Browse Items (63 total)
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Oiga vea!
Documental sobre el efecto de los VI Juegos Panamericanos en la ciudad de Cali, vistos desde el punto de vista de la gente que no pudo entrar a los estadios. (Luis Ospina) -
Latin American Documentary
This course will investigate Latin American documentary by focusing on three important topics in Latin American cultural studies. We will screen recent and historical documentaries about (1) underdevelopment and poverty, (2) the history and memory of the Southern Cone military dictatorships, and (3) popular culture and folklore. These three topics will provide material for an investigation of documentary form. With respect to each topic, we will consider how the resources of documentary filmmaking are employed to frame the same subject matter in different ways. -
Latin American Cinema: 1930 to the Present
This course is a survey of Latin American cinema that spans from the 1930s to the present. Topics will include Mexican Golden Age cinema as well as the New Latin American Cinema of the 1960s and 1970s and contemporary new new waves. The course will examine key films in the history of Latin American cinema including María Candelaría (Emilio Fernandez, 1944), Memories of Underdevelopment (Tomás Gutiérrez Alea, Cuba,1968), and The Jackal of Nahueltoro (Miguel Littín, 1969) as well as accomplished contemporary productions such as Edifício Master (Eduardo Coutinho, 2002) and Neighboring Sounds (Kleber Mendonça Filho, 2012). The course will put these films in dialogue with key debates within Latin American cultural studies including debates around national culture, national identity, aesthetics and politics, and underdevelopment. In many cases, we will compare filmic treatments of these questions from different countries and from different time periods. -
Después del cine latinoamericano: Tradición y renovación
Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea. -
Contemporary Latin American Film
A study of a specific group of Latin American films in relation to their specific cultural and historical contexts. -
Cine latinoamericano: re-definiendo identidades siglo XXI
Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea. -
Los colores de la montaña
Manuel, 9, has an old ball with which he plays football every day in the countryside. He dreams of becoming a great goalkeeper. His wishes seem set to come true when Ernest, his father, gives him a new ball. But an unexpected accident sends the ball flying into a minefield. Despite the danger, Manuel refuses to abandon his treasure... He convinces Julián and Poca Luz, his two friends, to rescue it with him. Amid the adventures and kids' games, the signs of armed conflict start to appear in the lives of the inhabitants of 'La Pradera'. (IMDB) -
Los colores de la montaña
Manuel, 9, has an old ball with which he plays football every day in the countryside. He dreams of becoming a great goalkeeper. His wishes seem set to come true when Ernest, his father, gives him a new ball. But an unexpected accident sends the ball flying into a minefield. Despite the danger, Manuel refuses to abandon his treasure... He convinces Julián and Poca Luz, his two friends, to rescue it with him. Amid the adventures and kids' games, the signs of armed conflict start to appear in the lives of the inhabitants of 'La Pradera'. (IMDB) -
Rosario Tijeras
Medellín, 1989. Antonio brings Rosario to the hospital; she's shot, bleeding badly. Flashbacks, mixed with Antonio's wait at the hospital during her surgery, tell the story: Antonio and Emilio are friends; Emilio attracts women, but is never serious about any until he meets Rosario, who has a mysterious connection to the underworld. Emilio falls for Rosario; she likes him, but she keeps their relationship compartmentalized, apart from her work. Antonio is the loyal friend who slowly falls in love with her and sticks by her in ways Emilio is incapable of. She begins to see that real love might be possible. Is it all moot in Medellín's violent landscape, or is there hope? (IMDB) -
El impulso documental en el cine latinoamericano
Este curso pretende ofrecerles a los estudiantes una introducción al cine latinoamericano al trazar su trayectoria histórica desde el cine mudo al presente, al examinar diferentes contextos y modos de producción, y al analizar diferentes tendencias estéticas. A la vez, se propone darles una introducción al análisis fílmico al familiarizarles con los términos especializados y con varias líneas críticas que han surgido del campo de los estudios fílmicos. Este trimestre nos enfocaremos en el documental y, más ampliamente, en el “impulso documental” el cual se hace evidente en películas que se suelen caracterizar como de ficción. -
Rosario Tijeras
Medellín, 1989. Antonio brings Rosario to the hospital; she's shot, bleeding badly. Flashbacks, mixed with Antonio's wait at the hospital during her surgery, tell the story: Antonio and Emilio are friends; Emilio attracts women, but is never serious about any until he meets Rosario, who has a mysterious connection to the underworld. Emilio falls for Rosario; she likes him, but she keeps their relationship compartmentalized, apart from her work. Antonio is the loyal friend who slowly falls in love with her and sticks by her in ways Emilio is incapable of. She begins to see that real love might be possible. Is it all moot in Medellín's violent landscape, or is there hope? (IMDB) -
Confesión a Laura
The action is situated in Colombia on April 9, 1948, date in which took place the famous "Bogotazo". It is a story of love frustrated by political circumstances. Laura, a spinster schoolteacher, lives to Josefina and Santiago, public employee. The three characters will be besieged by 24 hours, targeted by snipers, will be forced to show such which are or they would have liked to be. (IMDB) -
Confesión a Laura
The action is situated in Colombia on April 9, 1948, date in which took place the famous "Bogotazo". It is a story of love frustrated by political circumstances. Laura, a spinster schoolteacher, lives to Josefina and Santiago, public employee. The three characters will be besieged by 24 hours, targeted by snipers, will be forced to show such which are or they would have liked to be. (IMDB)