuals, and relevance to the interests of the course. 10-12mins 4. Letter to a woman-identified filmmaker: 10% The final assignment consists of a letter to a woman-identified filmmaker of the student's choice. Letters can either be written (2-3 pages in length) or can be creative projects in the form of a video or experimental work. This should be discussed with the instructor prior to the assignment due date. Grade Scale Letter Grade A+ A A- B+ B Grade Points 4.33 4.00 3.67 3.33 3.00 Percentage Equivalent Description Expanded Description Distinguished Achievement For coursework of distinction, demonstrating a Distinguished, level of understanding of the subject matter, concepts, and techniques achieved in satisfying the learning objectives of a course. 90-94 Outstanding Achievement For coursework of distinction, demonstrating an Outstanding, level of understanding of the subject matter, concepts, and techniques achieved in satisfying the learning objectives of a course. 85-89 For coursework of distinction, demonstrating an Excellent, level of Excellent Achievement understanding of the subject matter, concepts, and techniques achieved in satisfying the learning objectives of a course. 80-84 Commendable Achievement For coursework demonstrating a Commendable level of understanding of the subject matter, concepts, and techniques achieved in satisfying the learning objectives of a course. Very Good Achievement For coursework demonstrating a Very Good level of understanding of the subject matter, concepts, and techniques achieved in satisfying the learning objectives of a course. 95-100 75-79 �B- C+ C C- 2.67 2.33 2.00 1.67 70-74 65-69 60-64 55-59 Good For coursework demonstrating a Good level of understanding of the subject matter, concepts, and techniques achieved in satisfying the learning objectives of a course. Competent Coursework demonstrates a competent level of understanding of the subject matter, concepts, and techniques achieved in satisfying the learning objectives of a course. Satisfactory Coursework demonstrates a satisfactory level of understanding of the subject matter, concepts, and techniques achieved in satisfying the learning objectives of a course. Pass Coursework demonstrates a passing level of understanding of the subject matter, concepts, and techniques achieved in satisfying the learning objectives of a course. Coursework demonstrates a marginal or barely adequate level of understanding and ability for satisfying the learning objectives of a course. D 1.00 50-54 Marginal Pass F 0.00 0-49 Fail See below for grading definitions. Grade notations AEG P/F CR Aegrotat Standing 0.00 Pass/Fail Credit granted I Incomplete Grade W Withdrawal from a course DEFINITIONS - GRADING Grade Point Average: A Grade Point Average (GPA) is an average of the grade point values earned for credit courses. Semester Grade Point Average The average of the grade point values that you have earned for all courses attempted in a semester. Cumulative Grade Point Average The average of the grade point values for all of the credit courses attempted while at ECU, including repeated courses. Grade Point Average Calculation: Grade point values range from 0.00 (F grade) to 4.33 (A+ grade). Each letter grade has a corresponding value. GPA is calculated by taking the total amount of the grade point values assigned for grades and dividing that total by the number of credits earned. Aegrotat grade (AEG): Aegrotat (AEG) standing may be used where a student is unable to complete their course work due to significant medical or other extenuating circumstances beyond their control. AEG may be used where a student has successfully completed a minimum of 60 percent of a course. A grade assignment of AEG will carry credit, and satisfy pre-requisite and degree requirements, but will be GPA neutral �Incomplete grade: Incomplete grades may be granted by the instructor, for cases where the student has been unable to complete the course work because of extenuating circumstances beyond their own control. Such circumstances may be medical or of a personal nature and the student may be required to provide documentary evidence. Pass/Fail/Credit Grades - Grades of 'Pass' (P), 'Fail '(F) or 'Credit' (CR) may be assigned to select courses that identify P/F/CR as the grading method approved at Senate. Grades of P/F/CR are GPA neutral and will not impact grade point average positively or negatively. Withdrawal from a course - Grades of 'W' will be assigned where a student officially de-registers from a course in advance of the withdrawal deadline each semester. Grades of W bear no academic penalty and will not be calculated as part of a student's GPA, but will appear on a student's academic transcript. Additional Policies and Information University Grading Policy Attendance: • Attendance is mandatory. Absenteeism, chronic lateness and non-participation will affect the final grade. • Every unexcused absence will result in a 5% penalty from the final course grade. More than three unexcused absences in a class will result in failure of the course. • To formally excuse an absence due to illness or emergency, students must phone or send an email to the instructor by the end of the day. You may be required to give proof of a legitimate excuse, such as a doctor's note. • If students miss a class it is their responsibility to determine what was missed and to complete the work, both in-class projects and homework. Students cannot expect instructors to repeat lectures, workshops, and demonstrations which occurred during their absence. Punctuality: • There is a 5% penalty from the final course grade for every two late arrivals or occasions when a student leaves early. • Students will be considered late if they arrive after roll-call, when the session has formally begun. Furthermore, students will be penalized if they leave class before it has properly ended. • Students will be considered absent if they arrive more than one hour after the session has started. • If students are late for class, they must make sure to speak with the instructor, to explain the reason for being late. Late Assignments: • Late projects will be penalized by one grade level unless arrangements have been made with the instructor. • It is absolutely imperative that students manage their time wisely. They should not let themselves fall behind schedule; they may otherwise find it extremely difficult to catch up by the time a deadline arrives. • If students find that they cannot finish an assignment or keep up with the workload, they must speak to the instructor immediately to discuss practical ways to make the course manageable. University Participation Thoughtful and serious engagement, critical thinking and sensitivity regarding other students and their work are crucial. You are expected to be present and engaged in every class, and well prepared for every meeting and critique. Academic Accommodations Accessibility Services provides accommodations to the learning environment for students with speech, hearing, visual, physical, mental health and neurological disabilities (learning, attention deficit hyperactivity disorder, autism spectrum disorders), as well as chronic health conditions and acquired brain injury. To receive an accommodation, students need to establish their eligibility through supporting documentation and become registered with the Accessibility Services Coordinator. An Accommodation Notice will be prepared for the student to submit to their Faculty. Faculty can then facilitate the accommodation. If you have a disability and have not yet registered with Accessibility Services, please visit https://www.ecuad.ca/studentservices/accessibility University General Policies �• Students must maintain an appropriate standard of conduct. They must demonstrate respect for all persons on the campus, and display mature conduct. All students must abide by the University's student conduct policies and the University's harassment policies These include policies 3.6, 4.6, 4.17 and 8.6. See the University's online policy library for further information. Failure by students to maintain appropriate standards of conduct may result in the initiation of disciplinary action by the University. Instructors are responsible for managing the classroom. Students whose behaviour is disruptive, challenging or intimidating will be addressed and may be excused from class. If the behaviour continues, disciplinary measures (see Emily's A to Z) will be employed. • The instructor may modify the material or schedule specified in this outline. Any changes will be announced in class. • Late assignments or projects may be penalized as specified in the course outline. • It is an offense of plagiarism to intentionally misrepresent someone else's work or ideas as one's own. In some creative practices, the inclusion of designs, images, sound or text created by others may be an intentional strategy; however, these should be properly acknowledged when included in one's work. Failure to do so is regarded as academic misconduct and may result in penalties ranging from a reduced grade for an assignment to expulsion from the University. Please consult University policies 4.17 Academic Integrity and 4.17.1 Procedures for Cases of Academic Misconduct for further information on definitions, educational resources, and sanctions for plagiarism. Assistance with the ethical practices of attribution and documentation is available from the Writing Centre or online at www.ecuad.ca/wc • A student may be required to provide proof of a legitimate excuse, such as a doctor's note, for illness or absence which causes any missed assignments, tests, projects, exams, etcetera, or for absences of more than two classes. At the discretion of the instructor, the student may complete the work for a prorated grade. • Students must demonstrate that they understand and practice the safe use of tools and other equipment, materials, and processes used in their course projects. They must conduct themselves in a responsible manner that does not endanger themselves or others, and must adhere to area procedures regarding authorized operation of equipment, handling of materials, and use of space. For more information about the Technical Services department including the shops, studios and tool crib go to http://www.ecuad.ca/resources/techservices. The grey drop-down box on the right shows links within Technical Services. • Professional counselling and therapy is available at no charge to students who have concerns of a personal nature. Information shared is held in strict confidence. For appointments, please contact us by phone at 604.630.4555, email at counselling@ecuad.ca, or use our online scheduler at https://ecuaccess.mywconline.com/ (for intakes). Counselling, Wellness + Accessibility Services is located in D2380 on Level 2. • The Writing Centre is a service that Emily Carr provides to all students, staff, and faculty from every program area who would like to improve their reading, writing, critical thinking, and research skills. This is a free, voluntary, and confidential service. Writing Centre instructors can help you at every stage of your writing, from developing ideas to final revision. This applies to any kind of writing, from a three-line artist's statement to a twenty-page academic paper. Please check out the Writing Centre blog site for more information and to sign up for an appointment http://blogs.eciad.ca/wc/ Coordinator: Heather Fitzgerald • Library resource online can be found at http://www.ecuad.ca/library • Email is an official means of communication with Emily Carr students by faculty, administration and other service providers on campus. Email routing will be confined to the University's internal communication network, and delivered to an officially assigned and verifiable University Email Address. All users are bound by the provisions of Emily Carr Policy 9.3: Code of Conduct for Appropriate Use of Information Technology Facilities and Services (outlined on the Emily Carr policies website. Instructors will outline and detail the expected extent and parameters of email use in the course in the first class, and clarify the timeframe for checking and responding to emails. • Emails will be answered in a timely manner, usually within 48 hours after receiving the email. Emails will not, however, be answered on weekends or the day before an assignment is due if the email relates to the assignment. �Important Dates Important Dates: January 2, Wednesday - University Reopens January 7, Monday - Spring semester classes begin February 11-15, Monday to Friday - Foundation Assessment week Foundation classes still running as usual February 18-23, Monday to Saturday - Study week: No Classes February 18, Monday - Family Day: University closed March 1, Friday - Foundation midterm grades due at 12pm April 5, Friday - Last day of regularly scheduled classes April 8-12, Monday to Friday - Foundation Critique week April 8-12, Monday to Friday - Critique, exam + assessment week April 15-18, Monday to Thursday - Assessment + grading week April 19, Friday - Good Friday: University closed April 22, Monday - Easter Monday: University closed April 23, Tuesday - Spring semester ends, grades due at 12pm May 3, Friday - Graduation Preview night May 4, Saturday - Graduation ceremony and exhibition opening Course Schedule NOTE: This syllabus is not a final draft and weekly film screenings and readings are subject to change. Week 1 - January 10 Introductions and intro to the course Reading for week 2 assigned Review of assignment 1 Week 2 - January 14/17 Lecture / Screening: Intersectional and diasporic feminisms in art Screening: W.A.R. Women Art Revolution (2010) Dir. Lynn Hershman Leeson (US) 1hr23mins Readings: Mira Schor et al., "Contemporary Feminism: Art Practice, Theory, and Activism-An Intergenerational Perspective." Art Journal, Vol. 58, No. 4 (Winter 1999), pp. 9-29. Jiwani, Yasmin. "Pedagogies of Hope: Counter Narratives and Anti-Disciplinary Tactics." Review of Education, Pedagogy, and Cultural Studies. Vol. 33, No. 4, (2011) pp. 333-353. Discussion / seminar: Class discussion of film and readings and details and discussion of assignment 1. Assignment 1: (due January 24th) Response to questions of article -10% How would you place your own work within a historical continuum from the 1970s feminism to the present? Has the influence of feminist theory affected your practice as an artist, (filmmaker) teacher, critic, or historian, and has that changed in the last 5 years? What is your experience of an intergenerational dialogue around feminist ideas and histories? What do you find is the relationship between the theoretical assertions, aims, and positions articulated within feminism and the realities of your lived experience and actual practice? 2 pages double spaced Week 3 - January 21/24 Lecture / Screening: Race, Diaspora, Cultural Identity Screening: Losing Ground (1982) Dir. Kathleen Collins (US) 1hr26mins Reading(s): Reid, A. Mark. "Dialogic Modes of Representing Africa(s): Womanist Film." Black American Literature Forum, Vol. 25, No. 2, Black Film Issue (Summer, 1991), pp. 375-388. Discussion / Seminar: Discussion of masculinity and femininity, realism vs. departure from realism, blackness and diaspora in �Losing Ground. Film Analysis / Reading Response 10% Week 4 - January 28/31 Lecture / Screening: Fourth Cinema(s) in Turtle Island, Visual Sovereignty, "outside the national orthodoxy." Special guest: Arlene Bowman Screenings: Navajo Talking Picture (1986) Dir. Arlene Bowman (40mins), Honey Moccasin (1998) Dir. Shelley Niro (47mins) Reading(s): Rickard, Jolene. "Visualizing Sovereignty in the Time of Biometric Sensors." South Atlantic Quarterly Spring 2011 110:465-486. Raheja, Michelle H. "Toward a Genealogy of Indigenous Film Theory." Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film . University of Nebraska Press, 2011. pp.1-19 Suggested Reading: 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 Discussion / Seminar Film Analysis / Reading Response 10% Week 5 - February 4/7 Lecture / Screening: Chicana cinema and politics - motherhood, art, and activism Excerpts: La Ofrenda: The Days of the Dead (1988) 50mins Screening(s): Chicana (1979) Dir. Sylvia Morales (US) 23mins, A Crushing Love (2009) Dir. Sylvia Morales (US) 58mins Readings: Dean, Jenny. "Chicana: What's in a Word?" in Latina Filmmakers & Writers.California: Floricanto Press, 2007 p.14-25 Dean, Jenny. "Interview with Sylvia Morales: Chicana 91979)" in Latina Filmmakers & Writers.California: Floricanto Press, 2007 p.124-142 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 Suggested Reading: Naficy, Hamid. "Borders and Border Crossings." An Accented Cinema: Exilic and Diasporic Filmmaking. New Jersey: Princeton University Press, 2001 pp. 237-240 Discussion / Seminar Film Analysis / Reading Response 10% Week 6 - Feb 11/17th Lecture / Screening: Third Cinema in Latin America: Sara Gomez and Marta Rodriguez Excerpt: Chircales (1972) Dir. Marta Rodriguez (Colombia) 1hr12mins Screening: One Way or Another (1974) Dir. Sara Gomez (Cuba) 1hr12mins 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 Suggested Reading: Chanan, Michael. "The Changing Geography of Third Cinema". Screen (Special Latin American Issue). Vol. 38, No. 4 (Winter 1997). PDF Discussion / Seminar Film Analysis / Reading Response 10% --------STUDY WEEK February 18-22----------------Week 7 February 25/28 �Lecture / Screening: For a feminized cult cinema in Latin America (La India Maríaby María Elena Velasco); Female solidarity in Maria Novaro's films. Excerpts: El Coyote Emplumado (1983) Dir. María Elena Velasco (Mexico), Lola (1989), Danzón Dir. Maria Novaro (Mexico) Screening: Sin Dejar Huella (Without a Trace) Dir. Maria Novaro (Mexico) Reading(s): Tierney, Dolores. "Mapping Cult Cinema in Latin American Film Cultures. Cinema Journal, Vol. 54, No.1 (Fall 2014), pp. 129-135 Roberts-Camps, Traci. "Female solidarity in the films of María Novaro: aquí sólo encontramos Amigas ." Chasqui, Vol. 41, No. 2 (November 2012), pp. 51-62. Discussion / Seminar Film Analysis / Reading Response 10% Week 8 - March 4/7 Lecture / Screening: The auteur cinema of Lucrecia Martel - New Argentine Cinema, girlhood and its murky waters in the films of Lucrecia Martel - Martel's aesthetics of transgressive desires and the micro-politics of gender, sexuality, and location. Excerpt(s): The Holy Girl (2004) Dir. Lucrecia Martel (Argentina) Screening: La Ciénaga (2001) Dir. Lucrecia Martel (Argentina) Text selections: Martin, Deborah. "Planeta ciénaga: Lucrecia Martel and Contemporary Argentine Women's Filmmaking" in in Latin American Women Filmmakers: Production, Politics, Poetics. Eds. Martin, Deborah and Deborah Shaw. London, NY: I.B. Taurus, 2017 pp. 241-262 Martin, Deborah. "Feminine Adolescence and Transgressive Materiality in the Films of Lucrecia Martel" in International Cinema and the Girl: Local Issues, Transnational Contexts Eds. Handyside, Fiona. NY: Palgrave Macmillan, 2015 pp. 63-73 Suggested reading: Martin, Deborah. "Wholly ambivalent demon-girl: horror, the uncanny and the representation of feminine adolescence in Lucrecia Martel's La niña santa." Journal of Iberian and Latin American Studies, Vol. 17, No. 1 (2011), pp. 59-76 Discussion / Seminar (presentations) Film Analysis / Reading Response 10% Week 9 March 11/14 Lecture / Screening: Socio-politics in Lula's era / São Paulo, youth culture, socio and transgressive sexual politics Excerpt(s): The Second Mother (2015) Dir. Anna Muylaert Screening: Don't Call Me Son (2016) Dir. Anna Muylaert 1hr22mins Reading(s): Marsh, Leslie. "Developments under Democracy: Brazilian Women's Filmmaking in a New Era" in Brazilian Women's Filmmaking. Champaign: University of Illinois Press, 2012 pp. 154-180 Thompson, Anne (2015). "Fest hit 'The Second Mother' brings success - and pain." Thompson on Hollywood, 27 August. Available at: http://www.indiewire.com/2015/08/fest-hit-the-second-mother-brings-success-and-pain-182879/ Accessed 01 April 2018. Discussion / Seminar (presentations) Film Analysis / Reading Response 10% Week 10 March 18/21 Lecture / Screening: Intro to Indigenous film and video in Abya Yala (Video in Villages - Brazil) Excerpt: As Hypermulheres (2012) Dir. Takumã Kuikuro, Leonardo Sette, Carlos Fausto (Brazil) 80mins Screening: Tava, The House of Stone (2012) Dir. Patricia Ferreira, Ariel Duarte Ortega, Ernesto Ignacio de Carvalho, Vincent Carelli (78mins) Reading(s): 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. Suggested Reading(s): Lugones, María. "Toward a Decolonial Feminism." Hypatia, Vol. 25, No. 4 (Fall 2010), pp. 742-759. 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 Discussion / Seminar (presentations) Film Analysis / Reading Response 10% Week 11 March 25/28 Lecture / Screening: Animation, women, and film. Excerpt: Persepolis (2007) Dir. Marjane Satrapi Special guest: Ann Marie Fleming Screening: Four Faces of the Moon (2016) Dir. Amanda Strong (Canada) 13.40mins Window Horses: The Poetic Persian Epiphany of Rosie Ming (2016) Dir. Ann Marie Fleming Canada (Canada) 1h25mins Reading(s): Lorenzo, Hernández María. "A Film of One's Own: The Animated Self-Portraits of Young Contemporary Female Animators." Animation: an interdisciplinary journal, 2010, Vol 5(1): 73-90. Discussion / Seminar (presentations) Film Analysis / Reading Response 10% Week 12 April 1/4 Lecture / Screening: Cult cinema; (be)longing, space and desire in Ana Lily Amirpour's queer diasporic filmmaking in her "Iranian Vampire Spaghetti Western." Screening: A Girl Walks Home Alone at Night (2014) Dir. Ana Lily Amirpour (US) 1hr41mins Reading(s): Rouhani, Farhang. "Belonging, desire, and queer Iranian diasporic politics." Emotion, Space and Society, (2018) pp.17. Discussion / Seminar Course conclusions / all final assignments handed in � 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. Transgressive Gazes across the Americas 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 women centric social, geo-political, cultural, historical, cinematic map, we will be looking at the praxis of key women filmmakers across the Americas. From Alanis Obomsawin, to Arlene Bowman, to Ann Marie Fleming, to Amanda Strong in Canada to Chicana filmmakers in the US (i.e. Lourdes Portillo, Sylvia Morales), to Latin American filmmakers (Marta Rodriguez [Colombia]), Patricia Ferreira Yxapy [Brazil], Lucrecia Martel [Argentina]), we will examine the intersectional politics evidenced in their films. This examination will feature discussions grounded in critical approaches to, and analyses of, the historical, theoretical, political, social, economic, and cultural framework of these filmmakers. We will also be revisiting concepts from film theory, such as cult theory and auteur theory, which are traditionally centred around the Euro-Western white male imaginary, in order to subvert, transgress, and redefine film theory from a women and women of color perspective. By deconstructing some of the dominant, oppressive discourses and colonial systems that provoked the counter-narratives and resistance manifest in various women made cinematic works, our goal is to expand our understanding of film culture. 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 Brazil / Brasil Colombia 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/412">Chicana</a> <a href="https://cinegogia.omeka.net/items/show/239">Chircales</a> <a href="https://cinegogia.omeka.net/items/show/262">La ciénaga</a> <a href="https://cinegogia.omeka.net/items/show/397">El coyote emplumado </a> <a href="https://cinegogia.omeka.net/items/show/381">A Crushing Love </a> <a href="https://cinegogia.omeka.net/items/show/270">De cierta manera </a> <a href="https://cinegogia.omeka.net/items/show/272">Danzón </a> <a href="https://cinegogia.omeka.net/items/show/815">Mãe Só Há Uma </a> <a href="https://cinegogia.omeka.net/items/show/187">La niña santa</a> <a href="https://cinegogia.omeka.net/items/show/383">Sin dejar huella</a> <a href="https://cinegogia.omeka.net/items/show/399">Tava, a casa de pedra</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 Transgressive Gazes across the Americas Description An account of the resource By tracing a women centric social, geo-political, cultural, historical, cinematic map, we will be looking at the praxis of key women filmmakers across the Americas. From Alanis Obomsawin, to Arlene Bowman, to Ann Marie Fleming, to Amanda Strong in Canada to Chicana filmmakers in the US (i.e. Lourdes Portillo, Sylvia Morales), to Latin American filmmakers (Marta Rodriguez [Colombia]), Patricia Ferreira Yxapy [Brazil], Lucrecia Martel [Argentina]), we will examine the intersectional politics evidenced in their films. This examination will feature discussions grounded in critical approaches to, and analyses of, the historical, theoretical, political, social, economic, and cultural framework of these filmmakers. We will also be revisiting concepts from film theory, such as cult theory and auteur theory, which are traditionally centred around the Euro-Western white male imaginary, in order to subvert, transgress, and redefine film theory from a women and women of color perspective. By deconstructing some of the dominant, oppressive discourses and colonial systems that provoked the counter-narratives and resistance manifest in various women made cinematic works, our goal is to expand our understanding of film culture. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/5315e69bab445754f55be74452592e5a.pdf?Expires=1781740800&Signature=usoseGovSMJAfiN5d8KrdmEtBi69KTs%7E1oScQmnE8tdUcxK8cYnYtEJdNeKuQuilyjzw6FCBv1INi-mFbvNl2Rm5WJUxBYRujVkCmTEoFiakk0p9Ly%7EJxD5-BZsXURUhvAWzw6dr4EWPs0nXcs44r2q6PO8C06%7EefnfFBM429c9rBy-XaQhBjLok3fUEYO4l%7EXbgIYdjsY2PAZrdrEEdUyB9tLRy2jU%7EGd50-EcqhAECbLhsXXkaSXo%7Eg7XfutkiqOz1m73NN0dUatgBIj0luEbiUrz5a-yEzugHJiid-6e0%7E2zrePVs7E2JY12N17AaK9XFbuEJW%7ENvS5upH5czxg__&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/d07d4f2a1b51c83d29fdafdb6a730a3e.pdf?Expires=1781740800&Signature=qNfXvB8UMPuwo7WeCee-sE-BmmuE4oYCtREEwaThoulsfDhUO5MIHdVxsHy94lPNPqH0QQP5RIOXjae6TYGH30U6HbNp5oYqHei5k8vd3EZGvei5SwZN59Wtqnzl3rur07s%7E%7EV7KSTxsyvrg7zEFfpL1nc1487Wk7N0ihxvoltUC00rhrfIsiAlTg7UFxpGlnqtVmVz4eOr6JW2yH39p01SG4qYO8a130PCFnai-8i4FFb2xkkFRWLOuPgHY%7E75kXweIbawMMzUJKqqzb99TBISVNemCSvNB-IiIxsEQcJn7c0KIIUIRTX13iGShSzciOp-ddBUjoYyvE4n%7EYZRU4g__&Key-Pair-Id=K6UGZS9ZTDSZM 302f41f613300d61a10ceee8b06e2816 PDF Text Text Contributed by Nicolás Poppe, Middlebury College Clase en Axinn 105: lunes, miércoles y viernes (11:15-12:05) Horas de consulta en Warner 115: martes (1:30-3:00) y viernes (9:30-11:00)  npoppe@middlebury.edu  Proyección en Sunderland 110: martes (19:30-22:25)  Cine hispano (SPAN 0315) Profesor Nicolás Poppe Descripción del curso “Las películas son un mundo de fragmentos”, propuso una vez Jean-Luc Godard, el director de la Nouvelle Vague francesa. Estos fragmentos, trozos audiovisuales de la realidad, captan nuestra imaginación. El cine es un sitio interacción social, de entretenimiento, de aburrimiento, de placer estético, de crítica cultural, de muchas cosas. Nos hacen pensar de manera diferente. Conﬁrman y, aún mejor, desafían nuestras visiones del mundo. Y, a veces, forman parte de quienes somos. En este curso, estudiaremos (y de manera fragmentaria) el texto y el contexto de algunos de estos mundos de fragmentos. A través del análisis de películas de Argentina, Colombia, Cuba, España, Estados Unidos, México, Paraguay y Perú, se examinarán géneros cinematográﬁcos, prácticas estéticas y conceptos sociológicos y políticos (como la clase socio-económica, el género, la ideología, la raza y la sexualidad). En muchos sentidos, y como todos los cursos de español de nivel 300-bajo (i.e., 300-349), Cine hispano es un proyecto binario. Por un lado, los alumnos seguirán su desarrollo lingüístico y su transición de las clases de lengua a las más avanzadas en nuestra disciplina. Al ﬁnal del curso, los alumnos podrán mejorar la escritura y el español hablado; integrar los materiales de la clase tanto culturales como teóricos; presentar oralmente textos académicos empleando un lenguaje apropiado; impulsar la participación de los compañeros de clase; y formular ideas originales sobre los asuntos que examinamos, entre otras cosas. Por otro, los alumnos examinarán películas que forman parte del canon cinematográﬁco y, aun más importante, son importantes en la cultura popular del mundo hispanohablante. También, se aproximarán al estudio formal del cine, y discutirán cómo los cineastas y otros técnicos cinematográﬁcos construyen la diégesis de una película. Desarrollarán trabajos videográﬁcos cuyo ﬁn es entender más sobre el lenguaje cinematográﬁco. El curso sirve como una introducción 1 �al Cine hispano, y será particularmente útil para los alumnos que tomarán más cursos sobre los estudios cinematográﬁcos. Materiales del curso Además de los dos libros disponibles en el sitio de la librería [Evans, Peter William. Women on the verge of a nervous breakdown. London: BFI, 1996. y Polizzotti, Mark. Los Olvidados. London: BFI, 2006.], se puede hallar lecturas y otros textos en el sitio Canvas del curso. También, estarán en reserva todas las películas en la biblioteca Davis Family. Evaluación Participación Discusión liderada Pruebas/tareas Trabajos videográﬁcos (4) Exámenes (2) 93% > A ≤ 100% 90% ≥ A- ≤ 93% 86% > B+ < 90% 83% > B ≤ 86% 80% ≥ B- ≤ 83% 76% > C+ < 80% 10% 10% 10%  30% 40% 73% > C ≤ 76% 70% ≥ C- ≤ 73% 60% ≥ D ≤ 69% F < 60% Participación. Es importante participar en todas las clases. Participar de manera satisfactoria signiﬁca: hablar sólo en español dentro de la clase, con el profesor y los otros estudiantes; hacer preguntas y responder las preguntas del profesor; trabajar en grupo o en pareja; tomar la iniciativa y correr riesgos lingüísticos y conceptuales; mostrar entusiasmo y respeto hacia el profesor y los otros estudiantes. Por favor, te pido que no uses tu computadora personal, iPhone, iPad, o cualquier otro aparato electrónico en la clase, a menos que alguna actividad lo requiera. Es central estar “presente” en todas las sesiones. Asimismo, espero que intervengas oralmente varias veces en cada sesión (en la discusión general, fuera del trabajo en grupo) para poder obtener una nota perfecta en este rubro de la caliﬁcación. A mitad de semestre habrá una autoevaluación en que los estudiantes juzgarán su participación. Discusión liderada. Los estudiantes formarán grupos de tres personas para liderar una discusión en clase sobre una lectura. Las discusiones durarán unos 25-30 minutos. No serán presentaciones (oportunidades para ofrecer información), sino momentos para formular preguntas, generar temas de discusión, producir ideas, iniciar conversaciones e interactuar con la clase. El grupo será evaluado en función de qué tan abundante y productiva fue la discusión generada, es decir, sobre la base de cuánto y qué tan bien respondió y se expresó el resto de la clase. Ojo: el objetivo es fomentar la participación 2 �de todos. Ustedes serán los profesores por el día. Es necesario que los grupos me visiten en mis horas de oﬁcina para discutir y preparar la discusión. Pruebas/tareas. Puede haber pruebas durante la clase. Las daré siempre al comienzo de la clase, así que si llegan tarde perderán la oportunidad de tomarla. Por lo general, serán anunciadas previamente, pero no siempre. También, asignaré tarea de vez en cuando para explorar más sobre las ideas que estudiamos en clase.  Trabajos videográﬁcos. Usando los propios materiales del cine—la imagen en movimiento ¡y el sonido!—los trabajos videográﬁcos tienen como ﬁn la construcción de ideas cinematográﬁcas a través de una suerte de escritura audiovisual. Los alumnos también escribirán un texto complementario a veces como una extensión analítica y otras como una contextualización. Unas dos semanas antes de cada fecha límite, les daré más detalles sobre cada trabajo videográﬁco. Omitiré la nota más baja (o sea, sólo cuentan tres de los cuatro). Exámenes. Habrá dos exámenes. El examen parcial se concentrará en el material estudiado antes de las vacaciones de primavera, y más especíﬁcamente el cine industrial y el cine de autor. El examen ﬁnal será acumulativo, y por lo tanto podrá volver sobre los temas del examen uno. El formato del examen constará de diversas actividades. Les daré más detalles en clase antes de cada examen. Procedimientos Proyecciones. ¡La asistencia a las proyecciones es de carácter obligatorio! Como cualquier otro texto, te recomiendo que veas cada ﬁlm al menos una vez, sino varias antes de analizarlo en clase. Clase. Las clases se centrarán en el análisis crítico, y una conversación colectiva, de los textos asignados. En clase, los alumnos y el profesor no sólo repasarán sino que profundizarán en los contextos culturales, históricos, intelectuales y sociales de las fuentes primarias y secundarias asignadas. En vez de presentaciones a cargo del profesor tipo lecture, la clase tendrá como base la conversación. Por lo cual, es necesario que los alumnos lleguen a clase listos para participar activamente en español. Asistencia. Asistir a clase es central y necesario. Sólo se puede faltar a clase o a la proyección tres veces sin tener un efecto negativo en la nota ﬁnal. A partir de la tercera ausencia se quitará el 3% por cada ausencia de la nota ﬁnal del curso. Las reiteradas ausencias serán notiﬁcadas al decano. El profesor espera que los alumnos le notiﬁquen con antelación a cualquier posible ausencia. De igual modo, el alumno deberá ponerse en contacto con el profesor si falta a clase por alguna razón imprevista. Cada estudiante 3 �debe participar activamente (y ¡en castellano!) en la discusión que se desarrolla en clase. Trabajo tardío y recuperatorio. En general, no hay trabajos recuperatorios (make-up work). Sin embargo, si por razones de fuerza mayor necesitas entregar algún trabajo en una fecha distinta de la asignada, habla conmigo para determinar una alternativa antes de la fecha normal. Los estudiantes que pierdan un examen por razones legítimas deben presentar documentación oﬁcial (ej. médica). Students with disabilities. Students who have Letters of Accommodation in this class are encouraged to contact me as early in the semester as possible to ensure that such accommodations are implemented in a timely fashion. For those without Letters of Accommodation, assistance is available to eligible students through Student Accessibility Services. Please contact Michelle Audette [maudette@middlebury.edu / (802) 443-2169] or Jodi Litchﬁeld [litchﬁe@middlebury.edu / (802) 443-5936], the ADA Coordinators, for more information. All discussions will remain conﬁdential. Honor code. Middlebury College students are expected to conduct themselves with the utmost academic integrity by strictly adhering to the Honor Code. It is your responsibility to ensure that your work at Middlebury is your own. With every assignment, you will be oriented as to its relationship with the Honor Code; however, as a general rule, all your graded assignments should be your sole work. If I suspect a student has broken the Honor Code, I will take proper disciplinary action involving the Academic Judiciary Board. If you are unsure about how the Honor Code applies to your work in this class, just ask! Finally, you must write and sign the Honor Code on all work you submit for a grade in this class. 4 �Semana 1 (11-15 de febrero) 2 (18-22) Lunes Miércoles Viernes Introducción al curso El análisis cinematográﬁco  La terminología cinematográﬁca (hoja de Podalsky)  Cineglos LA CARNAVAL DE INVIERNO (no hay clase) Una introducción a la crítica videográﬁca (y a Adobe Premiere) Poppe, Nicolás. “Hacia nuevos horizontes de la investigación. La crítica videográﬁca y los estudios del precine y el cine silente.” Vivomatografías. Revista de estudios sobre precine y cine silente en Latinoamérica 4 (2018): 116-128. Relatos salvajes (dir. Szifrón, 2014) Lerer, Diego. “Estrenos: ‘Relatos salvajes’, de Damián Szifron.” Micropsia. Cine, música, TV (y algunas cosas más). s.p. 24 ago. 2014. Relatos salvajes (dir. Szifrón, 2014) Aguilar, Gonzalo. “La ira de Dios: sobre Relatos salvajes de Damián Szifrón”. Romanische Studien (2017): 327-336. 7 cajas (dir. Maneglia y Schémbori, 2012) Dispuesto a todo (dir. Winograd, 2015) P: Relatos salvajes (dir. Szifrón, 2014) 3 (25-1 de marzo) El cine commercial y la intermedialiadad  P: 7 cajas (dir. Maneglia y Schémbori, 2012)  En casa: Dispuesto a todo (dir. Winograd, 2015) 4 (4-8) El cine comercial y el género Grant, Barry Keith. “Approaching Film Genre.” Film Genre: From Iconography to Ideology. London; New York: Wallﬂower, 2007. (4-28) *TRABAJO VIDEOGRÁFICO 1 Sólo con tu pareja (dir. Cuarón, 1991) Sólo con tu pareja (dir. Cuarón, 1991) Sánchez Prado, Ignacio M. “Publicists in Love: Romantic Comedy, Cinema Privatization, and the Aesthetics of the Middle Class.” Screening Neoliberalism: Transforming Mexican Cinema, 1988-2012. Nashville: Vanderbilt University Press, 2014. (62-104) El cine industrial y los estudios Di Núbila, Domingo. Cómo se hace un ﬁlm. Buenos Aires. Abril. 1948. “Cómo se hace una película argentina” (dir. Mom, 1948) P: ¡Bienvenido Mister Marshall! (dir. Berlanga, 1953) [No hay clase. Profesor Poppe participa en el congreso de la Society for Cinema and Media Studies.] [No hay clase. Profesor Poppe participa en el congreso de la Society for Cinema and Media Studies.] ¡Bienvenido Mister Marshall! (dir. Berlanga, 1953) ¡Bienvenido Mister Marshall! (dir. Berlanga, 1953) Woods Peiró, Eva. “Rehearsing for Modernity in ¡Bienvenido, Mister Marshall!” Burning Darkness: A Half Century of Spanish Cinema. Eds. Joan Ramón Resina and Andrés Lema-Hincapié. Albany: SUNY Press, 2008. (9–26) P: Sólo con tu pareja (dir. Cuarón, 1991) 5 (11-15) 6 (18-22) 7 (25-29) *TRABAJO VIDEOGRÁFICO 2 LAS VACACIONES DE PRIMAVERA (no hay clase) La crítica videográﬁca  *EXAMEN PARCIAL �Semana 8 (1-5 de abril) Lunes El cine de autor P: Los Olvidados (dir. Buñuel, 1950) y “Buñuel and Surrealism: Revolt into Love” (cread. Cristina Álvarez López, 2015). 9 (8-12) El Nuevo Cine Latinoamericano Getino, Octavio y Fernando Solanas. “Hacia un tercer cine: apuntes para el desarrollo de un cine de liberación en el tercer mundo”  Miércoles Los Olvidados (dir. Buñuel, 1950) Polizzotti, Mark. Los Olvidados. London: BFI, 2006. (7-29) “Buñuel in Mexico: The Logic of Delirium” (cread. Cristina Álvarez López, 2015) Viernes Los Olvidados (dir. Buñuel, 1950) Polizzotti, Mark. Los Olvidados. London: BFI, 2006. (29-80) “International Buñuel: Interruption as Method” (cread. Cristina Álvarez López, 2015). La hora de los hornos (dirs. Getino y Solanas, 1968) Stam, Robert. “The Hour of the Furnaces and the Two AvantGardes.” The Social Documentary in Latin America. Ed. Julianne Burton. Pittsburgh: U of Pittsburgh P 1990. , 251–266. EL SIMPOSIO DE INVESTIGACIÓN (no hay clase) Cine experimental. “Now” (1965) y “LBJ” (1968) de Santiago Álvarez Rist, Peter. “Agit-Prop Cuban Style: Master Montagist Santiago Álvarez.” Oﬀ|Screen 11.3 (2007): s.p. http:// oﬀscreen.com/view/agit_prop_cuban_style. Cine experimental. “The Great Mojado Invasion, Part 2 (The Second U.S.-Mexico War)” de Gustavo Vazquez y Guillermo Gómez-Peña Leen, Catherine. “The Final Frontier: Guillermo GómezPeña’s The Great Mojado Invasion.” Imagined Transnationalism U.S. Latino/a Literature, Culture, and Identity. Eds. Kevin Concannon, Francisco A Lomeli, and Marc Priewe. Basingstoke: Palgrave Macmillan, 2009. 221–235. Mujeres al borde de un ataque de nervios (dir. Almodóvar, 1988) Evans, Peter William. Women on the verge of a nervous breakdown. London: BFI, 1996. (8-53) Mujeres al borde de un ataque de nervios (dir. Almodóvar, 1988) Evans, Peter William. Women on the verge of a nervous breakdown. London: BFI, 1996. (54-73) La teta asustada (2009) y Loxoro (2012) de Claudia Llosa La teta asustada (2009) y Loxoro (2012) de Claudia Llosa Campos Gómez, John. “¿La Teta Antihuachafa?” Cinencuentro. s.p., 6 feb. 2010. Middents, Jeﬀrey. “¿Por qué me miras así? Magaly, Dolores, and the Authentic Indigenous Icon”. [in]Transition. 3.3 (2016). El cine independiente en México Cruz, Maximiliano. “Cine mexicano independiente”. Nexos.   P: Güeros (dir. Ruizpalacios, 2014) Güeros (dir. Ruizpalacios, 2014) “Cine aparte: Güeros” (cread: Fernanda Solórzano, 2015) Güeros y Museo (dir. Ruizpalacios, 2018) El cine hispano, 1896-2017  * EXAMEN FINAL P: La hora de los hornos (dirs. Getino y Solanas, 1968) 10 (15-19) La hora de los hornos (dirs. Getino y Solanas, 1968) Función especial: Museo (dir. Ruizpalacios, 2018) [18/4 a las 19 en el Town Hall Theater] 11 (22-26)   El cine de autor y el género * TRABAJO VIDEOGRÁFICO 3 P: Mujeres al borde de un ataque de nervios (dir. Almodóvar, 1988) 12 (29-3 de mayo) El cine independiente Newman, Michael. “Introduction.” Indie. New York : Columbia University Press, 2011.  P: La teta asustada (dir. Llosa, 2009) y Loxoro (2012) 13 (6-10 de mayo) 14 (13 de mayo) * TRABAJO VIDEOGRÁFICO 4 � 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 hispano 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. “Las películas son un mundo de fragmentos”, propuso una vez Jean-Luc Godard, el director de la Nouvelle Vague francesa. Estos fragmentos, trozos audiovisuales de la realidad, captan nuestra imaginación. El cine es un sitio interacción social, de entretenimiento, de aburrimiento, de placer estético, de crítica cultural, de muchas cosas. Nos hacen pensar de manera diferente. Confirman y, aún mejor, desafían nuestras visiones del mundo. Y, a veces, forman parte de quienes somos. En este curso, estudiaremos (y de manera fragmentaria) el texto y el contexto de algunos de estos mundos de fragmentos. A través del análisis de películas de Argentina, Colombia, Cuba, España, Estados Unidos, México, Paraguay y Perú, se examinarán géneros cinematográficos, prácticas estéticas y conceptos sociológicos y políticos (como la clase socio-económica, el género, la ideología, la raza y la sexualidad). 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 Colombia Cuba Mexico / México Paraguay Peru / Perú United States / Estados Unidos Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Latin America / Latinoamérica Spain / España Films taught / Películas ¡Bienvenido Mister Marshall! <a href="https://cinegogia.omeka.net/items/show/848">Dispuesto a todo</a> <a href="https://cinegogia.omeka.net/items/show/367">Güeros</a> <a href="https://cinegogia.omeka.net/items/show/141">La hora de los hornos</a> <a href="https://cinegogia.omeka.net/items/show/342">Now!</a> <a href="https://cinegogia.omeka.net/items/show/271">Los Olvidados</a> <a href="https://cinegogia.omeka.net/items/show/193">Relatos salvajes</a> <a href="https://cinegogia.omeka.net/items/show/204">7 cajas</a> <a href="https://cinegogia.omeka.net/items/show/83">Sólo con tu pareja</a> <a href="https://cinegogia.omeka.net/items/show/183">La teta asustada</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Nicolás Poppe, Middlebury College 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 hispano Description An account of the resource “Las películas son un mundo de fragmentos”, propuso una vez Jean-Luc Godard, el director de la Nouvelle Vague francesa. Estos fragmentos, trozos audiovisuales de la realidad, captan nuestra imaginación. El cine es un sitio interacción social, de entretenimiento, de aburrimiento, de placer estético, de crítica cultural, de muchas cosas. Nos hacen pensar de manera diferente. Confirman y, aún mejor, desafían nuestras visiones del mundo. Y, a veces, forman parte de quienes somos. En este curso, estudiaremos (y de manera fragmentaria) el texto y el contexto de algunos de estos mundos de fragmentos. A través del análisis de películas de Argentina, Colombia, Cuba, España, Estados Unidos, México, Paraguay y Perú, se examinarán géneros cinematográficos, prácticas estéticas y conceptos sociológicos y políticos (como la clase socio-económica, el género, la ideología, la raza y la sexualidad). https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/c05320a32f7f1f1bf3fc04d9b86cf55b.pdf?Expires=1781740800&Signature=szHSWmpxoryRLmju1QPYGu8CqqEknHm9wA0GFJ7wPYaP2djmBawqQH4aF%7EnZv5ytkZdZU0NtJ5CMnZCDvDqG4fYA5K4q%7ElkHyHPhFniMHERLUyD5b%7E-rrVwHDXkFs5re7umNrokxyDmJHCDlYPwQZWQsxN9ZrDIqutw1f4nY4x9O7dFjmvp2L8YQZluMbOwEYGg6JMeuYUSpEVI0JcEU4m3sIxLhRHtR-6RuA%7EzkE3TZjmzjB2SG0NOk78IS853fPs3AYimNR3iPyasgJWYmLStyypqy-DPI3mmfP%7EIdMoiYeqBi2GhQKhrP96msG%7EoWMdz-VDUArdfavcsbdRkmng__&Key-Pair-Id=K6UGZS9ZTDSZM 23e1c408f95a3d0ee8eb67f4f4629ed9 PDF Text Text SPAN 440 Spanish American Cinema: Representations of Children and Adolescents Spring 2018 Instructora: Professor Carolina Rocha Horario de encuentro: W 4:30-7:15 Dirección electrónica: crocha@siue.edu Course Description: This course explores the representation of children and adolescents in contemporary Spanish American cinema from the 1980s to the present. Young characters have been used to explore issues of identity, coming of age, social inequalities, and the impact of major political events. The class will be divided in three parts, which coincide with Spanish America’s major cinemas: Argentina, Colombia, and Mexico. Each part will follow a chronological order so as to encourage students to reflect on each filmmaker’s contribution to the depiction of children and adolescents and the socio-political events represented. Prerequisite: SPAN 311 or 312 or equivalent with approval of the instructor Expectations: This is an advanced Spanish class that requires significant out-of-class preparation (weekly film viewings and readings). It is expected that students have superior reading and oral skills in Spanish. This class will incorporate the proper use of grammar, spelling, and vocabulary learned in SPAN 301 and 303, the historical background of Latin America learned in SPAN 312, conversation skills from SPAN 320, and texts analysis learned in SPAN 302 and 351/352. Warnings: Some films may have scenes or content that may some students consider disturbing. This class requires a major essay in Spanish in which students will demonstrate their familiarity with Spanish as well as their engagement with academic sources. Several the films are available online or in Kanopy, others will be left in the FLTC one week before they are due. While students are not required to watch the films at the FLTC, if they choose to watch them on their own, it is their responsibility to find them. �Required Reading: Required readings are listed in your course schedule and available in Bb. Other resources: http://cinegogia.omeka.net/journals Course Learning Objectives Upon the successful completion of this course, students will be able to: • • • express themselves in Spanish about Spanish American cinema integrating primary and secondary sources (CAS Communication and Knowledge Citizenship) do close analysis of written and filmic texts. (CAS Problem Framing) organize, reflect and expand the topics studied in a written paper and oral presentations (CAS Critical Thinking) Policies Students should 1. communicate with the instructor through email and/or phone calls during office hours. 2. arrive on time and plan to stay for the whole class duration. Arriving late or leaving before the end of the class period will count as half an absence. 3. come to every class prepared. If they were absent, they have to contact a classmate about homework/announcements before coming to class. 4. follow and comply with due dates. (CAS Citizenship) 5. frequently check Bb for class materials, announcements. 6. not use cellular phones in class unless directed to do so. Students who text in class will lose their participation points for the day. (CAS Citizenship) Incomplete: A grade of “I” will only be given in emergency situations (See SIUE’s policy in the Undergraduate Catalogue). Academic integrity: Each student in this course is expected to abide by the SIUE Code of Academic Integrity. All work submitted by a student in this course for academic credit will be the student's own work. You are encouraged to study together and to discuss information and concepts covered in lecture and the sections with other students. You can give "consulting" help to or receive "consulting" help from such students. However, this permissible cooperation should never involve one student having possession of a copy of all or part of work done by someone else, in the form of an e mail, an e mail attachment file, a diskette, or a hard copy. Should copying occur, both the student who copied work from another student and the student who gave material to be copied will both automatically receive a zero for the assignment. Penalty for violation of this Code can also be extended to include failure of the course and University disciplinary action. Any form of cheating, plagiarism, or copying answers on tests will cause the student to receive a grade of zero for the particular assignment or examination. Further appropriate actions for academic misconduct may be taken in accordance with the guidelines in SIUE’s “Student Conduct and Student Grievances: Rights and Responsibilities.” �Accommodations for students with disabilities If you are a student with a disability that requires curricular or co-curricular accommodations, please go to Disability Support Services for coordination of these accommodations. All accommodations are individualized and require documentation of the functional impacts of the disability and severity. DSS is located in the Student Success Center, Room 1270; you may contact them to make an appointment by calling (618) 650-3726 or sending an email to disabilitysupport@siue.edu. Please visit the DSS website located online at www.siue.edu/dss for more information. Grade breakdown: 1. Class attendance and participation (18%) Class attendance is mandatory. This will ensure that students have opportunities to discuss, listen and analyze the class material. Students have, however, one absence without penalty for special occasions (health issues, etc). (CAS Communication). Arriving late (10 minutes or more) or leaving early counts as half an absence. Attendance will be taken twice during each class as we will take a short break around 5:45. Students’ participation will be evaluated each class: 10 pts= excellent, 7=v. good 5=good Excellent: 10 points Participates in all activities with enthusiasm and a positive attitude. Contributes actively during whole class and small group activities; initiates interactions. Asks and responds to questions during follow-up sessions. Listens attentively while others speak. Asks a question when something isn’t clear. Very good: 7 points Comes to class prepared but does not participate with enthusiasm. Sometimes uses English during small group activities but uses Spanish during class discussion. Participation is often limited to answering instructor’s questions. Is usually an active listener while others talk. Contributes actively during small group activities. Good: 5 points Comes to class semi-prepared. Sometimes uses English during small group activities but always uses Spanish during class discussion. Participation is often limited to answering instructor’s questions. Is usually an active listener while others talk. Contributes something during small group activities. Unacceptable: 0 points Arrives 10 minutes (or more) late. Comes to class unprepared. Uses more English than Spanish when speaking with instructor or classmates. Doesn’t contribute much to getting the task done in small group work. Works on assignments for other classes, sleeps, or otherwise doesn’t pay attention. �Note: Merely showing up for class does not guarantee you will receive participation points. 2. Discussion points (8%) Each student will prepare 5 discussion questions based on the reading. These questions have to be emailed Mondays by 1 p.m. Students missing the deadline will lose 20 points every hour until 4 pm. Dates will be assigned the first day of class. Each grammar, vocabulary or spelling mistake -2. No make-ups given that there will be no more dates available (CAS Communication and Critical Thinking) 3. Quizzes (16 %) Students will complete five unannounced quizzes about the films and readings. The lowest grade will be dropped). No make-ups for these quizzes. (CAS Knowledge, Communication and Problem Framing) 4. Midterm exam (18 %) It will consist of identifications, true or false and textual explanations (CAS Knowledge, Critical Thinking and Problem Framing). No make-up unless documentation is provided. I reserve the right to determine if the documentation is appropriate. 5. Peer review (5 %) Students will anonymously provide feedback to a classmate (CAS Communication and Critical Thinking). 6. Paper (35 %) will consist of close analysis of one of the films and be five pages long with three authoritative sources. a) outline (5 %) with 1 source and thesis. Further guidelines will be given in class. (CAS Communication and Critical Thinking) b) version I (8%) Three pages with two authoritative sources. c) final version (12%) Five pages three authoritative sources, incorporating feedback. d) oral presentation (10%) It will about your paper. Graduate students a) abstract (5 %) with 3 sources and thesis to be submitted to a regional conference. Further guidelines will be given in class. (CAS Communication and Critical Thinking) b) version I (8%) Five pages with six authoritative sources. c) final version (12%) twelve pages with ten authoritative sources, incorporating feedback. d) oral presentation (10%) will consist of presenting your thesis and analysis. Note: No late work (abstract, version I, final paper) will be accepted; failure to comply with instructions (this includes mode of presentation, for instance, hardcopy versus email) will result in no credit. Percentage grading scale: 100-90 A, 89-80 B, 79-70 C, 69-60 D, 59-0 E I will round only final grades that are above .5. For instance, 79.6 will be a B �Tentative Schedule January 10: Introduction to Class. Terms for film analysis. January 17: La representación de los niños/adolescentes en el cine latinoamericano. Reading: Introduction to Representing History, Class, and Gender in Latin America and Spain: Children and Adolescents in Film and Screening Minors in Latin American Film January 24: La historia oficial (Luis Puenzo 1982) Readings: “Reaction” pages 275-280 and 284-287 From Born in Blood and Fire Mario Ranalletti: “La construcción del relato de la historia argentina en el cine, 1983-1989” January 31: Un lugar en el mundo (Adolfo Aristarain 1994) Readings: Introduction to Masculinities in Contemporary Argentine Popular Cinema “La masculinidad letrada” (Bb) February 7: Cautiva (2003) Reading: Matthew Jacobs: “The Past is never Dead’ (Bb) February 14: Infancia clandestina (2010)→Kanopy Reading: Gonzalo Aguilar: “Infancia clandestina or The Will of Faith” (Bb) February 21: midterm February 28: Rodrigo D: No futuro (Gaviria 1990) Reading: Eduardo Ledesma: “Through Their Eyes: External and Internal Focalizers in the Representation of Children and Violence” (Representing) March 7 Spring Break March 14: La vendedora de rosas (Gaviria 1998) Reading: Carlos Jaúregui & Juana Suárez “Profilaxis, traducción y ética” (Bb) March 21: La sirga (2012) Outline due Reading: Carolina Rocha “From Childhood to Adulthood” (Bb) March 28: Perfume de Violetas (2001) Version I/Peer review Reading: Tracy Roberts-Camp “Adolescent Subjectivity and Gender-Based Violence” (Screening) April 4: Individual meetings April 11: Al otro lado (2007) Reading: Juli Kroll “Embodying Childhood Social Agency in Gustavo Loza’s Al otro lado” (Screening) April 18: Güeros (2013) �Reading Jacobo Asse Dayan: “Güeros: Social Fragmentation, Political Agency, and the Mexican Film Industry under Neoliberalism” (Bb) April 25: Final paper due/ oral presentations Fecha-Película Estudiante Estudiante Estudiante Jan 22 La historia oficial Jan 29: Un lugar en el mundo Feb 5: Cautiva Feb 12: Infancia clandestina March 12: La vendedora de rosas March 19: La sirga April 2 Perfume de Violetas April 9: Al otro lado April 16: Güeros Ejemplo de conferencia The Dr. Richard (Dick) Millett Scholarship Program was established during the 2008 MALAS conference held in San Juan, Puerto Rico. The program provides support to students participating at MALAS conferences and recognizes the authors of the best student papers by awarding the annual Dick Millett Prizes. Student Papers Competition: Dick Millett Prizes Rules – 1. Student makes presentation during selected sessions. 2. Student papers should be submitted by the student to Jennifer Holmes either by regular mail or via e-mail as an attachment after the presentation. Jennifer S. Holmes, Ph.D. Professor of Political Science, Public Policy and Political Economy Program Head of Political Science, Public Policy and Political Economy School of Economic, Political and Policy Sciences The University of Texas at Dallas 800 West Campbell Road (GR3.805) Richardson, TX 75080-3021 ♦ Email: jholmes@utdallas.edu 3. A MALAS panel will review submitted papers and determine student paper winners. 4. The decision of the panel is final. 5. To be considered for prizes, written papers must be received no later than December 1, 2016. 6. Student paper winners will be so informed by the MALAS Secretary. 7. The prizes are as follows: Undergraduate Graduate First Prize $100 $100 Second Prize $75 $75 Third Prize $50 $50 �Ejemplo de competencia de artículo Undergraduate Paper Contest: Three cash prizes of $200, $100, and $50 will be awarded for papers meeting the criteria. Submissions are to be scholarly essays or research papers on any academic topic that can be understood by a lay audience. This contest is open to ANY SIUE undergraduate. Applications are due by 4:30pm Friday, March 2nd 2018: � 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. Representation of Children and Adolescents in Argentine, Colombian and Mexican 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 explores the representation of children and adolescents in contemporary Spanish American cinema from the 1980s to the present. Young characters have been used to explore issues of identity, coming of age, social inequalities, and the impact of major political events. The class will be divided in three parts, which coincide with Spanish America’s major cinemas: Argentina, Colombia, and Mexico. Each part will follow a chronological order so as to encourage students to reflect on each filmmaker’s contribution to the depiction of children and adolescents and the socio-political events represented. 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 Colombia 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. 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/360">Cautiva </a> <a href="https://cinegogia.omeka.net/items/show/367">Güeros </a> <a href="https://cinegogia.omeka.net/items/show/72">La historia oficial </a> <a href="https://cinegogia.omeka.net/items/show/377">Infancia clandestina </a> <a href="https://cinegogia.omeka.net/items/show/361">Un lugar en el mundo </a> <a href="https://cinegogia.omeka.net/items/show/375">Perfume de violetas: Nadie te oye</a> <a href="https://cinegogia.omeka.net/items/show/380">Rodrigo D: No futuro </a> <a href="https://cinegogia.omeka.net/items/show/374">La sirga </a> <a href="https://cinegogia.omeka.net/items/show/251">La vendedora de rosas</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Carolina Rocha, Southern Illinois University Edwardsvillle 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 Representation of Children and Adolescents in Argentine, Colombian and Mexican Cinema Description An account of the resource This course explores the representation of children and adolescents in contemporary Spanish American cinema from the 1980s to the present. Young characters have been used to explore issues of identity, coming of age, social inequalities, and the impact of major political events. The class will be divided in three parts, which coincide with Spanish America’s major cinemas: Argentina, Colombia, and Mexico. Each part will follow a chronological order so as to encourage students to reflect on each filmmaker’s contribution to the depiction of children and adolescents and the socio-political events represented. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/bc7d17cbfa353acd52e3402734c9a9b5.pdf?Expires=1781740800&Signature=EAVoOUN5GgcxfqvMtTrEotbiV02YPmkZMBx8HZVHtKYopK%7EwEF8jW%7EjUwvLsPqXWbNW1Mzq-CFpILXiSmhbpje9Vog7T%7E67IAF9L4BOtgOt2nS030XYfTHFVUGanW0RqHl9EosQQAnT-rjKaMYoVueEi7dLFnr8AYt2QEnp3aKn3w0rubog6a-90YCQcEBQHCbyiFG1pxV6q-SuFXInBrvfzlOySv6pPk2ATghgTW9O44NNK6NUVzY0Yp5yhqjtmqWLg3HGWjQoWT6Ig6OphsMdku66In-2l3HxZ35eNWtKDOL3L0qbTeqeTpPAR-BcLJLt-aGsJCEufMcnbVzm5vw__&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/d98b1d23faa682c725287e19b6f06314.jpg?Expires=1781740800&Signature=p0x1BxEzUrWV5J2cKKFNUpRUj9OUn6AlKw1Ztb1vTDwKJmEmcSrjDD70vFe5TmS-UmtMT84iF8DCF-SVIW-18Fib0fFReElklRPmGyWEwBU8t5FmveHZCRuiAy8SCmBEJVsaihhVuZjo--ORiWb7aiHUbSK5TVDqp-NjDjf4GCI1KzFNoK-brylIx3BFuusoobQNrJI1Jhv%7EBvEc2zR86VJC829kprP2e2dSt-FR43bInOffupekyelIB1hsepa8aqT5cTUOQ7Z0zoUQq6VXPTQKdu8LW9SSAMpwH%7EGI5%7EW42lqifjKMRayTjg-SUtuQTfQyDo1rQix0EK39YbYxAw__&Key-Pair-Id=K6UGZS9ZTDSZM 2e8ca36cae390d3e55fecd745769c262 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 vendedora de rosas Title The Rose Seller Director The director of the film. El/La director/a de la película. Víctor Gsviria Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 1998 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. Colombia 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. Producciones Filmamento 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 Rose Seller” is the second feature-length film made by Colombian poet and filmmaker Victor Gaviria. The story follows the fortunes of a group of girls in their early teens, all separated from their families and making a living for themselves in the rough, selling roses in late-night clubs, sometimes selling themselves, going out with drug-dealing teenage boys, stealing money to buy new clothes and sniffing glue to fill the desperate emptiness with passing visions of lost family and friends. (<a href="https://www.filmaffinity.com/en/film150105.html" target="_blank">Film Affinity</a>) "The Rose Seller" es el segundo largometraje del poeta y cineasta colombiano Victor Gaviria. La historia sigue la suerte de un grupo de chicas adolescentes, todas separadas de sus familias y ganándose la vida por sí mismas, vendiendo rosas en clubes nocturnos, vendiendo su cuerpo a veces, saliendo con adolescentes que trafican drogas, robando dinero para comprar ropa nueva y oliendo pegamento para llenar el vacío desesperado con visiones pasajeras de la familia y de los amigos perdidos. (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. 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. Relationships / Relaciones 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 vendedora de rosas Description An account of the resource “The Rose Seller” is the second feature-length film made by Colombian poet and filmmaker Victor Gaviria. The story follows the fortunes of a group of girls in their early teens, all separated from their families and making a living for themselves in the rough, selling roses in late-night clubs, sometimes selling themselves, going out with drug-dealing teenage boys, stealing money to buy new clothes and sniffing glue to fill the desperate emptiness with passing visions of lost family and friends. (Film Affinity) https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/c6807a7a152cd0151cf4a254f803676b.jpg?Expires=1781740800&Signature=dsWiUBHnKDP00fYF0v7nJUIxPVIg-RmFxRN3KS4WNLY8vmBIHx1bDg6-OOcMVSrKV5bjB1IbiwDQLwbtU%7EvGTZ1wT6WjD2RqZvNKFmclFIQ8RK%7E5juvirRflXeKS6hIY17dtAjEvSt35rBysHf8X1JQx7pkxs-sj8SB3QuddwdEg4c%7En8jNzw%7EZCUWPwx07r9qSgfIp3gTYRjayaPKSIVgilYLQSYzLBLDkceRQnPOd-ROcJsBbPmmd8OrBXrF3TuiluT38VLzvd3N58tnIaL4nzQukpHsivmdt2A%7E69w6wYaxvMeSUVUqioYvKQmtDZlct6Ow%7E3OcD-jjTaDWM2uw__&Key-Pair-Id=K6UGZS9ZTDSZM 47214e22d2f50abae76f5c09aaa28761 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. Chircales Title Brickmakers Director The director of the film. El/La director/a de la película. Marta Rodríguez; Jorge Silva 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. Colombia 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. Embajada de Francia ; Fundación Cine Documental 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. Castañeda's family, due to its extreme poverty, lives under the domination of the landowners and stewards who give shelter to its members in return for their work in the brickmaking, where everyone, even the youngest children, should make bricks. (<a href="http://cinelatinoamericano.org/" target="_blank">Portal del cine y audiovisual Latinoamericano y caribeño</a>) La familia Castañeda, por su pobreza extrema, vive sometida a la dominación de los terratenientes y de los mayordomos que les dan albergue a cambio de su trabajo en los chircales, donde todos, desde los niños más pequeños hasta los adultos, deben fabricar ladrillos. (<a href="http://cinelatinoamericano.org/" target="_blank">Portal del cine y audiovisual Latinoamericano y caribeño</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. 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. Underdevelopment / Subdesarrollo Urban Life / Vida urbana 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 Chircales Description An account of the resource Castañeda's family, due to its extreme poverty, lives under the domination of the landowners and stewards who give shelter to its members in return for their work in the brickmaking, where everyone, even the youngest children, should make bricks. (Portal del cine y audiovisual Latinoamericano y caribeño)