1 50 9 https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/b5e48171ccf5e6fa51d90eb31aab4a62.jpg?Expires=1792627200&Signature=UmeRuKvbtjAXKKPdv9pQrWGFkCtdu1lXCZQcxha2rn8ovJx%7EQxypHya1AfsA4kpHKhe%7Ec42w4OzJjeyK-voe0NxIL6Gx8crm0iDBrNQtpVcG3qHuRP7QCqO3IcUA%7EmDGYUfrb3A2BbpzCn40P2lJkww0PGXzye-3aqkU6s1HVFta619zMwHPaIbdqi0OFOAOla4Ql0F1Zl%7E5nZ3ZX-ndhFziClMNcE91sx0rRNN33JirsRKYIjw5nQK4OT2pqrl-CPI9jOshZmB-wx78g0R69CC8cg27f7xlQEW8jspvpopEFN11tBoBBhah3zYPedvmApZWsxW-XbjsQyDPY2%7Eisw__&Key-Pair-Id=K6UGZS9ZTDSZM f0f8469118790edf3ffda0a182b6f404 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. 108 (Cuchillo de palo) Title 108 Director The director of the film. El/La director/a de la película. Renate Costa Perdomo 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 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. Paraguay 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. Rodolfo fue el único hermano de mi padre que no quiso ser herrero como mi abuelo. En el Paraguay de los ochenta, bajo la dictadura de Stroessner, quería ser bailarín. Esta es la búsqueda de las huellas de su vida y el descubrimiento de que fue incluido en una de las 'LISTAS DE HOMOSEXUALES O 108', arrestado y torturado por ello. Todavía hoy en Paraguay cuando te dicen '108' te están diciendo 'puto, maricón' y es una ofensa grave. Durante más de una generación, el tiempo que duró la dictadura de Stroessner, los hombres que despertaban sospecha de ser homosexuales o contrarios al régimen eran el blanco preferido de los 'pyraguë' (vecinos colaboradores con el régimen). La historia de Rodolfo desvela una parte de la Historia escondida y silenciada de mi país. Una película donde se enfrentan dos generaciones, la que ha vivido la dictadura y calla y la que viviendo en democracia no tiene nada que decir porque desconoce el origen del significado de '108'. El silencio sigue instaurado. (<a href="https://www.elmundo.es/elmundo/trailers/fichas/2011/12/6771_108_cuchillo_de_palo.html" target="_blank" rel="noreferrer noopener">ElMundo</a>) When Rodolfo Costa was found naked on the floor of his home in Paraguay, he had been dead for days. Though ostensibly jobless, he had mysteriously amassed a small fortune. He also had a secret alias - Hector Torres - and a secret life. At the time. Renate Costa Perdomo was a young girl. Asked to select her uncle's burial garb, she found his closet empty. Surely the lively, colorfully-dressed Rodolfo she knew could not, as those around her claimed, have died of sadness. In her powerful debut feature, which unfolds like a mystery novel, Costa Perdomo investigates the shadowy circumstances of Rodolfo's death. Witnesses and clues gently reveal Rodolfo's true identity as a persecuted gay man and the terrifying "108" homosexual blacklists that ruined lives, careers, and families. The film is also a fascinating portrait of the relationship between the filmmaker, who has left Paraguay and now lives in Spain, and her now-divorced father, Pedro Costa, who remains in the family blacksmithing shop. 108 is a moving illustration of the impact that the right-wing dictatorship of Alfredo Stroessner, who ruled Paraguay from 1954 to 1989, had on the so-called "108"s living in the country as experienced by a single Paraguayan gay man and his family. (<a href="https://icarusfilms.com/if-108" target="_blank" rel="noreferrer noopener">Icarus Films</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. Authoritarianism / Autoritarismo Human Rights / Derechos humanos LGBTQ people / Personas LGBTQ Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo 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. Estudi Playtime (Spain) Fondo Municipal de Desarrollo Cinematográfico de la Ciudad de Asunción - Fodecica (Paraguay) 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 108 (Cuchillo de palo) Description An account of the resource Rodolfo fue el único hermano de mi padre que no quiso ser herrero como mi abuelo. En el Paraguay de los ochenta, bajo la dictadura de Stroessner, quería ser bailarín. Esta es la búsqueda de las huellas de su vida y el descubrimiento de que fue incluido en una de las 'LISTAS DE HOMOSEXUALES O 108', arrestado y torturado por ello. Todavía hoy en Paraguay cuando te dicen '108' te están diciendo 'puto, maricón' y es una ofensa grave. Durante más de una generación, el tiempo que duró la dictadura de Stroessner, los hombres que despertaban sospecha de ser homosexuales o contrarios al régimen eran el blanco preferido de los 'pyraguë' (vecinos colaboradores con el régimen). La historia de Rodolfo desvela una parte de la Historia escondida y silenciada de mi país. Una película donde se enfrentan dos generaciones, la que ha vivido la dictadura y calla y la que viviendo en democracia no tiene nada que decir porque desconoce el origen del significado de '108'. El silencio sigue instaurado. (<a href="https://www.elmundo.es/elmundo/trailers/fichas/2011/12/6771_108_cuchillo_de_palo.html" target="_blank" rel="noreferrer noopener">ElMundo</a>) https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/7ca419a9c75bfa070a3d454f71c02ec9.pdf?Expires=1792627200&Signature=EXmmo1FAj5ND1fQ2dGQyFaENmSvEh5ZlKZpOxS49KZ5jjkgZJgTdfV-5Re%7ECavZiyDkDfla9MqqXgkLdxL0nnlGn4lfYTB0AAnQx0nNQxSOTYSztS0Yci9W8l9hwsGanJJADMhTSw9-Sl1SEpViQc6fU6vej-P2ZcPB20xxKqpPEmb4DnF%7EVP%7ET1%7EUZxnbovyOjoWhpq-wjFVqyB00CHg4pZJqe4%7ET9hSW3NidP7Sd413HlYL9c-o96h9aldUlOQVsEgfrJu5ax47EUAaPJVjv1CH%7E0Ru0kL4dNlfShivInzw4m03OPkDkF12HRZqCI%7EcsqbIYU9%7EkZNRpsz6BrshA__&Key-Pair-Id=K6UGZS9ZTDSZM 7e221f2a5b479e920dfb697cafd724c8 PDF Text Text SPAN 4999: Spanish Capstone Research Seminar: Documentary as Civic Engagement in Latin American and Latinx Film Professor: Dr. Michelle Leigh Farrell Email: mfarrell3@fairfield.edu Class: Once a week, 2.5 hours Office Hours: see below for more details Brincando el charco: Portrait of a Puerto Rican (Negrón-Muntaner 1994) I. Brief Course Description In this course we examine the documentary genre in film and its participation in the public sphere as filmmakers and their audiences demand or create justice in pursuit of participation in Latin America and among Latinx communities. We see how a range of documentarians and their subjects use film to not only hold their communities and governments accountable, but also surface buried stories, and serve as alternative public platforms to reframe memory. We see how, in some communities, through the use of small screens and phone cameras, people write themselves into a more plural and inclusive history. We will examine the theoretical frameworks and documentaries coming from Latin America and Latinx communities on the topic of documentary as justice, while analyzing key documentaries that have used the genre to reveal and remember buried stories. This course and the documentaries analyzed will be in Spanish and as such we recognize our privilege interacting with these materials as Spanish-speakers and students of Spanish as another level of engagement, activism, and community. As we examine the voices captured in these texts celebrating, narrating, criticizing, and challenging terms such as the limits of the documentary genre, democracy, nation, sovereignty, racism and gender, we too will continue to develop our own voices using the written word scaffolding our writing through a low-stakes and higher-stakes on-going practice. We will use writing throughout the course to think through texts, shape our own voices in Spanish as well as respond to each other to foster a supportive community of thinkers, writers, and Spanishspeakers. II. Learning Goals and Outcomes (WHAT) This is a Davis Grant informed course on Democracy and Civic Engagement. (HOW) This is a Writing in the Disciplines [WID] course in the Magis Core and thus has two sets of complementing goals. 1 �Davis: Democracy and Civic Engagement Course: a. Context Analysis Goal: to facilitate critical thinking about changing notions of what documentary and democracy mean and who is able to participate fully in civic life Outcome: students will articulate examples of historical exclusions, comparative experiences, and current threats to democracy b. Values/Ethics Goal: to promote civic engagement and reflection based on inclusion, participation, openness, intercultural understanding, and difference Outcome: at the end of project activities, students will participate in experiential learning to foster community engagement in civic contexts on and off campus c. Skills/Methods Goal: to cultivate constructive civic engagement with people from all walks of life. Outcome: at the end of project activities, students will demonstrate empathetic listening, civic reflection, deliberative dialogue, consensus building, and conflict resolution. Writing is central to our course to explore materials, strengthen our writing skills, recognize ownership of ideas through MLA citation and engage in contributing to a community of writers. That is why this syllabus is embedded with many opportunities to write, practice, engage, and respond since writing is a consistent process. As a WID Course students will: a. Use writing as an instrument of inquiry across a variety of writing situations, both formal and informal; b. Respond to and use responses to drafts in revision to demonstrate metacognitive awareness about their writing; c. Engage in writing that explores and responds to texts or other content in a discipline in ways that deepen student understanding, and communicate that understanding in rhetorically appropriate ways that provide information to others; d. Make choices reflecting their awareness of purpose, audience, and the rhetorical context of the discipline in which they write; and e. Employ the forms of attribution appropriate to academic discourse. (MLA Formatting and style guide as well as citation) 2 �III. Films and Readings All films and readings are available through Bb except for those from film festivals (see below). You will virtually “attend” two film festivals during the semester to review films released this Fall during the Pandemic. You will pay to see one of these films (BLIFF). Your writing can be extended into reviews for consideration for professional publication so that your voice on the latest films coming from Latin America is heard. This is a wonderful opportunity. I realize that finances are difficult this year-and that is why I decided to include only PDF and open access texts with the hopes to support emerging filmmaking through your clicks. The course materials will cost about $18 for the semester-which is 1/10 of the cost of the film studies textbook. If there are financial difficulties, please contact me with sufficient time so that I can work with you. IV. • • • • • • • • Grading: Participation (in-class, in-class activities, pair work quip notes, scribe): 10% Weekly Blackboard writing 15% Film Review/annotation 5% Presentation: 10% Abstract: 5% Annotated bibliography: o First set 10% o Second set 10% First Draft 15% Final Draft Final Paper 20% I. Participation: As we begin to find ways out of the current pandemic, participation takes different forms and remains central to our class community. It means supporting our own and each other’s learning while contributing to a class community. We will each write a personal reflection on our in-person or cyber participation depending on the health needs of our community- meaning how we have supported our own learning as well as that of our peers throughout the course. As part of your participation, we have a Quip doc where you will each share your in-person, pair or breakout room work, course notes, and new vocabulary terms so that the material is centrally located for you to access to prepare for presentations, and in/formal writing. https://fairfield.quip.com/XbOUAXNr7sKf/Course-notes-from-group-breakout-rooms 3 �Participation means: o Speaking solely in Spanish during session, breakout rooms, and projects without professor’s prodding o Arriving to or signing in to class on time with texts thoughtfully read o Offering your comments and making connections from one-week to the next voluntarily without professor’s prodding o Writing short notes in our shared Quip archive to remember so that you volunteer to report back from breakout rooms on behalf of your group o Considering the course as a space for reflection on your own social identities, cultural values, and privilege and sharing whether in comments, written form, board writing, or shared Quip archive, or sharing in your twice per semester Participation reflection o Volunteering to add to class discussion in -person or zoom chat to build the conversation o Working as a true equal in pair assignments (peer editing, in-class activities, actively listening for directions or questions to discuss, peer comments, breakout rooms, in-person work, leading the reflections) o Adding to class community through peer comments, peer work, sessions, breakout rooms and google doc-independently staying in Spanish o Focusing on the session instead of other websites, birds, phones, or other people o Turning in weekly Bb informal 250-word posts, presentations, and formal papers on time o Consulting syllabus and Bb frequently to answer questions as well as checking email/syllabus to stay on top of work, public health changes, and upcoming due dates o Remembering that being in-person reflects privilege, finding ways to show up, and be there when not all of us have that privilege II. Weekly Blackboard writing [WBW] This is a weekly 250-word writing assignment due each Wednesday by 10:00 am on that week’s Discussion Board. Plan ahead as late posts do not count for credit in order to respect our classroom community and our momentum. Choosing one of the writing prompts, you will reflect on an aspect of the week's reading or film before coming to class. Use discussion board to draw connections from the previous and current readings as well as historical presentations. This will serve as a consistent space to think through what you have seen, heard, thought of, as well as work on your writing skills. Throughout the semester, I will dedicate myself to offering comments on the overall documents and within the text itself. To see all writing comments and suggestions via Bb, make sure to consult the right-hand comments, as well as the comments within the document-these are not able to be seen on your phone. To see the full array of comments, corrections, suggestions, and changes needed to make on future drafts or in your writing practice, you open the document on a laptop or computer. I will often times write in Spanish correction shorthand (t.v., m.v., ref, rel, etc.). To strengthen your Spanish writing, you will consult the Shorthand correction guide for Spanish available on Blackboard under the ‘information’ tab. 4 �In class we will discuss what you have written as well as quotes from the readings and screenshots. Come to class having reviewed your writing before to share your thoughts in pair activities, brainstorms, breakout rooms, class discussions, and the chat. These are public pieces as such I expect that you read the works of your peers without repeating what they have said. Edit these short assignments before posting since it is where you will continually practice your Spanish. I will grade these Bb 250-word posts for content--you will receive credit for completing them (if you submit 6 out of 8 on time you will earn a grade of 75 for the semester’s Bb grade). I reserve the right to periodically grade them for grammar as a form of a pop quiz to ensure that you are editing and practicing your best Spanish. The three formal papers will build directly on these assignments. III. Historical/Contextual Presentation: You will prepare a 10-minute succinct, and helpful presentation to share the key historical points that we will need to know before viewing our next film. You will view the following week’s film one week earlier and present the historical context before the end of the previous class to help set the scene for the film. Does the film reference a time period that we need to know about? A court case? A past event? Could you explore further the important historical event beyond the basic information in Wikipedia? Does it try to re-construct the past? Is there a president that the film makes reference to that you can situate for us? Is there something specific about the political situation that possibly since the making of the film has changed? The purpose is for the class to contextualize this documentary’s look at the past or current situation. Writing is a process and not a product: “You don’t start out writing good stuff. You start out writing crap and thinking it’s good stuff, and then gradually you get better at it. That’s why I say one of the most valuable traits is persistence.” ~Octavia E. Butler In our path towards conducting independent capstone research, we will commit to drafts, responding, listening, and re-writing for our own work and each other’s. We will strive towards building something that most clearly reflects our argument. We will walk together through this process. To remain up to date with the various stages of the research timeline students will turn in the various aspects of their research throughout the semester and check the syllabus to keep key dates in mind. I will accompany you in this research process and meet the deadlines alongside of you in our course discussion board for an article that I am writing for publication. This way we each contribute to a community of writers willing to give supportive and timely feedback on the multiple stages of our writing and be vulnerable with our drafts. 5 �IV. Stages of the Research Paper: A. Abstract: You will submit a 250-word abstract to the Blackboard Discussion Board describing the topic and aims of your original research paper. The abstract should clearly present the subject of your research, and also include a description of the investigative questions you will tackle and the sources you will use. B. Annotated bibliography: You will submit two annotated bibliographies: First: three sources Second: three sources The assignments will model a professional research process. For the annotated bibliographies you will choose three academic articles, books, or films that you have found through the following databases on the library website—JStor, Hapi online [Hispanic American Periodicals Index], Hispania, Hispanic Review, etc. You will first write the bibliographical information for the source using MLA format. For information on MLA see http://owl.english.purdue.edu/owl/ You will synthesize the information in a half page detailed summary of the source answering the following questions: ● What is the main idea of the article/book/or film? ● How do the authors make their argument? Using film, theory, close-textual analysis? ● What examples from class readings, literature, culture or history does the author analyze? ● How could this source possibly support your research interest? ● Is there an aspect about this article that draws you to engage with the article? ○ Does the article fill in an information gap in the field or in your own understanding about a specific event or concept? ○ Does the article offer an idea that you disagree with and will serve as a foil to your opinion or argument? ○ Has the article helped form or reframe an opinion? ● What is this article missing? ○ How could you improve this article? ○ How will your work create a dialogue with the work presented here? ○ How will use this information in your own paper? ○ Will you apply a similar approach as the authors to another documentary? Each annotated bibliography entry should be about 1-2 pages for a total of 4-6 pages, Times New Roman, size 12 double spaced, margins 1.” After you turn in these annotated bibliography entries, you will receive feedback via Blackboard. Reading your fellow students’ work will strengthen your own writing. 6 �C. First Draft Research Paper: The first draft of your research is due by the start of class to our Blackboard Discussion Board. The first draft includes a full introduction, conclusion, and body of the paper. Based on the comments from your instructors and your fellow peers, you will then revise the draft for final submission at the end of the semester. We will use the written work rubric to grade the first draft. You will be able to increase a maximum of 10 points for the final draft-this will encourage you to write your strongest first draft, and design the argument of your paper. 7-15 pages D. Final Research Paper: Your work over the course of the semester will work towards a 12-15 pages, argument-based research paper on a topic of your choosing. The paper will draw from at least five additional secondary sources - either books or peerreviewed academic journals (available on databases such as Jstor through the library) - and corresponding primary sources. Many or all of these sources will come from your annotated bibliography assignments. The final research paper is the opportunity for you to demonstrate your understanding of the major themes, events, and trends we have analyzed during the semester. You will turn in your final paper via Discussion Board by the time of your scheduled final exam. Formatting is 10% of each grade: Times New Roman, 12-point font double-spaced, one-inch margins, to cite additional works or lectures use: Consult the MLA formatting guide. It is a key part of writing full-length research papers as the formatting represents the language used to fairly cite the materials that we reference. https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/ml a_formatting_and_style_guide.html Fostering our Class Community During and Between Sessions: COVID-19 Considerations COVID-19 has upended how we learn and teach. Our class begins with an acknowledgement that students may be facing new personal and academic challenges, and that the pandemic has intensified existing inequities in our communities, on and off campus. In this class, we will prioritize supporting one another to foster intellectual nourishment and social connection. As per University regulations, masks are required for all students, faculty, staff, and visitors inside University facilities. We will wear masks inside the classroom at all times to protect one another. To mitigate the risk of transmission, we will also take other pre-cautions. Food and drink are not permitted in class. Please bring a face mask that fits: it should not droop and should fit snugly. If a student comes to class with an ill-fitting mask, s/he/they will be asked to leave the class to adjust their mask or to procure a better-fitting one. 7 �Community Norms: this is a community where we discuss representations of ethnicity, race, gender, stereotypes, and power. 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 representations and narratives that are omnipresent but far from neutral. We will create a community of learners courageously reflecting on the materials we examine. To create a class community, we hope that you will use your voice, presence and video to share your voice and face during the class session. We need to show up for each other and that means making community in times of world struggle and isolation. Please use the “smudged out” background option on Zoom to help us all focus on speakers and not their backgrounds. 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 (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. More information on Office Hours: XXX - XXXX My office is small and does not allow for social distancing. To ensure an opportunity to meet in a safe environment office hours this semester will be held via zoom. For in person office hours during this time I can meet outside between Canisius and Donnarumma (see picture)-weather permitting and will simultaneously keep my zoom office hours open as well. It is a sunny spot on campus where I enjoy reading and writing. 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 and films 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 synchronous instruction with me in person (or, if the pandemic decides, via zoom), and asynchronous work (via discussion board, drafts, homework, feedback, reading etc.). Each part is essential in the learning process and contributes to consistent attendance. 8 �Missed Class Policy: If you miss a Wednesday class session, it is your responsibility to obtain the notes from a fellow classmate. I will also meet with you during office hours to discuss course content or questions you have after reviewing the posted online lesson plan (see Bb->lesson plans-> scroll down to date), class Quip folder for communal notes, and after reviewing work with a classmate. The Dept. of Modern Languages & Literatures’ expects students to attend all scheduled class sessions. The Dept. policy allows students to miss the equivalent of one week of coursework without loss of credit. In this turbo course that would mean one excused absence. Each absence after the first will result in a reduction of your final grade by 2.5 points per additional absence. A student with two absences and a final grade of 87 will earn a grade of 84.5. According to the Dept policy after six absences, the student will earn an F for the course. To respect our class community and the course discussion-two late arrivals, (of five minutes or more) or Zoom signins will equal one unexcused absence. This also includes arriving to scheduled meetings with your partners on time. We realize that these are unforeseen times coupled with health difficulties. That is why you and I need to be in contact with each other, via email, Bb, and zoom to make sure that we are okay and supported. As we have learned with this pandemic, the world is unpredictable. If you or someone you are responsible for becomes seriously ill, expectations for attendance will be modified as neededplease remain in contact with me and your classmates to continue to foster a classroom community. 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, I will respond to emails sent to me after 6pm the following day. Email Etiquette: 1. 2. 3. 4. Use formal writing in emails (it is a useful space to practice) Start your email with a greeting, not with Hey. (Estimada, Querida, Buenos días) You can refer to me as Dra. Farrell, Profesora Farrell, Profe Make sure you have double-checked your syllabus and Bb before you ask a question that is already answered in this document or on Bb 5. Write in Spanish as much as you can-let’s practice. 6. Conclude all emails with a closing such as (Saludos, gracias, muchas gracias, aprecio su tiempo, espero su respuesta, agradezco su tiempo, que pase un buen día, many thanks, regards, best, thank you for your time). This is another way to use Spanish less-practiced in the classroom. 9 �Health and Wellbeing: Students sometimes feel overwhelmed, lost, experience anxiety or depression, struggle with relationship difficulties or diminished self-esteem. Counseling & Psychological Services helps students cope with difficult emotions and life stressors. Counseling & Psychological Services offers confidential services provided by experienced, professional psychologists and counselors, who are attuned to the needs of college students. Counseling & Psychological Services is free for full-time undergraduate students. For more information, contact counseling@fairfield.edu or by calling (203) 254-4000 ext. 2146. https://www.fairfield.edu/graduate-and-professional-studies/student-life-and-resources/healthand-wellness/uwill/index.html 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 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 Support Services: Fairfield University is committed to providing qualified students with disabilities an equal opportunity to access the benefits, rights, and privileges of its services, programs and activities in an accessible setting. In compliance with Section 504 of the Rehabilitation Act, the Americans with Disabilities Act, and applicable state law, the University provides reasonable accommodations to reduce the impact of disabilities on academic functioning or upon other major life activities. If you have a documented disability and wish to discuss academic accommodations, please contact the Office of Accessibility. Documentation should be uploaded to the student’s accessibility profile through my.fairfield.edu. Students can also confidentially submit the documentation to the OOA via:ooa@fairfield.edu 10 �COURSE SCHEDULE -------------------------------------------------Sep 8 Introduction to the course Logistics, Bb, timeline, dates and information Annotate Syllabus in Quip (pairs) Annotate Community Guidelines in Quip (pairs) First writing in class: Each person- in Quip: What is documentary? What is democracy? What is civic engagement? Sep 15 What is documentary film? What can it do? Film: Cuban Contemporary Shorts (Aram Vidal-Degeneración, Ex-generación, Rodríguez-Buscandote la Habana, Pardo-OffLine, Fajardo-Adónde vamos) 2006-2014 available on YouTube Due Weekly Blackboard writing [WBW] Sep 22 Whose story do we see? Who writes “history”? Who remains invisible? Film: Nana: The Lives of Live-In Nannies. Dominican Republic. 2015. Kanopy Readings: Bb Due Weekly Blackboard writing [WBW] Sep 29 Meet in Nursing classroom: Egan/NHS room 204 Film: No Más Bebés. Directed by Renee Tajima-Peña, Moon-Canyon Films, 2013. Kanopy Readings: Bb Due Weekly Blackboard writing [WBW] Oct 6 Discuss Boston International Latino Film Festival Reminder: COMING UP Boston International Latino Film Festival: http://www.bliff.org/ Choose one of the following docs to view: Please note times to see films: • Dreams of Chonta • Fruits of Labor (only available Sept. 29 - 30) • On the Divide (only available Sept. 30 - Oct. 3) WRITE FILM REVIEW/Annotated bib (1) see Bb Annotate formal writing rubric in Quip Abstract writing workshop in pairs in class Presentation 1: Oct 13 Topic: Modes of documentary Film: Otra Isla. Cuba. Directed by Heidi Hassan. (Kanopy) Readings: Bb Due Weekly Blackboard writing [WBW] Presentation 2: 11 �Oct 20 Film: Los Rubios. Argentina. Directed by Albertina Carri. 2003. (Kanopy) Readings: Bb Due Weekly Blackboard writing [WBW] Due Abstract due Workshop on how to write an Annotated bibliography Presentation 3: Oct 27 Film: 108 Cuchillos de palo. Paraguay. Renate Costa. 2012. (YouTube) Readings: Bb Due Weekly Blackboard writing [WBW] Due Annotated bibliography I Nov 3 Film: Sueños al pairo * Filmmakers visit. (Film in festival circuits still-see link) Due Weekly Blackboard writing [WBW] Nov 10 Film: Film Festival: Yale Iberian Film Festival 7 al 9 de noviembre Due Weekly Blackboard writing [WBW] Choose film to write about Due Annotated bibliography II Presentation 4: Nov 17 Film: Brincando el charco: Portrait of a Puerto Rican (Puerto Rico, Frances NegrónMuntaner 1994) Kanopy Due Weekly Blackboard writing [WBW] Presentation 5: Nov 24 Holiday- Thanksgiving Dec 1 Taller de escritura IDEA Form in Class First Draft Writing workshop peer session. Incorporating comments. Meet with professor 20-minute session post class-sign up via Bb. Dec 8 Presentation of your research Written reflection via BbWhat is documentary? What is social justice? What is a search for democracy? Final version of formal paper is due Weds December 22nd at 3:00 pm through Blackboard. Thank you for being part of our community of thinkers and writers this semester. 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. Documentary as Civic Engagement in Latin American and Latinx 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. In this course we examine the documentary genre in film and its participation in the public sphere as filmmakers and their audiences demand or create justice in pursuit of participation in Latin America and among Latinx communities. We see how a range of documentarians and their subjects use film to not only hold their communities and governments accountable, but also surface buried stories, and serve as alternative public platforms to reframe memory. We see how, in some communities, through the use of small screens and phone cameras, people write themselves into a more plural and inclusive history. We will examine the theoretical frameworks and documentaries coming from Latin America and Latinx communities on the topic of documentary as justice, while analyzing key documentaries that have used the genre to reveal and remember buried stories. This course and the documentaries analyzed will be in Spanish and as such we recognize our privilege interacting with these materials as Spanish-speakers and students of Spanish as another level of engagement, activism, and community. As we examine the voices captured in these texts celebrating, narrating, criticizing, and challenging terms such as the limits of the documentary genre, democracy, nation, sovereignty, racism and gender, we too will continue to develop our own voices using the written word scaffolding our writing through a low-stakes and higher-stakes on-going practice. We will use writing throughout the course to think through texts, shape our own voices in Spanish as well as respond to each other to foster a supportive community of thinkers, writers, and Spanish-speakers. 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 Cuba Dominican Republic / República Dominicana Mexico / México Paraguay Puerto Rico Region / Región The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso. Caribbean / Caribe 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. Contemporary / Contemporáneo Films taught / Películas Adónde vamos <a href="https://cinegogia.omeka.net/items/show/351"></a><a href="https://cinegogia.omeka.net/items/show/353">Buscándote Havana</a> <a href="https://cinegogia.omeka.net/items/show/557">Brincando el charco: Portrait of a Puerto Rican</a> <a href="https://cinegogia.omeka.net/items/show/787">108 (Cuchillo de palo)</a> <a href="https://cinegogia.omeka.net/items/show/351">Degeneración</a> <a href="https://cinegogia.omeka.net/items/show/350">Ex-generación</a> <a href="https://cinegogia.omeka.net/items/show/343">OffLine</a> <a href="https://cinegogia.omeka.net/items/show/500">Nana: The Lives of Live-In Nannies</a> No más bebés <a href="https://cinegogia.omeka.net/items/show/839">Otra isla</a> <a href="https://cinegogia.omeka.net/items/show/148">Los rubios</a> <a href="https://cinegogia.omeka.net/items/show/788">Sueños al pairo</a><a href="https://cinegogia.omeka.net/items/show/557"></a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Michelle L. 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 Documentary as Civic Engagement in Latin American and Latinx Film Description An account of the resource In this course we examine the documentary genre in film and its participation in the public sphere as filmmakers and their audiences demand or create justice in pursuit of participation in Latin America and among Latinx communities. We see how a range of documentarians and their subjects use film to not only hold their communities and governments accountable, but also surface buried stories, and serve as alternative public platforms to reframe memory. We see how, in some communities, through the use of small screens and phone cameras, people write themselves into a more plural and inclusive history. We will examine the theoretical frameworks and documentaries coming from Latin America and Latinx communities on the topic of documentary as justice, while analyzing key documentaries that have used the genre to reveal and remember buried stories. This course and the documentaries analyzed will be in Spanish and as such we recognize our privilege interacting with these materials as Spanish-speakers and students of Spanish as another level of engagement, activism, and community. As we examine the voices captured in these texts celebrating, narrating, criticizing, and challenging terms such as the limits of the documentary genre, democracy, nation, sovereignty, racism and gender, we too will continue to develop our own voices using the written word scaffolding our writing through a low-stakes and higher-stakes on-going practice. We will use writing throughout the course to think through texts, shape our own voices in Spanish as well as respond to each other to foster a supportive community of thinkers, writers, and Spanish-speakers. https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/6bb3020fe6798a8272eaf1a8de757234.jpeg?Expires=1792627200&Signature=r8R7XYQ6NhBibGEfilvtAYzfzXw2CA9KFeavT5gX15-AVOBkFh%7EWAdHG3D1Xgg8ycuKptmGdqOLCVCDyaUTaAIbY7rZ820dX9EnBtJnzG0bJroVcw2fRWSBBEZl7vTNw93SRdd4iYpvs5yIUp7ZJfidLOOjOGmn7Pdd8XW5hGDOHOIEDb19xQO1lBnpnodmDfyX60hHG-Zw2C2FBthfwuOlBVQGUFbqm701NL9Cj%7EbEbX8H8U6EG8vnSXlongUolMpTi-8IltJT59RzGZGzJMFnE7iXNVWLGRwr9rnQdjo8RXmK4jptNngMOO0k38YnK3SSYiWC5Nmd4Zt0hHkHl5g__&Key-Pair-Id=K6UGZS9ZTDSZM 6a89a2dee26ed3c1b5f97eeea685227d 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 chiperita Title La Chiperita: By the Road Director The director of the film. El/La director/a de la película. Hugo Cataldo Barudi 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. Indigenous / indígena Spanish / español Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Paraguay 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. Synchro Image (Paraguay) Ficticia (Paraguay) Lorena Cabrera Producciones (Paraguay) Description / Descripción An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso. La película trancurre en un pueblo indeterminado del Paraguay, donde vive Virgilia, una tímida e inocente chipera que pasa sus días enamorada de Walter, su mejor amiga de infancia y actual funcionario de un peaje. Su principal motivación, desde el vamos, será concretar una relación con ese muchacho que le quita el sueño, mientras debe lidiar con Vero, la vandiosa y manipuladora chica dispuesta a evitar la relación. (Coronel, Jorge. "La chiperita: menos es más." Sección: Reseñas, ABC Noticias Mediodía, 25 sept 2015. <a href="https://www.abc.com.py/espectaculos/resenas/la-chiperita-menos-es-mas-1411173.html" target="_blank" rel="noreferrer noopener">www.abc.com.py/espectaculos/resenas/la-chiperita-menos-es-mas-1411173.html</a>. Accessed 8 marzo 2021. In a small town in Paraguay, Virgilia, a shy and innocent chipa seller, spends her days daydreaming about Walter, her best friend from childhood and current toll post official. Her friend Juanita encourages to confess her love but Virgilia is afraid of being rejected. But when letters and financial support from her brother Anselmo stop arriving from Spain, Virgilia must leave aside the illusion of love, to support her family without the help of anyone but herself. (<a href="https://pragda.com/film/la-chiperita-road/" target="_blank" rel="noreferrer noopener">Pragda</a>) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama Romance films / cine romántico Subject Coverage / Tema The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves. Indigenous peoples / Pueblos indígenas Relationships / Relaciones Romance 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-chiperita-road/" target="_blank" rel="noreferrer noopener">https://pragda.com/film/la-chiperita-road/</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 chiperita Description An account of the resource La película trancurre en un pueblo indeterminado del Paraguay, donde vive Virgilia, una tímida e inocente chipera que pasa sus días enamorada de Walter, su mejor amiga de infancia y actual funcionario de un peaje. Su principal motivación, desde el vamos, será concretar una relación con ese muchacho que le quita el sueño, mientras debe lidiar con Vero, la vandiosa y manipuladora chica dispuesta a evitar la relación. (Coronel, Jorge. "La chiperita: menos es más." Sección: Reseñas, ABC Noticias Mediodía, 25 sept 2015. <a href="https://www.abc.com.py/espectaculos/resenas/la-chiperita-menos-es-mas-1411173.html" target="_blank" rel="noreferrer noopener">www.abc.com.py/espectaculos/resenas/la-chiperita-menos-es-mas-1411173.html</a>. Accessed 8 marzo 2021. Guaraní https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/2300f087ab2b251d7a017216ed779693.jpg?Expires=1792627200&Signature=HkXyEW3RjcqGJ8lZpvwjj3o4Xxkz4hA1awubBH3cdX4r5W8Smuq6oy%7EB6of3Kat6TxbAoggGjx26g6LsNay-GEv%7EJRL1Virfji6RtYfAB9-wNlvvig%7EJzmRbGGdLLdqb5miJ2axeBWKHnWE6xqZJCzvNHHSa93UJAEL-WE-cL4p63F11MUQTya1w9TIKrhD2qXIuWu8UtWIPtYMKTBZuoL6mSCnmbXOiO8sHRbl4ruCUElvlew5aFAUS2-1vVUDsxCh061bA4OLkWjPG4kjyI%7ENoXofdIjVZEWy8iSpnSGkuaj6WfnPhdRPCkCzO56H97ZOE%7Eww0poS9cB-4to74gA__&Key-Pair-Id=K6UGZS9ZTDSZM 5438eea4941413fbe10e65c3d9b4c5e2 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. Guaraní Director The director of the film. El/La director/a de la película. Luis Zorraquín 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. Indigenous / indígena Spanish / español Country / País The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar. Argentina Paraguay 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. Atilio es paraguayo, vive con alguna de sus hijas a orillas de un río y sueña con tener un nieto varón para poder transmitirle su cultura guaraní, enseñarle el idioma y a pescar. Un día descubre una carta donde se entera de que una de sus hijas en Buenos Aires será madre de un varón, y decide viajar más de 1000 kilómetros para convencerla de que dé a luz en su país. Lo acompañará en esa travesía la nieta que ahora está a su lado. (<a href="http://www.cinenacional.com/" target="_blank" rel="noreferrer noopener">Cine Nacional Argentino</a>) In this touching drama, fisherman Atilio travels with his granddaughter Lara to Buenos Aires. His great desire is to have a grandson to transmit the Guarani culture. When he discovers that Lara's mother, Helena, is pregnant, he decides to go on a long journey with the aim to convince Helena to give birth in the Guarani land... (<a href="https://www.kanopy.com/product/guarani" target="_blank" rel="noreferrer noopener">Kanopy</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. Borderlands & Boundaries / Fronteras Indigenous peoples / Pueblos indígenas Cinematic Period / Periodo cinematográfico The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película. Contemporary / Contemporáneo Available at Website, streaming service, distributor Pragda, <a href="https://pragda.com/film/guarani" target="_blank" rel="noreferrer noopener">https://pragda.com/film/guarani</a> Kanopy 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 Nacional de Cine y Artes Audiovisuales - INCAA (Argentina) Puatarará Films (Paraguay) Pelicano Cine (Argentina) 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 Guaraní Description An account of the resource Atilio es paraguayo, vive con alguna de sus hijas a orillas de un río y sueña con tener un nieto varón para poder transmitirle su cultura guaraní, enseñarle el idioma y a pescar. Un día descubre una carta donde se entera de que una de sus hijas en Buenos Aires será madre de un varón, y decide viajar más de 1000 kilómetros para convencerla de que dé a luz en su país. Lo acompañará en esa travesía la nieta que ahora está a su lado. (<a href="http://www.cinenacional.com/" target="_blank" rel="noreferrer noopener">Cine Nacional Argentino</a>) Guaraní https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/20f749f10d4a99493300e67ee27a7f56.jpg?Expires=1792627200&Signature=rS5SEVIk6-8Cx%7EfNz3lhRU-UEIhAr3yzJlKR%7EUoMpIxdlZnra4Qv0ivSruoXjXw5UI%7EPlajrRe44MxGyBcfb%7EAlhdfaAqO24VQ%7EufjBd-q1-1NtFOlMGzlxu7w6WyVnsqfXesgmojB0ghUB-VJm4UvcxzR2PAdTFVpv6Il-phhJI09ZZcPPYisTlSjxRuC%7EceYUuFGO8m4ICj6tC8fCxMHj9KBtGdBcf5b4gAuJ1qyQoO2g8Z-eE1AQHBLvoB4THH1XjJiG4kFw3jf9zF%7EpYeAbAici3TCCnKq3ZLEE46xVs6MKP7eKvVi-IPb4-J57eExoS4SDlLLp399IGF64D6g__&Key-Pair-Id=K6UGZS9ZTDSZM 618cda942c1025f8756549fb62e7afe9 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. Hamaca paraguaya Title Paraguayan Hammock Director The director of the film. El/La director/a de la película. Paz Encina Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2006 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. Paraguay 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. Lita Stantic Producciones (Argentina) Wanda Visión (Spain) A Slot Machine (France) Fortuna Films (Netherlands) Silencio Cine (Paraguay) 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. Encina's reductionist approach is driven home in a 15-minute opening sequence, which is basically a fixed frame of an old man and woman emerging from the forest in long shot, stretching a hammock between two trees and sitting on it. Their nonstop bickering eventually reveals that the country is at war and they have not heard from their soldier son in a very long time. The mother seems resigned to his being dead; the father insists on keeping hope alive. Their waiting for something to happen becomes the viewer's cross to bear as well. Little else transpires in this short feature, which uses a bare minimum of sets and camera set-ups to underline the monotony and despair of the old couple's lives. Source: Young, Deborah. Review of Paraguayan Hammock (Hamaca paraguaya), by Paz Encina. Daily Variety, 18 May 2006. El enfoque reduccionista de Encina es aparente en una secuencia de apertura de quince minutos que consiste de una toma estática de un viejo y su esposa emergiendo del bosque en un plano general, configurando una hamaca entre dos arboles, y descansado. Sus argumentos constantes finalmente revelan que Paraguay es en guerra y la pareja no ha escuchado de su hijo soldado en un tiempo muy largo. La madre es resignada al destino de muerte para su hijo, mientras el padre insiste en mantener esperanza para su supervivencia. Su espera para que algo ocurre se vuelve en una tarea para el audiencia tambíen. Poco más ocurre en este cortometraje, que usa un mínimo de últimos planos y ángulos de filmación para enfatizar la monotonía y desesperación en las vidas de la pareja vieja. (Translated by Andrew Magel) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama 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 Indigenous peoples / Pueblos indígenas Memory / Memoria 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 Hamaca paraguaya Description An account of the resource Encina's reductionist approach is driven home in a 15-minute opening sequence, which is basically a fixed frame of an old man and woman emerging from the forest in long shot, stretching a hammock between two trees and sitting on it. Their nonstop bickering eventually reveals that the country is at war and they have not heard from their soldier son in a very long time. The mother seems resigned to his being dead; the father insists on keeping hope alive. Their waiting for something to happen becomes the viewer's cross to bear as well. Little else transpires in this short feature, which uses a bare minimum of sets and camera set-ups to underline the monotony and despair of the old couple's lives. Source: Young, Deborah. Review of Paraguayan Hammock (Hamaca paraguaya), by Paz Encina. Daily Variety, 18 May 2006. Guaraní Short Film / cortometraje https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/9542069f51c889f1b252e044750b351d.jpg?Expires=1792627200&Signature=Ily450H9ruR3dwtXYdICtzTqZwsKAJmhJNp9zD8wyx-ka-%7EUEZceBz3gtBWtMmFuTi9SFFmIp1lSbXHuLFQCk34uAnyLnPHxcdAgK36ksdAyOzFgtKbzMEaQV1ntQ9a1qRlQKYnxWR5kzXk1neux5P6XeaYMpNsH3gqJhCQNiW1FpJvAYtWnoB62QPWZyrHJacKuQR4nB8hHf3ZLvz-gwDZEW6HijoBE5ZVJ0WAcgolMHEktrObi1fEgniQ%7Ei3K8yUnWNZuGK%7Egv8tUxppAPYLAIu9DVtlaZGxjWs9zhB7ki%7EmjTuh4Jmu7ho5LqOPnRPu1mvA54UCoCYTbIsK7OnA__&Key-Pair-Id=K6UGZS9ZTDSZM 28ee1c124d31297b402c86fdb2930c25 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film Database Filmography Title / Título (Original) A name given to the resources. El nombre original del recurso. Las herederas Title The Heiresses Director The director of the film. El/La director/a de la película. Marcelo Martinessi 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. Paraguay 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 Babosa Cine La Fabrica Nocturna Cinéma Pandora Film (Germany) 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. Marcelo Martinessi's film is an autumnal study of a reclusive Paraguayan woman in her 60s who takes tentative steps to reconnect with the world after the companion who has long overseen her affairs goes off to prison. A restrained, stately character study with a deep emotional core, The Heiresses showcases a remarkable performance from Ana Brun as shy, reserved Chela, who has lived in the same Asunción house ever since she was the pampered child of a well-to-do family, sharing it for years with her lover Chiquita (Margarita Irun). Chiquita has taken responsibility for all practical matters, including the sale of many of Chela's prized family belongings to keep them afloat, but when Chiquita goes to jail for fraud--where she makes new friends--Chela must fend for herself. Taking her father's old Mercedes out of the garage to visit Chiquita, Chela is approached by an elderly neighbor for a ride, and soon becomes a professional driver for rich old ladies, learning from them--and a brassy younger woman named Angy (Ana Ivanova)--how to become more self-reliant. By the time Chiquita returns, she finds that the house is a much changed place. A subtle tale of female liberation with a nuanced central performance. Source: Swietek, F. "The Heiresses." Video Librarian, vol. 34, no. 4, 2019, p. 20. La película de Marcelo Martinessi presenta a una mujer paraguaya solitaria en sus sesenta que empieza a reconectar con el mundo después el encarcelamiento de su pareja. Las herederas es un estudio contenido y digno del personaje, con un centro emocional profundo. La actuación de Ana Braun como Chela, una mujer tímida y reservada que ha vivido en la misma casa de famila adinerada en Asunción desde la infancia, es notable. Ella ha compartido la casa por años con su amante Chiquita (Margarita Irun), quien asume toda la responsiblidad de las cuestiones prácticas, incluyendo la venta de reliquias familiares para mantenerse a flote. Pero cuando lleven a Chiquita a la cárcel por fraude, Chela necesita defenderse. Un día, mientras Chela saca el Mercedes antiguo de su padre para visitar a Chiquita, una vecina mayor se acerca para pedirle un favor, y Chela se convierte en chofer profesional para señoras ricas de la tercera edad. Chela aprende de ellas y también de una joven descarada, Angy (Ana Ivanova), a sentirse más segura de sí misma. Cuando Chiquita regresa de la cárcel, ella descubre una casa cambiada. La película es un cuento de liberación femenina con una actuación matizada de protagonista. (Translated by Andrew Magel) Category / Categoría A broad category or mode of cinematographic production. Fiction Films / Cine de ficción Genre / Género A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema. Drama 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 LGBTQ people / Personas LGBTQ 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 Las herederas Description An account of the resource Marcelo Martinessi's film is an autumnal study of a reclusive Paraguayan woman in her 60s who takes tentative steps to reconnect with the world after the companion who has long overseen her affairs goes off to prison. A restrained, stately character study with a deep emotional core, The Heiresses showcases a remarkable performance from Ana Brun as shy, reserved Chela, who has lived in the same Asunción house ever since she was the pampered child of a well-to-do family, sharing it for years with her lover Chiquita (Margarita Irun). Chiquita has taken responsibility for all practical matters, including the sale of many of Chela's prized family belongings to keep them afloat, but when Chiquita goes to jail for fraud--where she makes new friends--Chela must fend for herself. Taking her father's old Mercedes out of the garage to visit Chiquita, Chela is approached by an elderly neighbor for a ride, and soon becomes a professional driver for rich old ladies, learning from them--and a brassy younger woman named Angy (Ana Ivanova)--how to become more self-reliant. By the time Chiquita returns, she finds that the house is a much changed place. A subtle tale of female liberation with a nuanced central performance. Source: Swietek, F. "The Heiresses." Video Librarian, vol. 34, no. 4, 2019, p. 20. Feminism / Feminismo https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/d07d4f2a1b51c83d29fdafdb6a730a3e.pdf?Expires=1792627200&Signature=cwvqoKqveFVgIrmT6odd-JSTOvG3M25rirQh7mAEEuFksR8vHBXY3pfLG3LdoOUsMoslX7X4BTxqVLCalvTERF3oyJHC1TTMCaG6Lr753FjENdtLUcQJ2uvsjJP2IKf8mpeRrw7D6l%7EcJMbN%7E3fVrh400QE6Z-vQ1eGgWZKPPoqq2z5iSdyaARCVRIX7SArsCKA5OG45BEeJ8RnZ9hgROddRoHXau40YPv9VWvjwId2yTZjLcikuMSgeb-qM538opClqV5lDeKiQ3BfGlgeXURKtyiUxTdHsCF9T0m78aILjnxsWTvhDs-rqPWa-QUyMO9z5x5zswDwWyG-ox2JRrQ__&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/e627cdc582aa79457f0eb0772928bed8.jpg?Expires=1792627200&Signature=i-J8M%7ESv8U4OH2WxCvO1d7xOOshduZAWWE5SB2s0UbuMhKDfwZS8rM-xsY4suYpoLLt97JxrlmR%7Ef1sUvGfheGwSjjSg-UkPvgvfNwj4ldxjvcPSjBhbwCP4GDOVzqVkA9e4oM5z%7ETzcofbDIiLol4GE1YuH4zDKHwFBM9Pd8hVFJbBfHotFEVnRKxYrDp2VJqw2V5sw-2t6rL6eSro7jeoy1INYUB%7EEXFyGYw4lPfU3NFL9rCaZ8L0h0G-EFzaCxKPmpF9BV3eu9%7EDpluCgfDhZVYg2lczmr7-uzJHe7wAdJWmZzyx4xl1pAxwM%7EkSd1tsnqzR8jFZkHhQWU5kYvA__&Key-Pair-Id=K6UGZS9ZTDSZM 2eb8db97bb3cd822072545be9a625568 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. 7 Cajas Title 7 Boxes Director The director of the film. El/La director/a de la película. Juan Carlos Maneglia Tana Schémbori Release Date / Fecha de estreno The date of the film’s release (year only). La fecha de estreno (año solamente). 2012 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. Paraguay 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. Maneglia - Schémbori Realizadores (Paraguay) 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. 7 cajas narra la historia de Víctor, un joven de diecisiete años que trabaja como carretillero en el Mercado 4 de Asunción (Paraguay)... De repente Victor recibe una propuesta un tanto extraña: transportar siete cajas, sin saber lo que contienen, por 100 dólares. Durante el trayecto... las cosas se van complicando y Víctor comprende que, lo que parecía tan fácil, está resultando ser más complicado de lo que creía. (<a href="http://www.sensacine.com/" target="_blank" rel="noreferrer noopener">Sensa Cine</a>) Víctor, a 17-year-old wheelbarrow delivery boy, works in Market 4 in Asunción, Paraguay. Suddenly, Victor receives a strange offer. He is given the chance to deliver seven boxes with unknown contents in exchange for a quick US$100. Then, during his journey, he discovers that what he thought would be an easy job is becoming much more complicated than he expected. (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. 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 Film Guide / Guía de película Add link to related film guide <a class="in-cell-link" href="https://cinegogia.omeka.net/items/show/493">https://cinegogia.omeka.net/items/show/493</a> Available at Website, streaming service, distributor Pragda, <a href="https://pragda.com/film/7-boxes" target="_blank" rel="noreferrer noopener">https://pragda.com/film/7-boxes</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 7 Cajas Description An account of the resource 7 cajas narra la historia de Víctor, un joven de diecisiete años que trabaja como carretillero en el Mercado 4 de Asunción (Paraguay)... De repente Victor recibe una propuesta un tanto extraña: transportar siete cajas, sin saber lo que contienen, por 100 dólares. Durante el trayecto... las cosas se van complicando y Víctor comprende que, lo que parecía tan fácil, está resultando ser más complicado de lo que creía. (Sensa Cine) Guaraní https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/72ab9d934b7090e62d08bee680295708.pdf?Expires=1792627200&Signature=DCBWWy%7EH1UccLgP3G5GO3DJ%7EDGGG1ETfi3M1N8p1BL-jZdVaa-2pjCBNribi0wKlREdTWfqCd%7EURDDJUXc%7E3t57I42zmpcovkTAZcjkgM4GQIsCe2dA3cwiNs2qeCXVRHhna0m67f9DXMZLZzmGW-cwwrhDxmVNwR1ddnreEoM%7EYlkWmZI-5vRi4rAKSDUGtLEVDBEnGuBtWyF0U1OFz31QNNyQmRaXjSzp1S4dtDsdbAOlhyjV7SLqts%7Ejm67cH5m2kDI8QjhfkdVCflJIIaExPL24R950OHs5mQIq-sI9ZYzi7FFw28-wXNOgGHLjRNjUsh2kG16ZZhrvjHNlbhQ__&Key-Pair-Id=K6UGZS9ZTDSZM 7f7996735f771c5b360f369f349b2c0f PDF Text Text Instructor: Constanza Burucúa. Office: ON56. Email: cburucua@uwo.ca Fall Term 2014 LATIN AMERICA IN THE FILM FESTIVAL CIRCUIT (Film 9315A / 4474F) Department of Film Studies Faculty of Arts and Humanities, UWO Screenings: Monday, 1.30 to 4.30 – UC 12 Seminars: Tuesday, 10.30 to 12.30 – UC 12 Office Hours: Tuesday, 12.30 to 1.30 and Wednesday, 1.30 to 2.30 AIMS OF THE COURSE. The course will look at Latin American cinema (mostly contemporary films), and the associated ideas about the region, that circulate in the film festival circuit. Understanding the latter as a complex and dynamic phenomenon, the study of which has been tackled from a wide range of multidisciplinary approaches (from socio-economics to film studies, from anthropology to global studies), special attention will be paid to the political economies at stake in these transnational networks and their impact in terms of film distribution, exhibition and, perhaps more importantly, film production. Methodology: By focusing on scholarship on film festivals, an expanding area of research since the mid 1990s, ideas will be discussed in the light of specific case studies, with the aim of reflecting on the current state of Latin American film industries, cultures and images. LEARNING OUTCOMES. By the end of the course, students will be able to: 1. Critically reflect upon Latin American cinema, and the wide range of images that it produces, by specifically focusing on their reception in the film festival circuit; 2. Ponder the key notions involved in the study of film festivals as complex cultural phenomena. �REQUIRED READINGS. All the bibliography listed under the title of the film that will be screened each week is compulsory reading. - Latin America in the Film Festival Circuit – Film Studies 4474F Course Pack. - Additional required readings are available online through the course OWL site. For general reference: - Rist, Peter. Historical Dictionary of South American Cinema. Lanham: Rowman & Littlefield Publishers, 2014. (Online resource available from the Western Libraries Catalogue). - David Bushnell, Roger A. Kittleson, James Lockhart (primary contributors). Encyclopaedia Britannica. Encyclopaedia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2014. Web. <http://www.britannica.com.proxy1.lib.uwo.ca/EBchecked/topic/331694/La tin-America>. - Website for the Film Festival Research Network: http://www.filmfestivalresearch.org/ ASSESSMENT. - Attendance (5%) Participation (20%) Seminar presentation and discussion leading (20%) Paper proposal and annotated bibliography (25%) – Date due: Oct. 14 @ 10.30. Final Research Paper (30%) – Date due: Dec. 2 @ 10.30. �Attendance: absences and late assignments You are required to attend all sessions. If you are absent from a seminar or a screening, or if an assignment is late due to illness or other legitimate reasons, please contact me by email as soon as possible and forward supporting documentation to your Faculty and/or Academic Counselor. If you are in doubt as to the “legitimacy” of your situation regarding lateness or absence please contact the instructor as soon as possible. With the exception of duly documented medical illnesses and emergencies, late assignments will be penalized 3 points per day late (including weekends). Screenings Attendance is compulsory. Screening time will also be used for discussion when appropriate. For individual study, videos may be viewed in the Faculty’s film library (1G19). Please note: the course schedule is provisional. If discussion is productive we may carry over a topic from one week to another. Participation Seminar participation is a central component of the course (seminars are mostly structured around the debates generated by brief presentations and the discussion of the readings). Make sure to come to class having read and thought about all of the weekly readings and with the relevant notes and material in hand. Participation marks will be given on the basis of active engagement in seminar discussions, critical responses to required readings and constructive and insightful comments made on the peer assessment proformas. Peer assessment of seminar presentations All students will participate in the assessment of seminar presentations by making constructive comments on the peer assessment proformas (see attached form at the end of the syllabus). Completed proformas are to be sent to the instructor the day following the seminar (Wednesdays) – after that, they will not be accepted and the participation mark will be affected. �The proforma is available as a Word document in the course’s OWL site. You can download it, complete it and send it to me by email. I will remove the names of assessors and share class comments with the presenter. Seminar presentation and discussion leading A 300-word abstract of your presentation and a working bibliography are due one week before the seminar you select (or earlier). Please make an appointment to discuss the abstract and bibliography with the instructor a week before the seminar. A copy of your research notes is to be submitted to the instructor on the day of your seminar. Please make copies of the abstract available for your colleagues at least 24 hours before your presentation. If you use power point for your presentation please send the file by email to the instructor (after the presentation) so that it can be uploaded for your colleagues to consult on OWL. Oral presentations are to be 30 minutes in length and not one minute more. Students should select an aspect of a given text that intrigues them and will sustain further investigation. You are encouraged to incorporate clips, images, and/or additional research into your presentation as long as you remain thoroughly engaged with the course topics and material for that week. As the discussion leader, the person doing the presentation might wish to raise questions at the end to further class discussion. Speak clearly, and slowly; the pace of an oral delivery, and the amount of eye contact a speaker has with an audience often determine the effectiveness of the presentation. Following their seminar, students should make an appointment with the instructor to discuss peer evaluations of their presentation. Please notify me by email as soon as possible about your choice for a seminar slot. Seminars will be assigned as I hear from students between September 8th and September 16th. �Paper proposal and annotated bibliography The paper proposal is an opportunity to begin researching and organizing your thoughts around the topic that you will fully address and develop in your final essay. This mid-term exercise has two parts: 1. The paper proposal – 1000 words (+/- 5%) 2. The annotated bibliography. In the paper proposal (part 1), the topic and central argument/s will be presented, as well as your methodology (in other words, this section is about the “what” you will be working on and the “how” you will do it). The proposal should be informed by course content (ideas discussed in seminars, readings), primary historical research (industry trade publications, reviews, etc.) and scholarly sources. The annotated bibliography (part 2) will include: 1. A complete list of all the references (articles, books, films) consulted and to be included in the final paper up until that point (what you have read, watched and gathered and that will be included in your final paper). 2. A minimum of ten bibliographical references annotated. This means that you have to add a few sentences or a short paragraph summarizing the central ideas of each one of these sources and explain their significance and relevance to your project. Final research paper As this is a research-based course, the final paper must address some of the central ideas, debates and critical concepts included in the syllabus and discussed in class, plus additional primary and secondary materials that you gather through your research and integrate into your own work. So, on one hand, the course content should inform and enhance the analysis of your chosen topic, on the other, it is expected that you will pursue sources beyond what is offered on the syllabus, with the aim of further developing your arguments. The following is a list of topics that you may want to work on: �- In depths analysis of participation, presence, visibility, etc. of Latin American films, filmmakers, producers, etc. in one particular film festival (data and analysis). o Possible festivals to work on: Berlin, Venice, Rotterdam, Havana, Edinburgh. Consult with instructor if you want to work on Cannes or TIFF. - Focus on one particular director’s body of work and its circulation and reception in the film festival circuit. - Research on one particular topic or issue of interest (ex. Literature review on Latin American cinema in the film festival circuit: what has been written about it in scholarly journals and/or books? What do trade publications usually focus on? More or less presence or visibility by country, by director, preferred films / topics, etc.). - Focus on funds and Latin American cinema. - Film Festival Section - programming proposal: o Minimum of 10 films (no less than 2 and no more than 3 from the course) § Basic info about the film: title, director, year, country/ies, duration. § Synopsis (150 words max; original – not copied from company’s website, IMDB or any other source) o Rational of section and of choices (500 words max) § Focus could be on one or two of the following: • Regional approach • Particular national film industry • Theme • Genre • Questions about gender, class, race / ethnicity. • Etc. o Theoretical justification (minimum of 3000 words (grad students) / 1500 words (undergrad students). ** Whether you decide to concentrate on one of these topics or you think about a different one that interests you, make sure to book an appointment to discuss with me your research topic before embarking on it. �Since this final paper is a continuation of the work presented in a previous exercise, you have to observe the continuity between the two assignments and make sure that you incorporate into the final paper the feedback received on the paper proposal and annotated bibliography. As your instructor and the person accompanying you in the process, I will be looking at the development of your arguments (complexity, originality) between the initial version and the final paper. Make sure that you meet at least twice with me throughout the term (ideally, at least once before each assignment is due) to go over your ideas and make sure that you are on the right track. Whereas I am open to discuss ideas in general, methodological approaches, mind maps, graphs, structures, sources, etc., do keep in mind that I don’t read or comment on drafts of essays. The requirements for this assignment are different for graduate and for undergraduate students. They are the following: Graduate students: Length: 5000 words (+/- 5%) Sources and references: - At least 30 different, non-internet references in the Works Cited page. o At least 8 must be primary sources o At least 8 must be from the course readings o At least 10 must be scholarly sources not included in the syllabus Undergraduate students: Length: 3000 words (+/- 5%) Sources and references: - At least 20 different, non-internet references in the Works Cited page. o At least 6 must be primary sources o At least 6 must be from the course readings o At least 6 must be scholarly sources not included in the syllabus All essays (grad and undergrad level) must be cited in proper MLA format. Submission: the final research paper (the exact same version of it) has to be submitted both through OWL and in print to the instructor. If you fail to submit your essay in either one format or the other by the due date and time, it will be considered a late submission and it will be marked accordingly. Make sure you comply to this requisite in order to avoid late submission penalties. All essays will be subject to submission for textual similarity review to the commercial plagiarism detection software under license to the University for the detection of plagiarism (Turnitin). For more information on plagiarism and plagiarism checking, please refer to the Senate Regulations at the end of this syllabus. �PLEASE NOTE Laptops and cell phones policy Laptops are not to be used during screenings. You will need to take notes using paper and pens, so be sure to bring these materials to class. Exceptions may be granted in the case of students with special needs, but this will only come with official approval from the Dean’s office. If, during lecture/tutorials, laptops are used for random web surfing, social networking, game playing or any other activity the instructor deems outside of acceptable usage, your laptop will be banned from the class. In addition, be sure to turn off cell phones and refrain from text messaging during class. This counts as disruptive behavior and will lower your final participation grade. E-mail policy and etiquette Generally, all emails will be responded to within 24-48 hours during weekdays (not including holidays). Emails will *usually* be addressed during regular work hours (9-5). The instructor may choose, at her discretion, to respond outside these hours, depending on availability. If you send an email at 11 pm, it is highly unlikely that you will get a response before 9:00am. When sending an email to me, please make sure of the following: - That it observes the basic rules of etiquette o You have to include the proper salutation and sign-off o You have to avoid abbreviations – an email is not a text message - That it is clearly written - That the tone is the appropriate one in an exchange between a professor and a student. Failure to comply with these simple rules will affect your participation mark. �COURSE SCHEDULE. Week 1. No classes scheduled this week. Week 2. 7 CAJAS / 7 BOXES, Juan Carlos Maneglia & Tana Schembori, 2012 (100m). - Said, Edward. “Introduction” and parts I (“Knowing the Oriental”) and II (“Imaginative geography and its representation: Orientalizing the Oriental”) of “The Scope of Orientalism”, in Orientalism. New York: Pantheon, 1978. 1-73. Week 3. ARAYA, Margot Benacerraf, 1959 (90m). - Nichols, Bill. “Global image consumption in the age of late capitalism”, East West Film Journal, Vol. 8 No. 1 (1994). 68-85. - De Valck, Marijke. “Introduction. Film festivals as sites of passage”, in Film Festivals. From European Geopolitics to Global Cinephilia. Amsterdam: Amsterdam University Press, 2007. 13-43. - Benacerraf, Margot, Schwartzman, Karen, Calderón, Harel and Burton-Carvajal, Julianne. “An interview with Margot Benacerraf: Reverón, Araya and the institutionalization of cinema in Venezuela”, Journal of Film and Video, Vol. 44, No. 3 / 4 (Fall 1992 and Winter 1993). 51-75. - Losada, Matt. “Araya by Margot Benacerraf”. Chasqui, Vol. 39, No. 2 (Nov. 2010). 240-242. Week 4. TERRA EM TRANSE / LAND IN ANGUISH, Glauber Rocha, 1967 (111m). - Burton-Carvajal, J. “South American cinema”, in John Hill and Pamela Church Gibson (eds.), The Oxford Guide to Film Studies. Oxford, New York: Oxford University Press, 1998. 578-594. - Schroeder, Paul. “After New Latin American cinema”, Cinema Journal, Vol. 51. No. 2 (Winter 2012). 87-112. - Burton-Carvajal, Julianne. “The old and the new: Latin American cinema at the (last?) Pesaro Festival”, Jump Cut. No. 9, 1975. Available at: http://www.ejumpcut.org/archive/onlinessays/JC09folder/PesaroReport.html - Willemen, Paul. “On Pesaro”, in Dina Iordanova (ed.), The Film Festival Reader. St. Andrews, Scotland: St. Andrews Film Studies, 2013. 19-27. �Week 5. SUR / THE SOUTH, Fernando Solanas, 1988 (127m). - D’Lugo, Marvin. “Authorship, globalization, and the new identity of Latin American cinema. From the Mexican “ranchera” to Argentinean “exile””, in Anthony Guneratne and Wimal Dissanayake (eds.), Rethinking Third Cinema. New York and London: Routledge, 2003. 103-125. - Iordanova, Dina. “The film festival circuit”, in Dina Iordanova (ed.), The Film Festival Reader. St. Andrews, Scotland: St. Andrews Film Studies, 2013. 109126. - Peranson, Mark. “First you get the power, then you get the money: two models of film festivals”, Cineaste, Vol. 33 Issue 3 (Summer 2008). 37-43. Week 6. PROFUNDO CARMESI / DEEP CRIMSON, Arturo Ripstein, 1996 (114m). - Smith, Paul Julian. “Deep Crimson / Profundo carmesí / Carmin profond”, Sight and Sound, Vol. 7 Issue 9 (Sept. 1997). 40-43. - Ruétalo, Victoria. “Border-crossings and textual gaps: a 'globalized' mode of production in Profundo carmesí and Terra estrangeira”, in Studies in Hispanic Cinemas, Vol. 5, No. 1 and 2 (2008). 57-71. - Rhyne, Ragan. “Film festival circuits and stakeholders”, in Dina Iordanova (ed.), The Film Festival Reader. St. Andrews, Scotland: St. Andrews Film Studies, 2013. 135-150. Week 7. MUNDO GRUA / CRANE WORLD, Pablo Trapero, 1999 (90m). - Falicov, Tamara. “Migrating from South to North: the role of film festivals in funding and shaping global South film and video”, in Greg Elmer, Charles Davis, Janine Marchessault and John McCullough (eds.), Locating Migrating Media. Plymouth: Lexington Books, 2010. 3-19. - Tierney, Dolores. “The link between funding and text: transnational aesthetics in Lucrecia Martel’s films”, Mediático, March 2014. Available at: http://reframe.sussex.ac.uk/mediatico/2014/03/23/the-link-between-funding-andtext-transnational-aesthetics-in-lucrecia-martels-films/ �Week 8. EL BONAERENSE, Pablo Trapero, 2002 (105m). LEONERA / LION’S DEN, Pablo Trapero, 2008 (113m). - Walters, Ben. “El bonaerense”, Sight and Sound, Vol. 13 Issue 11 (Nov. 2003). 33-34. - Smith, Paul Julian. “Lion’s Den”, Sight and Sound, Vol. 9 Issue 4 (Apr. 2010). 62-63. - Cisneros, James. “Documenting Urban Fictions in Contemporary Argentine Film: Notes on Pablo Trapero's El bonaerense”, in Miriam Haddu and Joanna Page (eds.), Visual Synergies in Fiction and Documentary Film from Latin America. New York: Palgrave Macmillan, 2009. 237-250. - Mazdon, Lucy. “The Cannes Film Festival as transnational space”, Post Script – Essays in Film and the Humanities, 25 (2) (2005). 19-30. Week 9. ELEFANTE BLANCO / WHITE ELEPHANT, Pablo Trapero, 2012 (105m). - Brooke, Michael. “White Elephant”, Sight and Sound, Vol. 23 Issue 5 (May 2013). 109. - De Valck, Marijke. “Cannes and the “alternative” cinema network. Bridging the gap between cultural criteria and business demands”, in Film Festivals. From European Geopolitics to Global Cinephilia. Amsterdam: Amsterdam University Press, 2007. 85-121. Week 10. MADEINUSA, Claudia Llosa, 2006 (100m). - Chan, Felicia. “The international film festival and the making of national cinema”, Screen, 52:2 (Summer 2011). 253-260. - Ross, Miriam. “The film festival as producer: Latin American films and Rotterdam’s Hubert Bals Fund”, Screen, 52:2 (Summer 2011). 261-267. - Barrow, Sarah. “New configurations for Peruvian cinema: the rising star of Claudia Llosa”, Transnational Cinemas, Vol. 4 No. 2 (2013). 197-215. �Week 11. LOS MUERTOS, Lisandro Alonso, 2004 (78m). ALAMAR, Pedro González-Rubio, 2009 (73m). - Burton, Julianne, “Toward a History of Social Documentary in Latin America” in Juliane Burton, ed. The Social Documentary in Latin America (Pittsburgh: University of Pittsburgh Press: 1990), 3 – 30. - Czach, Liz, “Film Festivals, Programming, and the Building of a National Cinema”, The Moving Image, 4.1, (Spring, 2004): 76 – 88. -Koeler, Robert, “Agrarian Utopias/Dystopias: The New Nonfiction”, Cinemascope. Accessed online: http://cinema-scope.com/features/featuresagrarian-utopiasdystopias-the-new-nonfiction/. Week 12. WHISKY, Juan Pablo Rebella & Pablo Stoll, 2004 (94m). - Smith, Paul Julian. “Whisky”, Sight and Sound, Vol. 15 Issue 8 (Aug. 2005). 8283. - Martin-Jones, David and Montañez, Soledad. “Uruguay disappears: small cinemas, Control Z films, and the aesthetics and politics of auto-erasure”, Cinema Journal, Vol. 53 No. 1 (Fall 2013). 26-51. - Stringer, Julian. “Global cities and the international film festival economy”, in Mark Shiel and Tony Fitzmaurice (eds.), Cinema and the City. Film and Urban Societies in a Global Context. Oxford, Malden (MA): Blackwell, 2001. 134-144. Week 13. NOSTALGIA DE LA LUZ / NOSTALGIA FOR THE LIGHT, Patricio Guzmán, 2010 (90m). - Blaine, Patrick. “Representing absences in the Postdictatorial Documentary Cinema of Patricio Guzmán”, Latin American Perspectives, Issue 188, Vol. 40 No. 1 (Jan. 2013). 114-130. - Di Chiara, Francesco and Re, Valentina. “Film Festival/Film History: the impact of film festivals on cinema historiography. Il cinema ritrovato and beyond”, Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, Vol. 21 No. 2-3 (2011). 131-151. �Week 14. NO, Pablo Larraín, 2012 (118m). - Benson-Allott, Caetlin. “An illusion appropriate to the Conditions. No (Pablo Larraín, 2012)”, Film Quarterly, Vol. 66 No. 3 (Spring 2013). 61-63. - Romney, Jonathan. “The future is NO”, Sight and Sound, Vol. 23 Issue 3 (March 2013). 28. - Matheou, Demetrios. “No”, Sight and Sound, Vol. 23 Issue 3 (March 2013). 101. � 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 in the Film Festival Circuit 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 course will look at Latin American cinema (mostly contemporary films), and the associated ideas about the region, that circulate in the film festival circuit. Understanding the latter as a complex and dynamic phenomenon, the study of which has been tackled from a wide range of multidisciplinary approaches (from socio-economics to film studies, from anthropology to global studies), special attention will be paid to the political economies at stake in these transnational networks and their impact in terms of film distribution, exhibition and, perhaps more importantly, film production. 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 Mexico / México Paraguay Peru / Perú Venezuela Uruguay 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. New Latin American Cinema / Nuevo Cine Latinoamericano Contemporary / Contemporáneo Films taught / Películas 7 cajas <a href="https://cinegogia.omeka.net/items/show/202">Alamar</a> <a href="https://cinegogia.omeka.net/items/show/109"> Araya </a> <a href="https://cinegogia.omeka.net/items/show/198">El bonaerense</a> <a href="https://cinegogia.omeka.net/items/show/200"> Elefante blanco</a> <a href="https://cinegogia.omeka.net/items/show/199"> Leonera</a> <a href="https://cinegogia.omeka.net/items/show/201">Los muertos</a> <a href="https://cinegogia.omeka.net/items/show/81">Madeinusa </a> <a href="https://cinegogia.omeka.net/items/show/207">Mundo grúa</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/195">Profundo carmesí</a> <a href="https://cinegogia.omeka.net/items/show/206">Sur</a> <a href="https://cinegogia.omeka.net/items/show/205">Terra em transe</a> <a href="https://cinegogia.omeka.net/items/show/85"> Whisky</a> Creator / Creador(a) The individual who created and contributed the resource. La persona que creó o publicó el recurso. Constanza Burucúa, University of Western Ontario, Canada Copyright / Derechos de propiedad Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso. Attribution - NonCommercial - NonDerivs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Latin America in the Film Festival Circuit Description An account of the resource The course will look at Latin American cinema (mostly contemporary films), and the associated ideas about the region, that circulate in the film festival circuit. Understanding the latter as a complex and dynamic phenomenon, the study of which has been tackled from a wide range of multidisciplinary approaches (from socio-economics to film studies, from anthropology to global studies), special attention will be paid to the political economies at stake in these transnational networks and their impact in terms of film distribution, exhibition and, perhaps more importantly, film production.