1
50
45
-
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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 foquita: El 10 de la calle
Title
The Number 10
Director
The director of the film. El/La director/a de la película.
<span>Martín Casapía Casanova</span>
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2020
Film Guide / Guía de película
Add link to related film guide
<span>Guía en español: </span><a href="https://cinegogia.omeka.net/items/show/904">https://cinegogia.omeka.net/items/show/904</a><br /><span>Guide in English: <a href="https://cinegogia.omeka.net/items/show/908">https://cinegogia.omeka.net/items/show/908</a></span>
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Lfante FIlms
América Televisión
Movistar
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.
<span><em>La foquita, El 10 de la calle</em> cuenta la inspiradora historia de Jefferson Farfán, un niño de un barrio humilde de Lima, que a pesar de las adversidades a lo largo de su vida nunca se dio por vencido, sacando a su familia adelante y logrando llevar a su amado Perú a jugar un mundial de fútbol luego de 36 años. (<a href="https://cineaparte.com/" target="_blank" rel="noreferrer noopener">Cine Aparte</a>)</span>
<em><br />La foquita, El 10 de la calle tells the inspiring story of Jefferson Farfán, a young boy from a poor neighborhood in Lima [Peru], who never gave up. Despite many hardships throughout his life, he provided for his family and helped his beloved country return to play in the World Cup after a 36 year absence. (Translated by Cinegogía Team)</em>
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.
Bio pic / Película biográfica
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Afro-Latin American / afro latinoamericano
Sports / Deportes
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
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 foquita: El 10 de la calle
Description
An account of the resource
<span><em>La foquita, El 10 de la calle</em> cuenta la inspiradora historia de Jefferson Farfán, un niño de un barrio humilde de Lima, que a pesar de las adversidades a lo largo de su vida nunca se dio por vencido, sacando a su familia adelante y logrando llevar a su amado Perú a jugar un mundial de fútbol luego de 36 años. (<a href="https://cineaparte.com/" target="_blank" rel="noreferrer noopener">Cine Aparte</a>)</span>
Afro-Peruvian / afro-peruano
-
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7970217ecca5f17de6034ec8bb9a33c6
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.
Susana Baca: Memoria Viva
Director
The director of the film. El/La director/a de la película.
Marc Dixon
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2003
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.
Peru / Perú
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.
<span>Susana Baca is not only a champion in the performance and preservation of Afro-Peruvian heritage, but also an elegant singer whose shimmering voice sings of love, loss and life. Susana and her husband Ricardo Pereira have founded the Instituto Negrocontinuo "Black Continuum" in Lima, a spirited facility for the exploration, expression, and creation of Black Peruvian culture. While Baca has dedicated herself to researching and performing virtually all forms of Afro-Peruvian folklore, it is the lando that has become her trademark. This slow to mid-tempo, highly evocative mix of Spanish, Indigenous and African rhythms has become what the son is to Cuba, or the samba to Brazil--the lando is the sound of Black Peru. (<a href="https://www.africanfilm.com/products/susana-baca-memoria-viva" target="_blank" rel="noreferrer noopener">AfricanFilm.com</a>)<br /><br /></span>
Category / Categoría
A broad category or mode of cinematographic production.
Documentary Films / Cine documental
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Afro-Latin American / afro latinoamericano
Music / La música
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Susana Baca: Memoria Viva
Description
An account of the resource
<span>Susana Baca is not only a champion in the performance and preservation of Afro-Peruvian heritage, but also an elegant singer whose shimmering voice sings of love, loss and life. Susana and her husband Ricardo Pereira have founded the Instituto Negrocontinuo "Black Continuum" in Lima, a spirited facility for the exploration, expression, and creation of Black Peruvian culture. While Baca has dedicated herself to researching and performing virtually all forms of Afro-Peruvian folklore, it is the lando that has become her trademark. This slow to mid-tempo, highly evocative mix of Spanish, Indigenous and African rhythms has become what the son is to Cuba, or the samba to Brazil--the lando is the sound of Black Peru. (<a href="https://www.africanfilm.com/products/susana-baca-memoria-viva" target="_blank" rel="noreferrer noopener">AfricanFilm.com</a>)<br /></span>
Afro-Peruvian / afro-peruano
Short Film / Cortometraje
-
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f5fee03d3cb49c531eb17bd2dac35762
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Film Database
Filmography
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
El enemigo principal
Title
Jatun auka
Director
The director of the film. El/La director/a de la película.
Jorge Sanjinés
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
1974
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / español
Indigenous / indígena
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Bolivia
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Ukamau Group (Bolivia)
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
<span>Llega a una comunidad indígena de la sierra peruana un grupo de guerrilleros con el ánimo de reclutar voluntarios. Para demostrar la veracidad de su oferta de liberar de la explotación a los campesinos, apresan, juzgan y fusilan a un hacendado y a su capataz que habían cometido crímenes y terribles abusos. Al dejar la zona ante la proximidad del ejército, proponen incorporarse a sus filas a los campesinos más decididos, sin embargo solo logran la incorporación de unos pocos. Un viejo líder indígena que oficia como relator de los hechos reflexiona sobre esa situación. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener">Film Affinity ES</a>)<br /><br /></span>
<span><em>In the village of Tankuy, farmers are roused to revolutionary action against US based imperialism after one of them, an indigenous man, is brutalized by a landowner. Native non professionals contributed to and helped direct this example of radical, collective oriented Latin American filmmaking. </em>(<a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener">IMDB</a>)</span>
Category / Categoría
A broad category or mode of cinematographic production.
Fiction Films / Cine de ficción
Genre / Género
A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.
Third Cinema / Tercer cine
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Indigenous peoples / Pueblos indígenas
Revolution / Revolución
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
New Latin American Cinema / Nuevo Cine Latinoamericano
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
El enemigo principal
Description
An account of the resource
<span>Llega a una comunidad indígena de la sierra peruana un grupo de guerrilleros con el ánimo de reclutar voluntarios. Para demostrar la veracidad de su oferta de liberar de la explotación a los campesinos, apresan, juzgan y fusilan a un hacendado y a su capataz que habían cometido crímenes y terribles abusos. Al dejar la zona ante la proximidad del ejército, proponen incorporarse a sus filas a los campesinos más decididos, sin embargo solo logran la incorporación de unos pocos. Un viejo líder indígena que oficia como relator de los hechos reflexiona sobre esa situación. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener">Film Affinity ES</a>)<br /></span>
Indigenous filmmaking / Producciones indígenas
Quechua
-
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5809777dca9c87298c5760fd735c8065
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.
Río Verde, el tiempo de los yakurunas
Title
Green River: The Time of the Yakurunas
Director
The director of the film. El/La director/a de la película.
Álvaro Sarmiento
Diego Sarmiento
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2017
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / español
Indigenous / indígena
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
HDPerú (Perú)
Desfase Films (Perú)
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.
<span>El documental explora la percepción del tiempo en tres comunidades unidas por las aguas del Amazonas, sumergiéndose en un paisaje habitado por chamanes y sociedades arquetípicas. Narrativa híbrida que retrata los cuerpos de ancianos indígenas para invocar los fantasmas de la explotación del caucho a finales del siglo XIX y convocar la memoria de antiguas culturas aún vivas, pero en peligro de desaparecer a consecuencia del capitalismo global (<a href="http://habanafilmfestival.com/filme/rio-verde-el-tiempo-de-los-yakurunas/" target="_blank" rel="noreferrer noopener">Habana Film Festival</a>)</span>
<em>Guided by ayahuasca chants, GREEN RIVER. THE TIME OF THE YAKURUNAS is a poetic journey into the depths of the Amazon. The film explores the perception of time in three small villages intertwined by the flowing waters of the Amazon river, immersing the viewer in a landscape inhabited by shamans and archetypical societies. This hybrid narrative depicts the bodies of native elders to evoke the ghosts of rubber colonialism at the end of the XIX century, the memory of ancient indigenous cultures still alive, but in danger of disappearing as a consequence of global capitalism. (<a href="https://www.hdperu.com/green-river" target="_blank" rel="noreferrer noopener">Film's Official Website</a>)</em>
Category / Categoría
A broad category or mode of cinematographic production.
Documentary Films / Cine documental
Experimental Films / Cine experimental
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Environment / El medio ambiente
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
Entrevista con el director / Interview with the director: <a href="https://www.youtube.com/watch?v=R7s3qYbg7MM" target="_blank" rel="noreferrer noopener">https://www.youtube.com/watch?v=R7s3qYbg7MM</a><br /><br /><iframe width="560" height="315" src="https://www.youtube.com/embed/R7s3qYbg7MM" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Río Verde: El tiempo de los Yakurunas
Description
An account of the resource
<span>El documental explora la percepción del tiempo en tres comunidades unidas por las aguas del Amazonas, sumergiéndose en un paisaje habitado por chamanes y sociedades arquetípicas. Narrativa híbrida que retrata los cuerpos de ancianos indígenas para invocar los fantasmas de la explotación del caucho a finales del siglo XIX y convocar la memoria de antiguas culturas aún vivas, pero en peligro de desaparecer a consecuencia del capitalismo global (<a href="http://habanafilmfestival.com/filme/rio-verde-el-tiempo-de-los-yakurunas/" target="_blank" rel="noreferrer noopener">Habana Film Festival</a>)</span>
Amazon / Amazonas
Indigenous filmmaking / Producciones indígenas
Quechua
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a74679d57ee60b481043d3207a575ea0
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.
Tupac Amaru
Director
The director of the film. El/La director/a de la película.
Federico García Hurtado
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
1984
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / español
Indigenous / indígena
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Instituto Cubano del Arte e Industrias Cinematográficas - ICAIC (Cuba)
Cinematográfica Kuntur (Perú)
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.
<span>This is a dramatic retelling of the heroism of Tupac Amaru, an Incan leader who organized the people who made up the lowest rungs of society underneath the Spanish colonialists -- the workers, slaves, and the remains of the Incan nation -- and raised an armed rebellion against the Spanish. His rebellion failed, his family was killed, and he was cruelly executed, with his legs and arms tied to four horses and torn away from his body. (<a href="https://www.allmovie.com/movie/tupac-amaru-v227710" target="_blank" rel="noreferrer noopener">https://www.allmovie.com/movie/tupac-amaru-v227710</a>)<br /></span>
<em>Esta es la representación dramatizada del heroísmo de Tupac Amaru, un líder inca que organizó a las personas que formaban los peldaños más bajos de la sociedad debajo de los colonialistas españoles (trabajadores, esclavos y los restos de la nación inca) y que levantó una rebelión armada contra los españoles. Su rebelión fracasó, su familia fue asesinada y él fue cruelmente ejecutado, con las piernas y los brazos atados a cuatro caballos y arrancados de su cuerpo. (Translation by Stephany Zabala)</em>
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.
Bio pic / Película biográfica
Historical films / cine histórico
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Indigenous peoples / Pueblos indígenas
Revolution / Revolución
Social inequality / Desigualdad social
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Available at
Website, streaming service, distributor
YouTube: <a href="https://youtu.be/U04mEqZytxU" target="_blank" rel="noreferrer noopener">https://youtu.be/U04mEqZytxU</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
Tupac Amaru
Description
An account of the resource
<span>This is a dramatic retelling of the heroism of Tupac Amaru, an Incan leader who organized the people who made up the lowest rungs of society underneath the Spanish colonialists -- the workers, slaves, and the remains of the Incan nation -- and raised an armed rebellion against the Spanish. His rebellion failed, his family was killed, and he was cruelly executed, with his legs and arms tied to four horses and torn away from his body. (<a href="https://www.allmovie.com/movie/tupac-amaru-v227710" target="_blank" rel="noreferrer noopener">https://www.allmovie.com/movie/tupac-amaru-v227710</a>)<br /></span>
Inca / Inka
Quechua
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20f5a6e17122729ee79fd725cacb7684
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.
Luis Pardo
Director
The director of the film. El/La director/a de la película.
Enrique Cornejo Villanueva
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
1927
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Villanueva FIlms
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
Luis Pardo es un bandolero que busca vengar la muerte de su hermano, asesinado por un brutal gamonel, César Pradera. Éste es padre de la mujer que Pardo llegará a amar. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener"><span>Film Affinity ES</span></a>)
<em>Luis Pardo is a bandit seeking revenge for his brother who was murdered by the brutal local political boss, César Pradera, whose daughter Pardo grows to love. (Translation by Molly Kerrigan)</em>
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.
Romance
Violence / Violencia
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Silent Cinema / Cine mudo
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
Luis Pardo
Description
An account of the resource
Luis Pardo es un bandolero que busca vengar la muerte de su hermano, asesinado por un brutal gamonel, César Pradera. Éste es padre de la mujer que Pardo llegará a amar. (<a href="https://www.filmaffinity.com/es" target="_blank" rel="noreferrer noopener"><span>Film Affinity ES</span></a>)
-
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c83f82dbde07aa4e79ebed1d5a24dbc8
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.
Kukuli
Director
The director of the film. El/La director/a de la película.
Luis Figueroa
Eulogio Nishiyama
César Villanueva
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
1961
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / español
Indigenous / indígena
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Kero Films (Perú)
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.
<span><em>Kukuli</em> fue filmado en las alturas del Cuzco y en el pueblo de Paucartambo entre los meses de julio y octubre de 1960. Fue el primer largometraje peruano ambientado en su totalidad en los andes y en el que por vez primera los diálogos íntegros estaban en quechua. Además, fue el primer filme argumental peruano a colores. La mayoría de los actores principales era amateur; tan solo el sacerdote, interpretado por Emilio Galli, conocido actor de teatro de la época, tenía experiencia previa. Judith Figueroa y Víctor Chambi fueron elegidos por su conocimiento del quechua en el caso de la primera y por sus rasgos físicos en el caso del segundo. El resto de actores, en su mayoría extras, estuvo conformado por los mismos pobladores de Paucartambo, que se interpretaban a sí mismos en la celebración. [...] El tema de la película fue tomado de un cuento popular andino, el cual se combinó luego con la fiesta de Paucartambo con la finalidad de mostrar en la pantalla la cultura andina a un doble nivel: el de la mitología oral y el del folclore (Valdez Morgan, Jorge Luis. "La sociedad filmada. Apuntes sobre la historia del Perú a partir de tres películas." <em>Histórica</em>, vol. 29, no. 2, Dec. 2005.)</span>
Kukuli <em>was filmed from July to October of 1960 in the mountains of Cuzco. It was the first Peruvian feature film, in color, to be set entirely in the Andes with the main dialogue spoken in Quechua. The majority of the actors were amateurs; only the priest, played by Emilio Galli, had previous theatrical acting experience. Judith Figueroa and Víctor Chambi were chosen primarily for her knowledge of Quechua, in the case of the former, and for his physical characteristics, in the case of the latter. The rest of the cast consisted of mostly extras who played themselves in the celebration as residents of Paucartambo. [...] The theme of the film was taken from a popular Andean tale, which was then combined with the Paucartambo festival to show Andean culture in two ways: through its oral mythology and folkclore. (Translation by Molly Kerrigan)</em>
Category / Categoría
A broad category or mode of cinematographic production.
Fiction Films / Cine de ficción
Genre / Género
A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.
Drama
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Indigenous peoples / Pueblos indígenas
Relationships / Relaciones
Social inequality / Desigualdad social
Violence / Violencia
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
New Latin American Cinema / Nuevo Cine Latinoamericano
Available at
Website, streaming service, distributor
YouTube: <a href="https://youtu.be/pTX29M7SR1I" target="_blank" rel="noreferrer noopener">https://youtu.be/pTX29M7SR1I</a><br /><br /><iframe width="560" height="315" src="https://www.youtube.com/embed/pTX29M7SR1I" title="YouTube video player" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Kukuli
Description
An account of the resource
<span><em>Kukuli</em> fue filmado en las alturas del Cuzco y en el pueblo de Paucartambo entre los meses de julio y octubre de 1960. Fue el primer largometraje peruano ambientado en su totalidad en los andes y en el que por vez primera los diálogos íntegros estaban en quechua. Además, fue el primer filme argumental peruano a colores. La mayoría de los actores principales era amateur; tan solo el sacerdote, interpretado por Emilio Galli, conocido actor de teatro de la época, tenía experiencia previa. Judith Figueroa y Víctor Chambi fueron elegidos por su conocimiento del quechua en el caso de la primera y por sus rasgos físicos en el caso del segundo. El resto de actores, en su mayoría extras, estuvo conformado por los mismos pobladores de Paucartambo, que se interpretaban a sí mismos en la celebración. [...] El tema de la película fue tomado de un cuento popular andino, el cual se combinó luego con la fiesta de Paucartambo con la finalidad de mostrar en la pantalla la cultura andina a un doble nivel: el de la mitología oral y el del folclore (Valdez Morgan, Jorge Luis. "La sociedad filmada. Apuntes sobre la historia del Perú a partir de tres películas." <em>Histórica</em>, vol. 29, no. 2, Dec. 2005.)</span>
Quechua
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b5c5efc75e0dd1ad3b3331480e92a62b
PDF Text
Text
Updated May 2021
INDIGENOUS & AFRO-DESCENDANT REPRESENTATION
IN CONTEMPORARY LATIN AMERICAN FILM
Spring 2021 Synchronous Class Sessions: Wednesdays & Fridays, 1:15-2:30pm (ET)
Prof. Bridget Franco, Department of Spanish, Email: bfranco@holycross.edu
COURSE INFORMATION
This course serves as an introduction to film analysis by studying Latin American cinema, with a focus
on Afro-descendant and indigenous communities. We will analyze the representation of indigenous
people in contemporary Latin American cinema, and highlight the contributions of indigenous media to
current discussions about indigeneity and decolonization. In addition, we will examine the cinematic
representa-tion of Afro-Latin Americans and explore the cultural legacy of the African diaspora through
Latin American film. The course will highlight important social and political issues concerning historically
marginalized voices in Latin America, as well as how cinematography, as an artistic medium, grapples
with questions of representation, identity, memory, and activism. Movies will be screened in Spanish (in
some cases, Portuguese and indigenous languages, with Spanish subtitles). Class conducted in Spanish.
COURSE OBJECTIVES
The main goals of this course are (1) to acquire an understanding of how indigenous and Afro-Latin
American people are represented in and represent themselves in contemporary Latin American cinema in
the historical context of colonialization and slavery; (2) to gain an appreciation of film as an artistic
medium with the power to promote awareness, challenge predominant world-views, and stimulate critical
reflection; (3) to gain experience in analyzing film, specifically in seeing and articulating relationships
between content and form.
Credit: Latin American, Latinx, and Caribbean Studies (LALC); Cross-Cultural Studies
Prerequisite: SPAN 305 and a semester of readings (SPAN 308 or 309)
COURSE MATERIALS
•
Cineglos: http://sites.holycross.edu/cineglos/ (open-access Spanish-language film glossary with
examples of cinematographic techniques from Latin American and Spanish cinema)
•
Films: Almost all the films in this course will be available for free through our Canvas website, or
through Kanopy, Swank, or Alexander St. Videos (video streaming services accessible via the
library catalog). You must log in using your Holy Cross credentials to gain access to these
platforms. Pending availability, there may be 2-3 films that you will need to rent (via Amazon
Prime, Netflix or Vimeo) this semester. The cost to rent/buy is approximately $3-12 per film.
•
Texts: All required and supplementary readings will be available on Canvas or through the Holy
Cross library catalog throughout the semester. You are expected to read these texts prior to our
meeting and to bring a printed or digital copy with you to class.
•
Afro-Descendant Representation Bibliography: https://cinegogia.omeka.net/afrolatinamerican
•
Indigenous Representation Bibliography: https://cinegogia.omeka.net/indigenous
�QUESTIONS ABOUT FILMS & FILM STUDIES
How many films will we watch? We will watch 18 films this semester. You are responsible for
watching 1-2 movies each week on your own as part of your course work. I highly recommend
that you set aside a day and time (on your calendar) to view the films that we will discuss in
class. Expect to spend dedicated time taking notes and analyzing, not just watching, these films
(just as you would with a novel or essay). In order to complete your written assignments, you
will need to watch key scenes or sequences at least one more time to properly analyze, critique,
and understand the many different layers that comprise the films. When it is your turn to
moderate or review a film, you should also plan to view the film a 2nd or 3rd time.
What kinds of films will we watch? The films that we will screen this semester have been
selected to introduce you to a variety of perspectives, regions, communities, languages, and
ways of life that exist in Latin America, with a specific focus on indigenous and Afro-descendant
representation through cinema. Our course will explore issues related to gender, race, politics,
and history, and some of the films include scenes with violence, sex, nudity, and offensive
language. In normal circumstances, you would watch these films in the company of other
college-age peers. However, given our remote learning situation, you may find yourself sharing
the screen with family members. Please be advised that these films may not be appropriate for
younger siblings or other family members. I highly encourage you to watch the films by
yourself or with a peer from class (if allowed by social distancing guidelines), so as to
form your own opinions, critiques and commentaries (just as you would in a conventional
college setting). Our synchronous class sessions are designed to be a safe place to discuss the
films together.
I’ve never taken a film class – what should I expect? You should expect to never be able to
watch a movie again without noticing new and surprising things! Warning: after you take this
seminar, your friends and family may be slightly annoyed by the comments you make about
low-angle shots, non-diegetic sound and key lighting while watching movies with them. You will
learn to recognize how films create meaning, provide insight into different cultures, and give a
voice to stories from Latin America that are not typically portrayed by the dominant lens of the
Hollywood film industry. You will learn how to analyze the multiple layers of a film, including
character development, perspective, theme, cinematography, production context, and film
history. As part of this process, you will discuss the films and related readings, and make oral
presentations during class; you will learn how to identify the building blocks of cinematography
and write film reviews; and you will create a digital video-essay about selected films from the
course and a topic of your choice.
What films will we watch? During the first half of the semester, we will focus on indigenous
representation in Latin American cinema, as well as indigenous media produced in Abya Yala
(an indigenous-language term used to refer to the region). These films include: Wallmapu
(2001); Fuga de la Patagonia (2016); Tava, a casa de pedra (2012); Ixcanul (2015); La teta
asustada (2009); El niño pez (2009); Tote/abuelo (2019); El abrazo de la serpiente (2015);
Pïrinop, meu primeiro contato (2007); and El grito de la selva (2008). Following this module, we
will screen a series of films that highlight Afro-descendant voices, communities and filmmakers:
Ôrí (1989); La soledad (2016); El techo (2016); Cafe com canela (2018); Cidade de Deus
(2002); Pelo malo (2014); Cores e Botas (2010); and Miriam miente (2018). In addition to these
films, you will have the opportunity to write your film reviews on a related film in consultation
with the professor.
�WEEKLY ASSIGNMENTS
Each week, students will be responsible for preparing or presenting different assignments. The
work is spread out over the course of the semester, so students will be responsible for their
tasks on different dates and for different films. More details and dates will be posted on Canvas.
WEDNESDAYS
•
MODERADOR/A (M): Responsible for creating a guide with discussion questions about
the assigned film and reading. The written part of this assignment is called “Puntos de
enfoque” and must be uploaded to Canvas by 5pm (ET) on the Monday prior to class.
During Wednesday’s class, the moderator will give an oral presentation (8-10 minutes,
graded) with context about the director and the film, and then s/he will moderate a
discussion (20 minutes) based on the questions in the “Puntos de enfoque.” Each student
will moderate 1 film during the semester.
•
PUNTOS DE ENFOQUE (PE): On most Wednesdays, most students will answer the
puntos de enfoque (discussion questions) created by the moderator and upload their
responses to the relevant Discussion Forum on Canvas before class on Wednesday. This
weekly exercise will help you discern elements of the films that are significant, interesting,
or problematic, and to develop your critical writing skills. Note: Moderators are exempt
from responding to their own “Puntos de enfoque”.
FRIDAYS
•
PRESENTADOR/A DE ARTICULO (PA): On most Fridays there will be an assigned
reading about Latin American cinema, the specific film we are studying, or a related topic.
Weekly presenters will identify the thesis or main point, summarize the article in their own
words, and create 5 questions about and/or based on the reading, using the weekly films
as reference points. The Article Presenter will also present the reading in class on Friday,
and use his/her questions as the basis for a broader discussion with everyone.
•
TAREA DIGITAL (TD): On Friday, students will complete different kinds of digital
homework in preparation for the final video essay project. These low-stakes assignments
are designed to help you recognize film techniques and how they function, as well as to
provide you with the cutting and editing practice needed for the final video essay project
(due at the end of the semester). Some of this work will be completed with a partner(s),
some will be done on your own. Note: Article presenters are exempt from the Friday digital
homework on the day that they are scheduled to present.
RESEÑAS (Film Reviews)
•
Students will write two (2) film reviews, 5-6 paragraphs in length. A list of recommended
movies will be provided. The first review will focus on indigenous representation and/or
indigenous media, and should be written for an audience that is not familiar with the
historical context of the film. The second review will focus on an Afro-Latin American film,
and should be designed for publication in a newspaper in Latin America. Detailed
instructions, due dates, and guidelines for writing the film reviews will be discussed in
class and provided on Canvas.
�VIDEO ESSAY FINAL PROJECT1
What exactly is a video essay?
As part of our seminar, you will craft an essay that critically analyzes 1-2 films related to our
seminar topics – indigenous and Afro-descendant representation in contemporary cinema from
Latin America. Unlike the traditional writing assignments in other courses, you will present this
analysis as a short audiovisual essay. Video essays, also referred to as videographic criticism,
have emerged in the past decade as a new form of Film Studies research. The video essay
format allows us to write about and analyze movies using the very same audiovisual medium of
film! Not only can we use the images and sounds from the films in question, the video essay
also opens up new possibilities of expression for our analysis.
What is the process of creating a video essay like?
I cannot assume that everyone has the same background in either digital editing or research
methodology. Furthermore, writing, research and video editing all benefit from collaboration,
peer-review, and multiple drafts before the final product is complete. For these reasons, our
course has been designed with low-stakes learn-by-doing activities (individual and in pairs/small
groups), peer-review exercises, and scaffolded assignments that will build towards the final
video essay. You are encouraged (and in some cases will be required) to brainstorm ideas with
one another and the professor, to workshop your writing, to problem solve technical glitches,
and to share practical advice for cutting and editing. During the month of April, there will be
dedicated time during class to workshop and develop your video essay.
Who will see my video essay?
In addition to submitting the video essay to me and sharing the final result with your peers,
students may have the opportunity to publish their work for public viewing (meaning that the
potential audience for your research project is not just your professor and your peers, but
anyone with internet access who is interested in Latin American Film Studies). You, of course,
will have 100% control regarding publication of the video essay on a public forum; and you do
not need to make that decision until the semester is over.
I don’t really understand what a video essay is… Can you show me some examples?
Spoken like a true film critic! To see and hear is to understand. Here are some examples of
video essays created by students and scholars in Latin American Film Studies. Please
remember that the length, narration, and other requirements for our video essay may be
different from these specific examples.
•
•
•
•
•
•
•
•
1
We ALL Can: Perennial themes in Szifrón’s Wild Tale
Panóptico en Diarios de motocicleta
The Underrepresentation of U.S. Latina Directors
“I’ll Run Them Over”: Classism in Las malas intenciones
“C/Leo” – On Auteurism and Roma
La doble repetición en Memorias del subdesarrollo
Santa y Teresa: A Walking Dialogue between two Cuban Characters
El embrujo de La mujer sin cabeza
Video Essay assignment adapted from course materials created by Jeffrey Middents, American University and
Michelle Farrell, Fairfield University
�CLASSROOM COMMUNITY
•
Attendance & Zoom Etiquette
I am looking forward to the day when college life resumes some semblance of normality and
we can all be together on campus, in a regular classroom setting. In the meantime,
consistent attendance and punctuality using our online Zoom platform are expected for this
course. Please test your internet connection, microphone and camera at least 5 minutes
before class begins to minimize disruptions. One important part of creating a positive and
productive classroom community is that we will all try to find a quiet, private space when we
meet for our synchronous class sessions on Wednesdays and Fridays. You should have
your video feed on (as it is normal and helpful to see each other during class) and use
headphones/earbuds to keep our discussions within the classroom space only. I understand
that there may be interruptions, problems with technology or other realities that interfere with
these expectations from time to time. If this is the case, you are expected to communicate
your circumstances to me before class begins.
Our synchronous sessions will not be recorded. If you miss a class, it is your responsibility to
notify me via email before the class meeting begins with the reason for the absence. In
addition, you should borrow the notes from another student, acquire any materials that were
handed out, and learn if changes have been made to the syllabus. You may also come to
my virtual office hours (Mondays 3:30-4:30pm; Thursdays 1-2pm; or by appointment) with
any questions about missed classes. I will not email recaps or notes of our synchronous
class sessions to students who were absent. Regardless of absences, all students are
expected to upload any homework to Canvas by the due date to receive credit for their work.
After the first week of classes, students are allowed two absences without a penalty. The
third absence will lower your final semester grade by one half-letter grade, the fourth by one
letter grade, and so on. Arriving late disrupts the class as well. Three tardies equals one
unexcused absence.
•
Participation & Preparation
Thoughtful preparation and active participation in class (discussion, pair/group work) is
critical to a positive and productive learning environment. You are expected to view the
weekly films, read any assigned readings, and prepare assignments prior to class. Class
meetings will be devoted to a discussion of the films and readings. Be prepared not only to
summarize, but also offer interpretative comments. Classroom participation is evaluated
based on what you demonstrate, not what you know in your head.
You can demonstrate your preparation and participation through synchronous engagement
during our regularly scheduled class (e.g., voluntarily responding to questions or prompts by
professor or peers, participation using the live audio/video functions or chat). You can also
show your engagement with the course material asynchronously by completing and
uploading your written homework to Canvas prior to class, by participating actively in
discussion forums, and by promptly responding to email communications from your peers
and professor. In general, please let me know if you feel lost, confused, overwhelmed, or
uncomfortable in class. You are not alone! What you may feel is a “wrong” answer is not
necessarily so, and asking is the most effective way to clear up doubts.
�•
Student (aka Office) Hours
The traditional phrase "office hours" can be misleading, as it seems to indicate that it is
when I am working in my office, not to be disturbed. But, in fact, "office hours", or what I
prefer to call "Student Hours" refers to the protected time during the week that I am
available to meet with my students. I have set this time aside specifically to chat with
you, to answer questions you have about the course or college life, to guide you towards
helpful resources for having a successful semester, and to discuss assignments, readings
and of course Latin American film!
I enjoy getting to know my students outside of the regular classroom dynamic, and I know
that college can be a very challenging time in your life. On top of that, our remote learning
circumstances will require additional guidance and one-on-one interaction in order for you to
learn deeply and challenge yourself to grow. If that’s not convincing enough, research
shows that taking advantage of office hours during college can result in higher grades and
more compelling letters of recommendation, as well as improve your communication and
networking skills. Still not convinced? Attending office hours at least one time before March
1 is one of our course requirements… so please give it a try!
Student Hours: Mondays 3:30-4:30pm, Thursdays 1-2pm, or by appointment. Zoom link
is posted on our Canvas website. You can drop in to Student Hours anytime. YOU DO NOT
NEED TO SIGN UP. If these days/times do not work with your schedule, just email me and
we will set up an alternate time to chat via Zoom or by phone.
EVALUATION & GRADING
Article Presentation (1)
5%
Film Moderator (1)
10%
Puntos de enfoque
10%
Digital Homework
10%
Attendance & Participation
10%
(includes attendance, participation, preparation)
Film Reviews (2)
20%
Final Project
35%
(includes research question, annotated bibliography,
storyboard, curatorial statement, and video essay)
�REQUIRED COLLEGE-WIDE INFORMATION
Statement about Recording of Classes
Consistent with applicable federal and state law, this course may be video/audio recorded as an
accommodation only with permission from the Office of Accessibility Services.
Student Attendance at Class and Excused Absence Policy
https://catalog.holycross.edu/requirements-policies/academic-policies/#coursepoliciestext
Academic Integrity
https://catalog.holycross.edu/requirements-policies/academic-policies/#academicintegritytext
All education is a cooperative enterprise between faculty and students. This cooperation
requires trust and mutual respect, which are only possible in an environment governed by the
principles of academic integrity. As an institution devoted to teaching, learning, and intellectual
inquiry, Holy Cross expects all members of the College community to abide by the highest
standards of academic integrity. Any violation of academic integrity undermines the studentfaculty relationship, thereby wounding the whole community. The principal violations of
academic integrity are plagiarism, cheating, and collusion.
Work prepared for this class should be written in Spanish and without the aid of external
translation tools (other than a dictionary). Your work should be your own and should be
prepared specifically for this class. Whenever you make use of outside sources for language,
ideas (including web sites, books, etc.) or as part of your video-essay (film clips, music,
interviews), you must acknowledge them in formal citations, following the MLA bibliographic
guidelines. Failure to do so constitutes plagiarism, a serious academic offense. First-time
plagiarists earn a zero on the assignment, a letter in their college file, and two semesters of
academic probation. If you ever have questions about what needs to be cited and what does
not, please ask me.
Office of Accessibility Services
https://www.holycross.edu/health-wellness-and-access/office-accessibility-services
The Office of Accessibility Services (formerly named Disability Services) encourages the
“development of the whole person” by helping students identify and appreciate their unique
characteristics and request appropriate accommodations when necessary. Students should
submit all accommodation requests to the Office of Accessibility Services. Students requesting
accommodations should review the guidance provided by the Office of Accessibility Services
regarding the requirements for documentation.
Office of Academic Services and Learning Resources
https://www.holycross.edu/support-and-resources/academic-services-and-learning-resources
The Office of Academic Services and Learning Resources helps each Holy Cross student take
the next step toward academic success. Whether you’re a first-year student looking for a
tutoring workshop, a sophomore Honors student looking for advice on choosing a major, a junior
athlete seeking to improve time management skills to become a stronger leader, or a senior
trying to balance your current courses with planning for life after Holy Cross, the office has
something to offer you.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Syllabi
Syllabus
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
Indigenous & Afro-descendant Representation in Contemporary Latin American Film
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
<div class="page" title="Page 1">
<div class="section">
<div class="layoutArea">
<div class="column">
<p><span>This course serves as an introduction to film analysis by studying Latin American cinema, </span><span>with a focus on Afro-descendant and indigenous communities</span><span>. We will analyze the representation of indigenous people in contemporary Latin American cinema, and highlight the contributions of indigenous media to current discussions about indigeneity and decolonization. In addition, we will examine the cinematic representa-tion of Afro-Latin Americans and explore the cultural legacy of the African diaspora through Latin American film. The course will highlight important social and political issues concerning historically marginalized voices in Latin America, as well as how cinematography, as an artistic medium, grapples with questions of representation, identity, memory, and activism. Movies will be screened in Spanish (in some cases, Portuguese and indigenous languages, with Spanish subtitles). Class conducted in Spanish. </span></p>
</div>
</div>
</div>
</div>
Related Course Materials / Materiales relacionados
Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live.
<a href="https://cinegogia.omeka.net/afrolatinamerican">https://cinegogia.omeka.net/afrolatinamerican</a>
<a href="https://cinegogia.omeka.net/indigenous">https://cinegogia.omeka.net/indigenous</a>
<a href="https://cinegogia.omeka.net/items/show/676">Proyecto de video ensayo</a>
<a href="https://cinegogia.omeka.net/items/show/702">Tarea digital</a>
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Argentina
Bolivia
Brazil / Brasil
Chile
Colombia
Cuba
Dominican Republic / República Dominicana
Guatemala
Mexico / México
Peru / Perú
Venezuela
Region / Región
The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso.
Caribbean / Caribe
Latin America / Latinoamérica
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Films taught / Películas
<p><a href="https://cinegogia.omeka.net/items/show/352">El abrazo de la serpiente</a><br /><a href="https://cinegogia.omeka.net/items/show/558">Café com canela</a><br /><a href="https://cinegogia.omeka.net/items/show/491">Cidade de Deus</a><br /><a href="https://cinegogia.omeka.net/items/show/554">Cores e Botas</a><br /><a href="https://cinegogia.omeka.net/items/show/584">Fuga de la Patagonia</a><br /><a href="https://cinegogia.omeka.net/items/show/689">El grito de la selva</a><br /><a href="https://cinegogia.omeka.net/items/show/340">Ixcanul</a><br /><a href="https://cinegogia.omeka.net/items/show/483">La soledad</a><br /><a href="https://cinegogia.omeka.net/items/show/183">La teta asustada</a><br /><a href="https://cinegogia.omeka.net/items/show/372">Miriam miente</a><br /><a href="https://cinegogia.omeka.net/items/show/159">El niño pez</a><br /><a href="https://cinegogia.omeka.net/items/show/481">Ôrí</a><br /><a href="https://cinegogia.omeka.net/items/show/303">Pelo malo</a><br /><a href="https://cinegogia.omeka.net/items/show/610">Pïrinop, meu primeiro contato</a><br /><a href="https://cinegogia.omeka.net/items/show/399">Tava, a casa de pedra</a><br /><a href="https://cinegogia.omeka.net/items/show/302">El techo</a><br /><a href="https://cinegogia.omeka.net/items/show/695">Tote/abuelo</a><br />Wallmapu</p>
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Bridget V. Franco, College of the Holy Cross
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Open Educational Resources (OER)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Indigenous & Afro-descendant Representation in Contemporary Latin American Film
Description
An account of the resource
<div class="page" title="Page 1">
<div class="section">
<div class="layoutArea">
<div class="column">
<p><span>This course serves as an introduction to film analysis by studying Latin American cinema, </span><span>with a focus on Afro-descendant and indigenous communities</span><span>. We will analyze the representation of indigenous people in contemporary Latin American cinema, and highlight the contributions of indigenous media to current discussions about indigeneity and decolonization. In addition, we will examine the cinematic representa-tion of Afro-Latin Americans and explore the cultural legacy of the African diaspora through Latin American film. The course will highlight important social and political issues concerning historically marginalized voices in Latin America, as well as how cinematography, as an artistic medium, grapples with questions of representation, identity, memory, and activism. Movies will be screened in Spanish (in some cases, Portuguese and indigenous languages, with Spanish subtitles). Class conducted in Spanish. </span></p>
</div>
</div>
</div>
</div>
-
https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/25d17ba0f1b2fea0769fa30e7d6c7036.jpeg?Expires=1712793600&Signature=ptjO3WzMIacbsZywP8ndrujr0jmNryAUBsyTygsTL6Qb5VO40z%7EmnXo7vUNCdyVruIRw8r13R8dDBEiZdjpQ07pl21O0VLjZBFw1XNHKU4FnDbXDXQpZ-Ob0H-j338JsxzNHXO1CBlWzSv2iJ9RvwMMjwIqPIzsvDHkWjvp4kuJ9PgOEKX6TqpmWR5WiAYWeGRcwaP9jBVy2jgc5jUILaS0IhluVMob%7EY4X7UNga%7Eb6MhbjMjbZrobRGiNhschls7HlS9pb2M3d7zZvYsEVWFZCKs9hDs4xs0pUIx%7ELAg39xcMTzWY3qetd1-h6gUksi0J6gzHzu2ULxPz3txC3Jpw__&Key-Pair-Id=K6UGZS9ZTDSZM
6dcf3d3b20b8062be4fed1c7861c2a7e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Film Database
Filmography
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
El aula vacía
Title
The Empty Classroom
Director
The director of the film. El/La director/a de la película.
Mariana Chenillo
Pablo Fendrik
Carlos Gaviria
Tatiana Huezo
Lucrecia Martel
Nicolas Pereda
Eryk Rocha
Daniel and Diego Vega
Pablo Stoll Ward
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2015
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / español
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Argentina
Brazil / Brasil
Colombia
El Salvador
Mexico / México
Peru / Perú
Uruguay
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Canana Films (México)
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
<span>Bajo la dirección creativa de Gael García Bernal, once directores retratan el impacto de la deserción escolar en América Latina a través de un largometraje maravillosamente diverso y complejo. Viaja a siete países y explora las razones por las que casi la mitad de los estudiantes de secundaria nunca se gradúa. (<a href="https://cineaparte.com/" target="_blank" rel="noreferrer noopener">Cine Aparte</a>)</span>
<span>Nearly half of all young people in Latin America never finish high school. To explore this dropout crisis, creative director Gael García Bernal gathered 11 award-winning filmmakers who have created a captivating anthology of short films, both narrative and documentary. There is no easy solution to this complex issue, and each short delves into the underlying reasons, from poverty to societal traditions, that students aren’t graduating. This omnibus features films by multi awarded filmmakers Argentina’s Lucrecia Martel (<em>The Headless Woman</em>) and Pablo Fendrik (<em>Ardor</em>), El Salvador’s Tatiana Huezo (<em>The Tiniest Place</em>), Mexico’s Mariana Chenillo (Pragda’s own <em>PARADISE</em>) and Nicolas Pereda (<em>Greatest Hits</em>), Peru’s Daniel and Diego Vega (<em>The Mute</em>), Uruguay’s Pablo Stoll (<em>Whiskey</em>), Brazil’s Eryk Rocha (<em>Cinema Novo</em>) and Flavia Castro (<em>Diaries, Letters, Revolutions</em>), Colombia’s Carlos Gaviria (<em>Potraits in a Sea of Lies</em>). Among many issues, the short films explore the links between the dropout crisis and violence; how to identify students at risk of dropping out of school in Latin America; the lack of interest in school that is preventing students from graduating; school exclusion in indigenous communities; the not-so-typical challenges to finishing high school faced by a deaf student; the relationship between the financial cost to staying in school and its benefits; and what happens when drop out students want to go back. (<a href="https://pragda.com/film/empty-classroom" target="_blank" rel="noreferrer noopener">Pragda</a>)</span>
Category / Categoría
A broad category or mode of cinematographic production.
Documentary Films / Cine documental
Fiction Films / Cine de ficción
Genre / Género
A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.
Drama
Educational / Cine didáctico
Social problem films / cine sociológico
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Social inequality / Desigualdad social
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Available at
Website, streaming service, distributor
Pragda, <a href="https://pragda.com/film/empty-classroom/" target="_blank" rel="noreferrer noopener">https://pragda.com/film/empty-classroom/</a>
Film Guide / Guía de película
Add link to related film guide
<a href="https://cinegogia.omeka.net/items/show/667">https://cinegogia.omeka.net/items/show/667</a>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
El aula vacía
Description
An account of the resource
<span>Bajo la dirección creativa de Gael García Bernal, once directores retratan el impacto de la deserción escolar en América Latina a través de un largometraje maravillosamente diverso y complejo. Viaja a siete países y explora las razones por las que casi la mitad de los estudiantes de secundaria nunca se gradúa. (<a href="https://cineaparte.com/" target="_blank" rel="noreferrer noopener">Cine Aparte</a>)</span>
Youth / La juventud
-
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21e03c0dc6574bad06814056aefbed19
PDF Text
Text
Contributed by David Wood, Carlos Flores Villela and Ana Nahmad (Universidad Autónoma de México)
REPRESENTACIÓN INDÍGENA EN EL CINE LATINOAMERICANO
Posgrado de Historia del Arte, Facultad de Filosofía y Letras, UNAM
Semestre 2014-1 (agosto-diciembre 2013)
Dr. David Wood, IIE-UNAM.
Mtro. Carlos Flores Villela, CEIICH-UNAM.
Mtra. Ana Nahmad, PPELA-UNAM
Horario y lugar de los seminarios:
Los jueves de las 10.00 a las 14.00.
Sede: Sala José Revueltas, Centro Cultural Universitario, Ciudad Universitaria
Presentación:
El curso busca analizar las diversas formas en que han aparecido los pueblos indígenas de
América Latina en las pantallas de cine, tanto de ficción como documental. Abarca un
amplio periodo desde las representaciones en el cine de los primeros tiempos, pasando
por los cines clásicos, los nuevos cines, cines políticos e independientes, para culminar
en las luchas por la autorrepresentación, principalmente a través del video, que los
propios pueblos indígenas emprendieron a partir de la década de los ochenta en casi
todo el continente.
Desde los orígenes del cine la representación de los pueblos indios estuvo
permeada por actitudes y estéticas nacionalistas, colonizadoras e indigenistas,
frecuentemente articuladas desde posturas etnográficas. Estas miradas sobre el mundo
indio fueron atravesadas por las corrientes cosmopolitas y populistas que (siguiendo a
Paulo Antonio Paranaguá) dominaron el cine latinoamericano de la primera mitad del
siglo XX. A la par, surgieron críticas audiovisuales de estos paradigmas colonizadores,
primero desde el propio indigenismo, y después a partir de proyectos renovadores que
trataron de romper con él.
Las miradas sobre lo indígena desde los cines nuevos y militantes, hacia los años
sesenta del siglo XX, rara vez abandonaron los marcos de referencia indigenistas, pero sí
enfocaron a los grupos indios desde su potencial emancipatorio que superaba el
inmovilismo estético del nacionalismo. Este panorama daría lugar en las últimas décadas
del siglo a los procesos de trasferencia de medios y videos colaborativos donde emergió
con fuerza una imagen propia de los pueblos indígenas, que cuestiona las formas de
representación exterior formuladas décadas atrás. Recientemente han surgido nuevas
corrientes que critican, a su vez, cierta institucionalización en los discursos del video
indígena.
El panorama de la representación indígena en el cine latinoamericano complejiza
una periodización lineal. Si bien el curso está estructurado de manera más o menos
cronológica, a lo largo de semestre se propone identificar debates, preocupaciones y
formas de representación que permitan lecturas transversales y diacrónicas de los
problemas discutidos.
Evaluación
La evaluación comprenderá asistencia (5%), lecturas y participación en clase (10%),
presentación de un tema al grupo (15%), un primer trabajo escrito (20%), y un ensayo
final (50%).
Mínimo de asistencia: 80%
1
�Temario
Introducción
8 de agosto
Bibliografía obligatoria:
-
-
Poole, Deborah, Vision, Race, and Modernity: A Visual Economy of the Andean
Image World, Princeton, Princeton University Press, 1997, pp.3-24.
Cornejo Polar, Antonio, “La profundidad histórica del indigenismo” en Literatura
y sociedad en el Perú: La novela indigenista, Lima, Lasontay, pp. 57-91.
Pamela Wilson y Michelle Stewart, “Introduction: Indigeneity and Indigenous
Media on the Global Stage”, en Pamela Wilson y Michelle Stewart (eds.), Global
Indigenous Media: Cultures, Poetics, and Politics, Durham, Duke University Press,
2008, pp.1-38.
León, Christian, "Documental, representación y poder", en Reinventando al otro:
el documental indigenista en el Ecuador, Quito, Consejo Nacional de
Cinematografía, 2010, pp.25-62.
Bibliografía complementaria:
-
Ripoll Soria, Xavier, Sí, bwana: los indígenas según el cine occidental, Madrid,
Alianza Editorial, 2000.
Shohat, Ella y Robert Stam, “Introducción”, en Multiculturalismo, cine y medios
de comunicación: crítica del pensamiento eurocéntrico, Barcelona, Paidós, 2002.
Módulo I. Etnografía y modernidad
Tema 1. Registro, antropología y colonialismo
15 de agosto
Películas:
- Desayuno de indios (Gabriel Veyre, México, 1896) 35mm - Filmoteca
- Peregrinación a Chalma (México, 1922) 35mm - Filmoteca
- Patagonia (Alberto Agostini, Chile, 1915-1928)
Bibliografía:
- De los Reyes, Aurelio, Manuel Gamio y el cine, México, UNAM, 1991. (IIE)
- Villaroel, Mónica, “Por la ruta del discurso eurocéntrico en el cine de
exploradores”, Aisthesis 48, 2010, pp.90-111. Disponible en línea: http://
www.scielo.cl/pdf/aisthesis/n48/art06.pdf
- Shohat, Ella y Robert Stam, “El imaginario imperial”, en Multiculturalismo, cine y
medios de comunicación: crítica del pensamiento eurocéntrico, Barcelona,
Paidós, 2002, pp.115-150.
Tema 2. Explorar, educar, civilizar
22 de agosto
Películas:
- Los invencibles Shuaras del Alto Amazonas (Carlos Crespi, Ecuador, 1926) 35mm Filmoteca
2
�-
Expedición al Caquetá (César Uribe Piedrahita, Colombia, 1930)
Vuelve Sebastiana (Jorge Ruiz, Bolivia, 1953)
Todos somos mexicanos (José Arenas, México, 1958) DVD - Filmoteca
Bibliografía:
- León, Christian, "El cine de los pioneros", en Reinventando al otro: el documental
indigenista en el Ecuador, Quito, Consejo Nacional de Cinematografía, 2010, pp.
91-114.
- Tobing Rony, Fatimah, “Gestures of Self-Protection: The Picturesque and the
Travelogue”, en The Third Eye: Race, Cinema, and Ethnographic Spectacle,
Durham/London, Duke University Press, 1996, pp.77-98. (IIE)
- Gumucio-Dagron, Alfonso, "Jorge Ruiz", en Paulo Antonio Paranaguá (ed.), Cine
Documental en América Latina, Madrid, Cátedra, 2003, pp.141-149.
Módulo II. Indio y nación
Tema 3. Ficciones fundacionales y modernidad
29 de agosto
Películas:
- Tepeyac (Carlos E. González, José Manuel Ramos y Fernando Sáyago, México,
1918) 35mm - Filmoteca
- El último malón (Alcides Greca, Argentina, 1918) 35mm - Filmoteca
- Wara Wara (José María Velasco Maidana, Bolivia, 1930)
Bibliografía:
- Rodríguez, Alejandra, “La trama, la historia y la política en El último malón”, en
PolHis. Boletín Bibliográfico Electrónico del Programa Buenos Aires de Historia
Política, 8, 2º semestre de 2011, pp. 162- 172.
- Sánchez García, José María, “Tres películas inolvidables: Tabaré, Santa y
Cuauhtémoc”, en
Historia del cine mexicano; Compilación, introducción e
índices, Federico Dávalos Orozco y Carlos Arturo Flores Villela, México, Filmoteca
de la UNAM, 2013, pp. 67-95.
- Vargas Villazón, Fernando, Wara Wara: la reconstrucción de una película perdida,
La Paz, Cinemateca Boliviana/CAF/Plural, 2010.
- Ramey, James, "La resonancia de la conquista en el cine indigenista mexicano",
en Claudia Arroyo Quiroz et. al., México imaginado: nuevos enfoques sobre el
cine (trans)nacional, México, UAM/Conaculta, 2011, pp.117-158.
- De los Reyes, Aurelio, "Indigenismo" en Medio siglo de cine mexicano: 1896-1947,
México, Trillas, 1987, pp. 184-210.
- Córdova, Verónica, "El cine boliviano del indigenismo a la globalización",
Archipiélago. Revista Latinoamericana de Análisis Político y Cultural, núm. 3, La
Paz, Bolivia, abril-mayo 2008, pp. 87-101.
Tema 4. Nación y revolución 1
5 de septiembre
Películas:
- Que viva México! (Sergei Eisenstein, México, 1932) 35mm - Filmoteca
- Janitzio (Carlos Navarro, México, 1935) 16mm - Filmoteca
Bibliografía:
3
�-
Salazkina, Masha, “Eisenstein’s ¡Que Viva México! ‘Prologue’, Prehistory,
Anthropological and Nationalist Discourses” en In Excess: Sergei Eisenstein’s
Mexico, Chicago, The University of Chicago, 2009, pp. 21-53.
Ayala Blanco, Jorge, “Los indígenas”, en La aventura del cine mexicano, México,
Era, 1968, pp. 193-208.
Eisenstein, Sergei, “Primer bosquejo de ¡Que viva Mexico!”, en El sentido del
cine, México, Siglo XXI, 1990, 189-192.
Bibliografía complementaria:
-
Eisenstein, Sergei, ¡Que viva México!, Prol. Gabriel Ramírez, México, Era, 1964.
Tema 4. Nación y revolución 2
12 de septiembre
Películas:
- Revolución (Jorge Sanjinés, Bolivia, 1963)
- Ukamau (Jorge Sanjinés, Bolivia, 1966)
Bibliografía
- Soto Santiestevan, Gustavo, “Revolución”, Decursos. Revista de Ciencias Sociales,
año VII, núms. 15-16, La Paz, Bolivia, diciembre de 2006, pp. 165-172.
- Wood, David M.J. "Indigenismo and the Avant-garde: Jorge Sanjinés' Early Films
and the National Project", Bulletin of Latin American Research 25.1, 2006, pp.
63-82.
- Rivera Cusicanqui, Silvia, “Construcción de imágenes de indios y mujeres en la
iconografía post 52. El miserabilismo en el Álbum de la Revolución”, Tinkazos.
Revista Boliviana de Ciencias Sociales, La Paz, Bolivia, noviembre de 2005, pp.
133-156.
- ———, “El mito de la pertenencia de Bolivia al ‘mundo occidental’. Réquiem para
un nacionalismo”, Temas Sociales, núm. 24, La Paz, Bolivia, 2003, pp. 64-100.
Tema 5. Indigenismo y estrellas (CF)
19 de septiembre
Película:
- La zandunga (Fernando de Fuentes, México, 1938) 16mm - Filmoteca
- María Candelaria (Emilio Fernández, México, 1943)
Bibliografía obligatoria:
- Mino García, Fernando, “Los Indios que forjaron una patria. Comunidades
indígenas y mito nacional: el caso de María Candelaria”, en Montajes. Revista de
Análisis Cinematográfico, núm. 1, julio-diciembre de 2012, pp. 107-133.
- Zamorano Villareal, Gabriela, “Entre Didjazá y La Zandunga: iconografía y auto
representación indígena en las mujeres del istmo de Tehuantepec, Oaxaca” en
Liminar. Estudios sociales y humanísticos, diciembre, año/vol. III, número 2,
Universidad de ciencias y artes de Chiapas, pp. 21-33.
4
�Bibliografía complementaria:
- Doremus, Anne, “Meztizaje and National Identity in Mexico during the 1940s and
the 1950s”, en Mexican Studies/Estudios Mexicanos, vol. 17, núm. 2, verano de
2001, pp. 375-402.
- Báscones Anton, Marta, “La negación de lo indígena en el cine de Emilio Indio
Fernández”, en Archivos de la Filmoteca. Revista de estudios históricos de la
imagen, Valencia, Ediciones de la Filmoteca (Institut Valencià de cinemaografia
Ricardo Muñoz Suay), febrero de 2002, número 40, segunda época, pp. 90-106.
Módulo III. Representación indígena en los nuevos cines
Tema 6. Indio y renovación
26 de septiembre
Películas:
- Raíces (Benito Alazraki, México, 1954) 35mm - Filmoteca
- Tarahumara (Luis Alcoriza, México, 1965) 16mm - Filmoteca
- Kukuli (Luis Figueroa, Eulogio Nishiyama y César Villanueva, Perú, 1961)
Bibliografía:
- Gómez Tarín, Francisco Javier, “Cine e indigenismo. La imagen externa.
Tarahumara (Luis Alcoriza, 1964) como muestra”, en Julio Calvo Pérez (ed.),
Contacto interlingüístico e intercultural en el mundo hispano, vol. 2, Actas de
las V Jornadas Internacionales de Lenguas y Culturas Amerindias. Contacto
Interlingüístico e Intercultural, Valencia, del 8 al 12 de noviembre de 1999,
Valencia, Instituto Valenciano de Lenguas y Culturas Amerindias/Departament de
Teoria dels Llenguatges-Universitat de València, 2001, pp. 815-823, disponible en
<http://apolo.uji.es/fjgt/indigenismo.pdf>.
- Valdez Morgan, Jorge Luis, “La sociedad filmada. Apuntes sobre la historia del
Perú a partir de tres películas”, en Revista Histórica (PUCP), VOL. 29, NÚM. 2,
Lima Perú, 2005, pp. 107-152.
- Valdez Morgan, Jorge Luis, “La imagen distorsionada. Realidad y estereotipo del
imaginario andino a través del cine (1960-1980)”, Bira. Boletín del Instituto RivaAgüero, núm. 33, Lima, Perú, 2005, pp. 247-258.
Tema 7. Indio y militancia (AN)
3 de octubre
Películas:
- Nütuayin Mapu: recuperemos nuestra tierra (Guillermo Cahhn y Carlos Flores
del Pino, Chile, 1969)
- El enemigo principal (Jorge Sanjinés, Perú, 1973)
- Tupac Amaru (Federico García Hurtado, Cuba/Perú, 1984)
Bibliografía:
- Sanjinés, Jorge y Grupo Ukamau, Teoría y práctica de un cine junto al pueblo, 3a ed.,
México, Siglo XXI, 1987.
- Sanjinés, Javier, "Transculturación y subalternidad en el cine boliviano", en Alejandro
Bruzual (coord.), Cine, política y memoria. Objeto Visual. Cuadernos de Investigación de
la Cinemateca Nacional de Venezuela, año XII, núm. 10, diciembre de 2004, pp. 11-29.
- Maturana Díaz, Felipe, "'Nutuayin Mapu' y el cine indígena en Chile, en La Fuga,
Invierno de 2010, consultar en http://www.lafuga.cl/nutuayin-mapu-y-el-cine-indigena5
�en-chile/412
El 10 de octubre no hay clase (Coloquio Internacional del IIE)
Tema 8. Antropofagia
17 de octubre
Películas:
- Triste Trópico (Artur Omar, Brasil, 1974)
- Como era gostoso o meu francês (Nelson Pereira dos Santos, Brasil, 1971)
Bibliografía:
- Nichols, Bill, "The Ethnographer's Tale", en Lucien Taylor (ed.), Visualizing
Theory: Selected Essays From V.A.R. 1990-1994, New York/Londres, Routledge,
1994, pp.60-83.
- Omar, Arthur, "El antidocumental, provisionalmente" [1978], en Paulo Antonio
Paranaguá (ed.), Cine Documental en América Latina, Madrid, Cátedra, 2003, pp.
468-471.
- Stam, Robert y Ella Shohat, “Las estéticas de las resistencias”, en
Multiculturalismo, cine y medios de comunicación: crítica del pensamiento
eurocéntrico, Barcelona, Paidós, 2002, pp. 249-315.
- Nagib, Lúcia, “To Be Or Not To Be a Cannibal”, en Brazil on Screen: Cinema Novo,
New Cinema, Utopia, Londres, I.B. Tauris, 2007, pp. 61-80.
Módulo IV. Autorrepresentaciones y relatos indígenas
Tema 9. Tecnología y testimonio
24 de octubre
Película:
- Nuestra voz de tierra, memoria y futuro (Marta Rodríguez y Jorge Silva,
Colombia, 1980)
- Hermógenes Cayo (Jorge Prelorán, Argentina, 1970)
Bibliografía:
- MacDougall, David, “Whose Story Is It?”, Transcultural Cinema, Princeton,
Princeton University Press, 1998, pp.150-164 (publicado originalmente en Visual
Anthropology Review 7.2, Fall 1991, pp.2-10).
- Álvarez, Luis Alberto, “Cine colombiano mágico” [1982], en Páginas de cine, vol.
1, Medellín, Universidad de Antioquia, 2005, pp.19-22. Disponible en línea:
http://maderasalvaje.blogspot.mx/2013/05/andar-la-palabra-el-mes-demarta.html
- Chanan, Michael, “Rediscovering Documentary: Cultural Context and
Intentionality” [1985], en Michael T. Martin (ed.), New Latin American Cinema,
vol.1, Theory, Practices, and Transcontinental Articulations, Detroit, Wayne
State University Press, 1997, pp.201-217.
- Flores, Carlos Y., “La antropología visual: ¿distancia o cercanía con el sujeto
antropológico?”, Nueva Antropología XX (67), 2007,pp.65-87. Disponible en línea:
http://www.carlosyflores.com/la-antropologia-visual-distancia-o-cercania-con6
�el-sujeto-antropologico/
Tema 10. Transferencia de medios y video indígena (AN)
31 de octubre
Películas:
- La vida de una familia Ikoods (Teófila Palafox, México, 1988)
- Memoria viva (Marta Rodríguez e Iván Sanjinés, Colombia, 1993)
- O Espírito da TV (Vincent Carelli, Vídeo nas aldeas, Brasil, 1990)
- Día dos (Dante Cerano, México, 2004)
Bibliografía:
- Amalia Córdova, “Estéticas enraizadas: aproximaciones al video indígena en
América Latina”, en Comunicación y medios 24 (2011), Instituto de la Comunicación e
Imagen, Universidad de Chile, pp. 81-107.
- Schiwy, Freya, “La otra mirada. Video indígena y descolonización”, Miradas.
Revista del Audiovisual, San Antonio de los Baños, Cuba, Escuela Internacional de Cine
y Audiovisual, [s. f.], disponible en <http://www.eictv.co.cu/miradas>.
- Lerner, Jesse, "Dante Cerano: Día dos: sexo, parentesco y video", en Claudia
Arroyo Quiroz, et. al. (eds.), México imaginado: nuevos enfoques sobre el cine
(trans)nacional, Méxi co, UAM/CONACULTA, 2011, pp.159-171.
- Anaya, Graciela, Hacia un video indio, México, Instituto Nacional Indigenista,
1990.
Consultar:
-
http://www.nativenetworks.si.edu
-
La Coordinadora Latinoamericana de Cine y Comunicación de los Pueblos Indígenas.
A manera de presentación, disponible en http://videoindigena.bolnet.bo/
clacpi.htm
http://www.videonasaldeias.org.br/2009/index.php
-
Tema 11. Relatos y ficciones indígenas 1
7 de noviembre
Películas:
- La nación clandestina (Jorge Sanjinés, Bolivia, 1989)
- Retorno a Aztlán (Juan Mora Catlett, 1991)
INVITADO ESPECIAL: JUAN MORA CATLETT
Bibliografía:
Jablonska, Aleksandra, “De la resistencia a la unión espiritual: La otra conquista
de Salvador Carrasco”, en Cristales del tiempo: pasado e identidad de las
películas mexicanas contemporáneas, México, UPN/Conacyt, 2009, pp. 163-210.
- Ferman, Claudia, "Indígenas, indigenistas e indigeneidad en el cine
latinoamericano reciente: Video Nas Aldeas, Juan Mora Catlett, Claudia Llosa", en
Francisco Montaña Ibáñez (ed.), Cómo se piensa el cine latinoamericano:
7
�aparatos epistemológicos, herramientas, líneas, fugas e intentos, Bogotá,
Universidad Nacional de Colombia, 2011, pp.136-157.
-
Rivera Cusicanqui, Silvia, Invisible Realities: Internal Markets and Subaltern
Identities in Contemporary Bolivia, Ámsterdam/Quezon City, South Exchange
Program for Research on the History of Development/Southeast Asian Studies
Regional Exchange Program, 2005.
-
García Pabón, Leonardo, “Indigenismo y sujetos nacionales en el cine de Jorge
Sanjinés. A propósito de La Nación clandestina”, en La patria íntima. Alegorías
nacionales en la literatura y el cine de Bolivia, La Paz, Bolivia, Centro de
Estudios Superiores Universitarios-Universidad Mayor de San Simón/Plural, 1998. ,
pp. 249-262.
Tema 11. Relatos y ficciones indígenas 2
14 de noviembre
Películas:
- Qati qati (Reynaldo Yujra, Bolivia, 1998)
- Corazón del tiempo (Alberto Cortés, México, 2009)
Bibliografía:
- Schiwy, Freya, “Gender, Complementarity, and the Anticolonial Gaze”, en
Indianizing
Film: Decolonization, the Andes, and the Question of Technology, New
Brunswick, New
Jersey/London, Rutgers University Press, 2009, pp.109-138.
- Ginsburg, Faye, “Screen Memories: Resignifying the Traditional in Indigenous
Media”, en
Faye Ginsburg, Lila Abu-Lughod y Brian Larkin (eds.), Media Worlds:
Anthropology on New
Terrain, Berkeley/Los Angeles, University of California
Press, 2002, pp.39-57.
- Leer críticas de prensa publicadas sobre Corazón del tiempo.
Tema 11. Relatos y ficciones indígenas 3
21 de noviembre
Película:
- Madeinusa (Claudia Llosa, Perú, 2006)
Bibliografía:
-
-
D’Argenio, Maria Chiara, “A Contemporary Andean Type: The Representation of
the Indigenous World in Claudia Llosa’s Films”, Latin American and Caribbean
Ethnic Studies 8.1, 2013, pp.20-42.
Beasley-Murray, John, “Subalternidad, traición y fuga: tres películas recientes del
Perú”, en Luis Duno-Gottberg (ed.), Miradas al margen: cine y subalternidad en
América Latina y el Caribe, Caracas, Fundación Cinemateca Nacional, pp.
367–-392. (CUEC)
Kroll, Juli A., “Between the ‘Sacred’ and the ‘Profane’: Cultural Fantasy in
Madeinusa by Claudia Llosa”, Chasqui 38.2, noviembre 2009, pp. 113-125.
8
�Bibliografía adicional
Colombres, Adolfo (ed.), Cine, antropología y colonialismo, Buenos Aires, Ediciones del
Sol, 1985.
Gabriel, Teshome, "Towards a Critical Theory of Third World Films", en Jim Pines y Paul
Willemen (eds.), Questions of Third Cinema, Londres, British Film Institute, 1989,
pp.30-52. (Dw)
Ginsburg, Faye D., Lila Abu-Lughod y Brian Larkin (eds.), Media Worlds: Antropology on
New Terrain, Berkeley, University of California Press, 2002.
Gleghorn, Charlotte, “Revisioning the Colonial Period: La relación de Michoacán and
Contemporary Mexican Indigenous Film”, Interventions: International Journal of
Postcolonial Studies 15.2, 2013, pp.224-238.
Gómez, Santiago Andrés, “Nos robaron la tierra, pero no nos van a robar el
aire” (entrevista con Marta Rodríguez) [1996], disponible en línea: http://
maderasalvaje.blogspot.mx/2013/05/andar-la-palabra-el-mes-de-marta.html
Himpele, Jeff, Circuits of Culture: Media, Politics, and Indigenous Identity in the Andes,
Minneapolis, University of Minnesota Press, 2008.
Johnson, Randall y Robert Stam (eds.), Brazilian Cinema, Londres, Associated University
Presses, 1982.
Lerner, Jesse, The Maya of Modernism: Art, Architecture, and Film, Albuquerque,
University of New Mexico Press, 2011.
MacDougall, David, Transcultural Cinema, Princeton, Princeton University Press, 1998.
--- The Corporeal Image: Film, Ethnography, and the Senses, Princeton/Oxford,
Princetone University Press, 2006.
--- “Cinema Transcultural”, Antípoda 9, julio-diciembre 2009, pp.47-88.
Mateus Mora, Angélica, “Lo indígena en el cine y video colombianos: panorama
histórico”, Cuadernos de Cine Colombiano 17A, 2012, pp.19-45. Disponible en
línea: http://idartes.gov.co/index.php/cinemateca-multimedia/282-ebooks/
publicaciones-2012
Paranaguá, Paulo Antonio (ed.), Cine Documental en América Latina, Madrid, Cátedra,
2003.
---, Tradición y modernidad en el cine de América Latina, Madrid, Fondo de Cultura
Económica, 2006.
Pick, Zuzana, “Cultural Difference and Representation”, en The New Latin American
Cinema: A Continental Project, Austin, University of Texas Press, 1993, pp.
126-156.
---, "Reconfiguring the Revolution: Celebrity and Melodrama", en Constructing the Image
of the Mexican Revolution, Austin, University of Texas Press, 2010, pp.125-144.
Poole, Deborah, Vision, Race, and Modernity: A Visual Economy of the Andean Image
World, Princeton, Princeton University Press, 1997.
Prelorán, Jorge, El cine etnobiográfico, Buenos Aires, Universidad del Cine, 2006.
Richards, Keith John, Themes in Latin American Cinema: A Critical Survey, Jefferson,
McFarland, 2011.
Rodríguez, Clara E., "Dolores del Río and Lupe Vélez: Working in Hollywood, 1924- 1944",
en Norteamérica, año 6, núm. 1, enero-junio 2011, pp. 69-91.
Sanjinés, Iván, “Indígenas en las cámaras: construyendo empoderamiento y nuevas
prácticas de resistencia”, Cuadernos de Cine Colombiano 17B, 2012, pp.56-73.
Disponible en línea: http://idartes.gov.co/index.php/cinemateca-multimedia/
282-ebooks/publicaciones-2012
Schiwy, Freya, Indianizing Film: Decolonization, the Andes, and the Question of
Technology, New Brunswick, New Jersey/London, Rutgers University Press, 2009.
Schiwy, Freya y Nelson Maldonado Torres, (Des)Colonialidad del ser y del saber. Videos
indígenas y los límites coloniales de la izquierda en Bolivia, Buenos Aires, Signo/
Globalization and the Humanities Project/Duke University, 2006.
9
�Stam, Robert, Tropical Multiculturalism: A Comparative History of Race in Brazilian
Cinema and Culture, Durham, Duke University Press, 2007.
Suárez, Juana, “El género del género: mujer y cine en Colombia”, en Cinembargo
Colombia: ensayos críticos sobre cine y cultura, Bogotá, Universidad del Valle,
2009, pp.115-137.
Taylor, Lucien (ed.) Visualizing Theory: Selected Essays From V.A.R. 1990-1994, New
York/Londres, Routledge, 1994.
Tierney, Dolores, Emilio Fernández: Pictures in the Margins, Manchester, Manchester
University Press, 2007.
Vargas, Fernando, Wara Wara: la reconstrucción de una película perdida, La Paz,
Cinemateca Boliviana/CAF/Plural, 2010.
Varios, dossier titulado “Articles on Bolivian Filmmaker, Jorge Sanjinés”, Jump Cut 54,
2012. Disponible en línea: http://www.ejumpcut.org/currentissue/index.html
Wilson, Pamela y Michelle Stewart (eds), Global Indigenous Media: Cultures, Poetics,
and Politics, Durham, Duke University Press, 2008.eal, Gabriela, “ ‘Intervenir en
la realidad’: usos políticos del video indígena en Bolivia”, Revista Colombiana de
Antropología 45.2, 2009, pp.259-285. Disponible en línea: http://
w w w. i c a n h . g o v. c o / g r u p o s _ i n v e s t i g a c i o n / a n t r o p o l o g i a _ s o c i a l /
publicaciones_seriadas_antropologia/revista_colombiana_antropologia/5853
Filmografía adiconal
•
•
•
•
•
•
•
•
•
•
•
Castañeros del Monte Alto (Tacanas en Pando) Año: 2007, Responsable: Julio
Cortés, País: Bolivia, Producción: CEFREC-CAIB, Argumento: colectivo.
Choiteé. Historia de un movima. Año: 2005, Responsable: Miguel Ángel Yalauna,
País: Bolivia, comunidades: San Lorenzo, provincia de Yacuna, Producción:
CEFREC-CAIB.
Contra viento y marea. Mujeres construyendo dignidad y soberanía. Año: 2005,
Responsable: Televisión Comunitaria, Sapecho Ato Beni, País: Bolivia, Producción:
CEFREC-CAIB, Argumento: colectivo.
Corazón aymara. Año: 1925, Dirección: Pedro Sambarino, País: Bolivia,
Producción: Bolivia Films, Argumento: Pedro Sambarino.
Desempolvando nuestra historia. Año: 1999, Responsable: Alfredo Copa, País:
Bolivia, comunidades: Caltapi y Silvi, Producción: CEFREC-CAIB, Argumento:
Alfredo Copa.
El coraje del pueblo. Año: 1971, Dirección: Jorge Sanjinés, País: Bolivia,
Producción: Grupo Ukamau y Radio Televisión Italiana, Argumento: Oscar Soria y
Jorge Sanjinés.
El venado yaqui. Año: 2003, Dirección: María Esperanza Molina Rojas, País:
México, comunidad: Sarmiento yaqui Sonora, Producción: Organización
Productora: UPAI-Sonora CDI, Argumento: Maria Esperanza Molina Rojas.
Etnocidio. Notas sobre el Mezquital, Año: 1976, Dirección: Paul Leduc, País:
México.
"Kherendi Tzitzica" (Flor de las peñas) (Felipe Gregorio Castillo, México, 1938)
La gloria de la raza. Año: 1926, Dirección: Arturo Posnansky, País: Bolivia,
Producción: Cóndor Mayku Films, Argumento: Arturo Posnansky.
La hora de los hornos, Año: 1968, Dirección: Octavio Getino y Fernando Solana,
País: Argentina
•
La profecía del lago. Año: 1925, Dirección: José María Velasco Maidana,
País: Bolivia, Producción: Urania Films, Argumento: José María Velasco
Maidana.
•
Los pueblos indígenas así pensamos Año: 2002, País: Bolivia, Producción: CEFREC10
�•
•
•
•
•
•
CAIB, Argumento: colectivo.
Mana Khawakuaychu/Hagamos algo contra la basura plástica. Año: 2000,
Responsable: Jacinta Rodríguez, País: Bolivia, Producción: CEFREC-CAIB,
Argumento: Jacinta Rodríguez.
Pueblo mosetén. Entre la memoria y el olvido Año: 2006, Responsable: Jesús
Tapia, País: Bolivia, comunidades: Pueblo Mosetén, Producción: CEFREC-CAIB.
Sueños binacionales. Año: 2005, Dirección: Yolanda Cruz, País: México,
Producción: Petate Producciones.
Tejiendo mar y viento.
Año: 1985, Dirección: Luís Lupone, País: México,
Producción: Heléne Damet, Juan Francisco Urrusti, Argumento: Luís Lupone.
Tizoc. Año: 1956, Dirección: Ismael Rodríguez, País: México, Argumento: I.
Rodríguez, Carlos Orellana, Manuel R. Ojeda y Ricardo Parada León
Yawar Mallku/La sangre del cóndor. Año: 1969, Dirección: Jorge Sanjinés, País:
Bolivia, Producción: Grupo Ukamau, Argumento: Oscar Soria y Jorge Sanjinés
11
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Syllabi
Syllabus
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
Representación indígena en el cine latinoamericano
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
<span>El curso busca analizar las diversas formas en que han aparecido los pueblos indígenas de América Latina en las pantallas de cine, tanto de ficción como documental. Abarca un amplio periodo desde las representaciones en el cine de los primeros tiempos, pasando por los cines clásicos, los nuevos cines, cines políticos e independientes, para culminar en las luchas por la autorrepresentación, principalmente a través del video, que los propios pueblos indígenas emprendieron a partir de la década de los ochenta en casi todo el continente. </span>El panorama de la representación indígena en el cine latinoamericano complejiza una periodización lineal. Si bien el curso está estructurado de manera más o menos cronológica, a lo largo de semestre se propone identificar debates, preocupaciones y formas de representación que permitan lecturas transversales y diacrónicas de los problemas discutidos.
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Argentina
Bolivia
Brazil / Brasil
Chile
Colombia
Cuba
Ecuador
Mexico / México
Peru / Perú
Region / Región
The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso.
Abya Yala / Indigenous Americas
Latin America / Latinoamérica
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Silent Cinema / Cine mudo
Studio Cinema / Cine clásico de estudio
New Latin American Cinema / Nuevo Cine Latinoamericano
Contemporary / Contemporáneo
Films taught / Películas
Alistadas según la secuencia del curso: <br /><br /><em><a href="https://cinegogia.omeka.net/items/show/685">Corazón del tiempo</a><br /><a href="https://cinegogia.omeka.net/items/show/773">Como era gostoso o meu francês</a><br /><a href="https://cinegogia.omeka.net/items/show/704">Desayuno de indios</a><br /><a href="https://cinegogia.omeka.net/items/show/844" target="_blank" rel="noreferrer noopener">Día dos</a><br /><a href="https://cinegogia.omeka.net/items/show/789">El enemigo principal</a> <br /><a href="https://cinegogia.omeka.net/items/show/849">Expedición al Caquetá</a><br /><a href="https://cinegogia.omeka.net/items/show/110">Hermógenes Cayo</a><br /><a href="https://cinegogia.omeka.net/items/show/853">Los invencibles Shuaras del Alto Amazonas</a><br /><a href="https://cinegogia.omeka.net/items/show/780">Janitzio</a><br /><a href="https://cinegogia.omeka.net/items/show/699">Kukuli</a><br /><a href="https://cinegogia.omeka.net/items/show/114">María Candelaria</a><br /><a href="https://cinegogia.omeka.net/items/show/850">Memoria viva</a><br /><a href="https://cinegogia.omeka.net/items/show/81">Madeinusa</a><br /><a href="https://cinegogia.omeka.net/items/show/260">La nación clandestina</a><br /><a href="https://cinegogia.omeka.net/items/show/782">Nütuayin Mapu / </a><a href="https://cinegogia.omeka.net/items/show/782">Recuperemos nuestra tierra</a><br /><a href="https://cinegogia.omeka.net/items/show/700">Nuestra voz de tierra, memoria y futuro</a><br /><a href="https://cinegogia.omeka.net/items/show/846">O Espírito da TV</a></em><br /><a href="https://cinegogia.omeka.net/items/show/851"><em>Patagonia</em></a>
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<div class="column"><em><a href="https://cinegogia.omeka.net/items/show/697">Qati qati</a><br /><a href="https://cinegogia.omeka.net/items/show/112">Que viva México!</a><br /><a href="https://cinegogia.omeka.net/items/show/776">Raíces</a><br /><a href="https://cinegogia.omeka.net/items/show/581">Retorno a Aztlán</a><br /><a href="https://cinegogia.omeka.net/items/show/175">Revolución</a><br /><a href="https://cinegogia.omeka.net/items/show/777">Tarahumara</a><br />Tepeyac<br /><a href="https://cinegogia.omeka.net/items/show/715">Todos somos mexicanos</a><br /><a href="https://cinegogia.omeka.net/items/show/719">Triste Trópico</a><br /><a href="https://cinegogia.omeka.net/items/show/783">Tupac Amaru</a><br /><a href="https://cinegogia.omeka.net/items/show/417">El último malón</a><br /><a href="https://cinegogia.omeka.net/items/show/781">Ukamau</a><br /><a href="https://cinegogia.omeka.net/items/show/736">La vida de una familia Ikoods</a><br /><a href="https://cinegogia.omeka.net/items/show/241">Vuelve Sebastiana</a></em><em><br /><a href="https://cinegogia.omeka.net/items/show/720">Wara Wara</a> <br />La zandunga<br /></em></div>
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Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
David Wood, Universidad Autónoma de México (UNAM)
Carlos Flores Villela, Universidad Autónoma de México (UNAM)
Ana Nahmad, Universidad Autónoma de México (UNAM)
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Attribution - NonCommercial
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Representación indígena en el cine latinoamericano
Description
An account of the resource
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<p><span>El curso busca analizar las diversas formas en que han aparecido los pueblos indígenas de América Latina en las pantallas de cine, tanto de ficción como documental. Abarca un amplio periodo desde las representaciones en el cine de los primeros tiempos, pasando por los cines clásicos, los nuevos cines, cines políticos e independientes, para culminar en las luchas por la autorrepresentación, principalmente a través del video, que los propios pueblos indígenas emprendieron a partir de la década de los ochenta en casi todo el continente. </span>El panorama de la representación indígena en el cine latinoamericano complejiza una periodización lineal. Si bien el curso está estructurado de manera más o menos cronológica, a lo largo de semestre se propone identificar debates, preocupaciones y formas de representación que permitan lecturas transversales y diacrónicas de los problemas discutidos.</p>
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Text
Contributed by Jeffrey Middents, American University
]
CORE 107.035
Mondays and Thursdays, 9:45-11:00AM/Labs and Screenings Wednesdays 2:30-5:20PM
Professor Jeffrey Middents (he/him/his)
middents@american.edu, Battelle Tompkins 221, x2979, Skype/Twitter: Middento
Student Hours, Fall 2020: Thursdays 11-2pm, sign up via Canvas; other hours available through Calendly
Program Leader: Colette Combs (she/her/hers), cc8163a@student.american.edu
�course overview
When the villain Elektra King tells James Bond “I could have given you the world,” he replies
coyly with the line that gives the film its title: “The world is not enough.” But what does “the
world” mean anyway? Is, as Bond might imply, the world actually smaller than something more
tangible? In some ways, these questions are being confronted by studies of “world cinema”:
what happens to our grasp of “world culture” when we reduce it to studying one place – or,
perhaps, one film? And what happens to our perspective when we take those individual close
readings and join them back together?
Inspired by ideas articulated by Dudley Andrew, Franco Moretti and Catherine Grant, this
seminar will examine questions of contemporary world cinema from multiple perspectives (for
example: What do international films look like? Why do they look that way? Who watches
them?) by working back and forth between concepts of examining single, individual texts (what
is this particular film trying to tell me?) and broader, globally relevant contexts (what do we
learn when we examine many films in a similar manner?).
As part of that project, each student will study in detail a single international film of their choice
made since the year 2010; in addition to some traditional writing and research projects, all
students will craft an audiovisual essay – that is, a short 6- to 10-minute film that visually
presents their argument concerning their film, in coordination with a curatorial piece between
500 and 1000 words. All of the pieces will be collected onto a single, public website which
together will present our collective response to defining “world cinema.”
By the end of this course, students will be able to:
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Craft an argument using audiovisual and written methodologies to critically analyze works of
cinema;
Discuss the relationships between nation-states and art works, and how these contribute – and
complicate – ideas about “the world”; and
Integrate multiple learning practices and elements into a larger understanding about “world
cinema” by applying critical thinking and research.
To assess these outcomes, grades will be determined by the following six interrelated elements:
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A 6-10-minute video essay, with an accompanying curatorial statement with a maximum of 1000
words, worth 25%;
Three preliminary research assignments directly related to the video essay – a basic investigation
leading to a film choice (2%), a preliminary bibliography with accompanying cultural history (5%),
and an annotated bibliography with preliminary topic idea (10%), worth 17% total;
Three preliminary editing exercises – Videographic PechaKucha (5%), Tell A Story (5%), and the
Alternative Trailer with a Twist (10%) -- worth 20% total
The Contemporary World Cinema Project Syllabus –
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Two open-book essay exams, worth 10% each, 20% total;
Participation in reading response discussion boards, worth 11.5%; and,
Class engagement, worth 10%.
If you add that all up, you will find this yields a possible 103.5%. That means that there is already extra
credit built into the class. Please do not ask for any additional work; there is already quite enough to do.
a rough assessment rubric
For grading purposes, you should know that an ‘A” begins with 94 points and a B+ begins with 87; you
should be able to extrapolate everything else from there. While a more detailed breakdown of
assessment for the discussion boards can be found in the syllabus appendices, what follows is a rough
idea of how I will assess your submitted work, written and otherwise:
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“A” work seriously delves, interacts and/or engages with the texts, readings and/or discussions.
Risks are taken with your chosen topic, but the work is executed successfully. (As an analogy,
think of Olympic gymnastics, diving or figure skating here: for a perfect score, the routine must
not only be executed flawlessly but also must have a significantly high degree of difficulty.)
Questions are raised, considered, explored and (if possible) answered concerning specific issues
raised by the work itself. Arguments not only exist, but are backed up with sufficient evidence
from primary and/or secondary material. The work is also concise and clear, not relying on
jargon.
“B” work touches on interesting issues and topics related to the texts, readings and/or
discussions and delves into them somewhat, but lacks an in-depth analysis. There is a strong
argument with some evidence from primary and/or secondary material. Risks may be taken, but
not executed as elegantly – or the end result is executed well, but the topic itself is relatively
“safe.” Writing is clear and effective. So-called “good work” will fall into this range.
“C” work will brush upon topics relating to the texts, but not explore them in any depth. There is
an argument, but it might be confused or insufficiently grounded by (or is lacking) primary
and/or secondary material. Missing information makes comprehension difficult for anyone who
is unfamiliar with the primary texts. Analysis serves to obscure somewhat rather than illuminate.
“D” work references the texts and/or topics related to the texts without any sense of synthesis.
Evidence of an argument might have existed at some point but is now lost. No reference is made
to either primary or secondary material. Comprehension is difficult even for those familiar with
primary texts. Most of your material seems to have more “fluff” than function.
Do you really want information on what a failing paper looks like? Please.
a shift in thinking
Did you find high school to be some kind of rat race, competitive to the point where you wanted to
know everyone else’s grades – or everyone else wanted to know yours? (Was this the situation and you
chose to stay out of it?) It seems that a lot of high school thinking lends themselves to a very
competitive spirit, where you always have to stay ahead of someone else.
The Contemporary World Cinema Project Syllabus –
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�Whether that was your reality or not, I am here to say that, at least in this classroom, the mode is
definitely more collaborative than competitive. I hope that you will be able to give each other advice
and help each other out – and I am here to not just teach you content, but to help you succeed. Know
from the start, then, the grade for this class is literally what you will earn, not how you do compared to
someone else.
the midterm and final
There will be two exams for this course, both open-book experiences featuring single, medium-length,
relatively open-ended essays. Both exams will ask you to integrate the research that you are personally
engaging in with the larger material (theoretical and otherwise) that the whole class will be reading.
Each exam is worth 10% toward your final grade.
The mid-term will actually involve groups of students working together to craft a single essay; you will
write your portions separately and will be graded individually, but the essay as a whole must work as a
coherent, polished product. Come to the exam with sharpened knowledge of the material and the
discussions we have had, but there will be no need to “study” for the exam if you have kept up with all
your work. You will start the exam during the class period, but then complete work at a later time.
The final exam will be a take-home essay that each student will work on individually; the final will be
due during the exam period, which we will use to have one final Zoom session as a class. For both
exams, you will be able to use any and all of your materials for the exam, including notes and other
resources.
class engagement
Your participation and attendance is expected. Be prepared to discuss, having thought about the films
and the readings. (Yes, you should do the readings. I will assume you have read what you need to read
by the specified class date. More on that below in the section on discussion boards.) The more you
participate, the better the class will be. I expect a respectful, if critical, attitude to permeate the class as
well. Arguments and disagreements are encouraged, just be respectful as you are disproving your
classmate’s (or my) idea.
Being engaged in a synchronous class also means coming in with a positive attitude. Negative attitude
might be indicated by: dozing off, doing other work or studying for other classes, being reticent or
unwilling to participate in small group activities, excessive sarcasm, negative comments, clearly playing
videogames while we’re on a Zoom call together, etc.
The grading rubric for class engagement is very similar to the rubric above for submitted work: “A”quality engagement (9-10) involves thoughtful, sustained interaction and/or engagement with the texts
(even if such positions involve taking a risk), provocative questions and continued involvement
throughout the semester. “B”-quality engagement (8-8.5) finds you touching on interesting issues and
topics and occasionally delving into them further but you are timid in approaching larger issues within
discussion. “C”-quality engagement (7-7.5) occasionally finds you participating in discussions, but
generally you are staying on the surface and are unwilling to take any risks. “D”-quality engagement (6-
The Contemporary World Cinema Project Syllabus –
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�6.5) lets me know you’ve seen the films and that the readings exist – and that’s it. (I will also consider
excessively negative attitude to fall in “D” range.) A failing engagement grade of 10 will be given if you
never contribute to class discussions or have such a negative attitude that it affects the class.
Attendance: The learning outcomes of the Complex Problems curriculum are not possible without
regular attendance in class, even if class is online; in view of this, you should plan to attend every class
meeting. Please keep the following in mind:
According to American University’s Undergraduate Regulations, “Excused absences include
major religious holidays (posted annually by the Office of the Provost and Kay Spiritual Life
Center or verified by the Kay Spiritual Life Center as an excused absence for religious
observance), medical or mental health events, approved disability-accommodation-related
absences, and approved varsity athletic team events.” For an absence to be excused,
students must supply proper documentation (or notice in the case of a religious obligation)
in a timely manner. To preserve student privacy, only the Dean of Students Office can
provide documentation for absences due to mental-health or medical issues.
• Unexcused absences are all other instances of your inattendance. More than three
unexcused absences may be grounds for course failure.
• Excessive absences, excused or unexcused, can change the nature of the course so that it is
impossible for you to achieve the learning outcomes. In these cases, faculty and students
should consult about options, including withdrawal, medical leave, or course failure.
The way that this works is simple: you can’t participate if you aren’t there. That said, all sorts of things
could come up: technical issues, illness, large weather events that knock out power, etc. Don’t kill
yourself if things get dire – I’m just saying that we’ll be doing some amazing things that you will be
missing if you’re not there.
�
•
a few words about working with zoom
For the most part, we’ll be using Zoom (as, hey, this is what the word does now!) to meet as a class
together. I assume (given the last few months of high school) that you are familiar enough with the
format to know how to use it at a basic level, although it’s okay if you haven’t. Here are some basic
guidelines to consider for how we are going to use the format for class:
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When we’re in class and discussing as a group, I’d prefer that we keep cameras on. The class is
small of us that we’ll still see each other and we will all stay more engaged. That said, if you
don’t want folks to see what is behind you, play with virtual backgrounds. (Movie stills make
great backgrounds. I’m just saying.)
Setting up your camera in a slightly elevated manner (as opposed to on your lap) will offer a
straight-on perspective.
Try not to position your camera with a bright light right behind you, as it will just have you in
silhouette. Aim for a natural light in front of you, if possible.
Clothes are a good thing.
When we are all in a room together, we should all mute microphones when we are not talking.
In breakout rooms, however, feel free to leave them on for small group work.
When it’s just one person talking/lecturing for a while, feel free to turn your cameras off.
The Contemporary World Cinema Project Syllabus –
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Avoid doing other work (checking email, news, TikTok, games, etc.) while we’re in class. It’s only
for 75 minutes: stay engaged.
If we have technical issues, be patient with each other (and me). Remember that some things
are beyond our control.
Try to minimize whatever distractions that you can (cell phone, television, overbearing family
members, political tweets, etc.). Pets, however, are totally okay – as long as you are aware that
we will likely ooh and aah over them.
We’ll be recording sessions just in case something happens and folks can’t attend class outright;
that said, such recordings should only be used for class purposes.
frequently asked questions
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Who is the other person who thinks she’s so special (despite the fact that she looks like a student
as well) and why should we care about her? That person is Colette Combs, my amazing, awesome
Program Leader for the duration of the course. She will be largely running Wednesday afternoon
activities throughout the semester – which include screenings that feature discussions (see
immediately below). She will also greatly help with teaching how to edit – so, if you have particular
concerns, please ask her! And it should be noted, she took this class last year – so you can easily ask
her for advice as to how to navigate this class best. In my absence, she functions in my place and
deserves equal respect and attention.
When the credits roll at the end of the movie(s), can I log out? Not quite yet. Because of the
strangeness of this semester when we can’t view movies in person, we will try to meet in “party”
format as much as possible so that we can do the one thing that I would otherwise hate while
watching a movie: chat/text during them! That said, a lot of the movies will likely have you
spellbound and you won’t be chatting much – so hang out in the chatrooms (or whatever we have)
afterwards and we’ll have a brief discussion amongst us all. Treat these discussions like a regular
class: participate like crazy. (Note: Generally, the first question will be “So, did you like it? Why or
why not?” Answering “Because” is generally not good enough: be prepared to point to particular
parts of the film that will back up your answer.)
Where should I turn in my assignments? Obviously, everything for this course will be submitted
electronically; please do so within Canvas, unless otherwise noted.
What if class falls on a religious holiday that I observe? Simply drop me a note before the end of
the add/drop period making a note there if you think you might have to miss class because of a
holiday. As such, I will accept the days and evenings of the actual religious holidays. I have a list
handed from the Kay Spiritual Life Center as to when officially recognized holidays fall and I am well
aware which start at sundown and the like.
What if I’m *cough* sick *urp* and don’t think *ACK* I can make it to class? This is, of course, very
much a reality this semester. If you are ill, let me know. We will be recording our sessions for those
who can’t make it for whatever comes their way. Try keeping up with the other online work with
readings and discussion boards, but do what you need to do to get healthy.
Can I revise the final video essay? No – there’s not enough time..and it will be published out there
anyway for all the world to see. That said, we will have ample workshopping opportunities for
The Contemporary World Cinema Project Syllabus –
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various drafts to be read over. Please also feel free to show any drafts to me and to discuss it
however many times you would like during office hours. Colette is also willing to look things over.
Start this with plenty of time – don’t forget there is research involved, and you’ll want to do it
sooner than the night before.
I’m really stressing and I’m considering just trying to find something on the Internet and pasting it
into a Word document to pass it off as my own. Is that a good idea? Not on your life. First of all,
the nature of these assignments is such that I do not envision problems of this sort: you really aren’t
going to find very much written out there that will answer what I’m looking for. (Plus: I guarantee
that few have done video essays.) Standards of academic conduct are set forth in the University’s
Academic Integrity Code. By registering for classes, you acknowledge your awareness of the AIC and
you are obliged to become familiar with your rights and responsibilities as defined by the Code.
Violations of the AIC will not be treated lightly and are unacceptable at any time. Disciplinary actions
will be taken should such violations occur. Don’t test me on this: I will ask for the maximum penalty
if I find any evidence of cheating and/or plagiarism (which includes inadequately citing sources),
which is failure of the course with notation on transcript. As long as you’re doing your own work,
you’ll be fine.
Wow, you sound intense and intimidating. Should I come visit you in “office hours” ever? Yes,
please! Despite the severe tone (and the length) of this syllabus, I’m really a nice guy. And I love
what I do, and I would really, really want to chat with you about any of this. As a general rule, you
should never hesitate to go see your professor during office hours, no matter how unapproachable
they seem. (In my mind, that’s what we’re here for.) Office hours are actually quite important, to
take advantage of opportunities in a one-on-one situation. Naturally, this semester office hours will
have to be online – but there are particularly office hours for this class that no one else will know
about which I will denote as “student hours,” just for this class. And if those don’t work for you,
please reach out for a different time and I’m sure we can find one.
necessary materials
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The course has one required textbook: World Cinema: A Critical Introduction by Shekhar Deshpande
and Meta Mazaj (ISBN: 0415783569). You can find this book through a variety of sources. As long as
you have a copy to read and use, I don’t care what version it is.
I am assigned one recommended textbook, particularly for those who haven’t thought critically
about film (or visual arts) before this: Filmish: A Graphic Journey through Film by Edward Ross (ISBN:
1910593036). I would highly recommend the paper version of this, as it is actually a comic; that said,
use whatever you would like.
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Additional readings/viewings will be available electronically via Blackboard.
I recommend purchasing an external hard drive to use with this class. Editing will take up a lot of
memory on a computer, and you will want to be able to save your work accomplished on campus
computers to work with home materials. (Saving to the cloud is not practical here.) It probably
behooves you to get a lot of space to store files on – I would suggest a 1T external drive. (You also
want to get something fast, which is why you want an external drive and not just a flash/thumb
drive.)
The Contemporary World Cinema Project Syllabus –
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You also need a Vimeo account. Go to vimeo.com and establish a free Basic account there. (If you
will be uploading more than what we will be working on for this class, then you might want to
upgrade your plan; that said, I have not gone beyond the basic plan myself for some time.) You will
be uploading your projects to Vimeo, and sending links (with passwords, if you want to put them on
them) from that account for all your creative work. Once you establish an account (or if you already
have one), send me an appropriate way to find it (email, username, etc.) so that I may link you to
our course group.
schedule of readings, labs, topics and
activities
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All readings are due at the beginning of class, on the day for which it was assigned. (See Appendix B
for information about the Blackboard Discussion Boards for more information on this.)
This DOES mean that you have some extra material for the first day of classes.
Please have a copy handy – in book, paper or electronic form – of the texts with you to class on the
days that that readings are due in order to be properly prepared for class.
All assignments that are not due on days we have class are due at 11:59PM (unless otherwise
noted). All assignments due on class days are due at the beginning of class.
cl. #
date
Su 8/23
reading, screening, assignment, activity
Step 1: Country Choices due via Canvas by 11:59PM
Readings:
• Anderson, Introduction to Imagined Communities
• Jia, “The Visit”
• Middents, “¿Por qué me miras así?: Magaly, Dolores and the Authentic
Indigenous Icon”
Homemade, Italy/Chile; D: Ladj Ly, Paolo Sorrentino, Rachel Morrison, Pablo
Larraín, Rungano Nyoni, Natalia Beristáin, Sebastian Schipper, Naomi Kawase,
David Mackenzie, Maggie Gyllenhaal, Nadine Labaki, Khaled Mouzanar, Antonio
Campos, Johnny Ma, Kristen Stewart, Gurinder Chadha, Sebastián Lelio, & Ana Lily
Amirpour; 2020, 138 m. Netflix.
• Douglas, “Mozzerella Mafia: A Video Essay on Italian Crime Dramas”
• Hedetoft, “Contemporary Cinema: Between Cultural Globalizations and
National Interpretation”
• Smith, “Images of the Nation: Cinema, Art and National Identity”
Readings:
• WC Chapter 1: “What Is World Cinema?”
• Andrew, “An Atlas of World Cinema”
• Combs, “The Way He Looks at Us”
1
M 8/24
Scr
A
W 8/26
2
Th 8/27
3
M 8/31
Scr
B
W 9/2
No, Chile/France/Mexico/USA, D: Pablo Larraín, 2012, 118 m. DVD 10736. Vimeo.
4
Th 9/3
Readings:
• Hayward, “Framing National Cinema”
The Contemporary World Cinema Project Syllabus –
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�F 9/4
M 9/7
Scr
C
W 9/9
Th 9/10
F 9/11
• Nivar Ortiz, “Cinders of La Invasión”
• Ó Murchú, “A Place in the Nation: Nationhood in Larrain’s No”
• Optional: Filmish, “Power and Ideology,” 129-152
Step 2: Film Possibilities Due via Canvas by 11:59PM
NO CLASS – LABOR DAY.
花样年华 (In the Mood for Love), Hong Kong, D: Wong Kar-wai, 2001, 98 m.
Streaming from library (Kanopy).
Workshop: Editing Techniques #1 (How to Start, How to Finish)
Watch training videos: “Introduction to Editing,” “Delivering Content.”
Step 3: Preliminary Bibliography and Cultural Historiography Due via Canvas by
11:59PM
Readings:
• Chapple, “Nostalgia and the Feminine: In the Mood for Love and Those Qipaos”
• Grant, “Intersection[s]: On Wong Kar-Wai’s In the Mood for Love”
• Morgan, “Setting the Mood for Love”
• Optional: Filmish, “The Eye,” 7-29
5
M 9/14
Scr
D
W 9/16
Retablo, Peru/Germany/Norway, D: Alvaro Delgado-Aparicio, 2017, 95m. Netflix.
W 9/16
Step 4: Videographic PechaKucka due via Kaltura in Canvas by 11:59PM
Editing Techniques #2: Sound, Voice-over
Watch training videos: “Fairlight Audio Production, Part 1,” “25 Voice Over Tips
Explained with Examples”
Readings:
• WC Chapter 8, “National Formations”
• Alemán, “An International Conspiracy: Ecuadorian Cinema in the 1960s and
1970s”
• Middents, “The National Auteur ‘Goes World’: Claudia Llosa and the Critical
Responses to Aloft/No llores, vuela”
Th 9/17
6
M 9/21
Scr
E
W 9/23
Atlantique (Atlantics), France/Senegal/Belgium, D: Mati Diop, 2019, 108m. Netflix.
W 9/23
Step 5: Tell A Story due via Kaltura in Canvas by 11:59PM
Editing Techniques #3: Keyframing, subtitling
Watch training videos: “Fusion VFX and Graphics”
Reading:
• Hjort, “Theories of Nation”
• Optional: Filmish, “Sets and Architecture,” 57-81.
Th 9/24
7
M 9/28
Scr
F
W 9/30
8
Th 10/1
F 10/2
9
M 10/5
W 10/7
Roma (Mexico/USA, D: Alfonso Cuarón, 2018, 135m. Netflix.
Reading:
• Lee, “What Makes a Video Essay Great?”
• other video essays to be assigned
Step 6: Alternative Trailer (with a Twist) due via Kaltura in Canvas by 11:59PM
Reading:
• WC Chapter 2, “Watching World Cinema”
• Selections from Medático’s dossier on Roma
[museum?]
The Contemporary World Cinema Project Syllabus –
9
�10
Th 10/8
11
M 10/12
W 10/14
12
Th 10/15
F 10/16
13
M 10/19
Scr I
W 10/21
Th 10/22
14
Scr J
15
16
17
M 10/26
M 10/26
W 10/28
Th 10/29
Th 11/2
W 11/4
Th 11/5
M 11/9
Scr
K
Scr
L
W 11/11
Th 11/12
M 11/16
W 11/18
18
Th 11/19
19
M 11/23
W-Th
11/27-28
20
M 11/30
Readings:
• Clayton, “Lunacy Immortal: The Zombification of Czech Cinema”
• Kaufman-Cohen, “May God Forgive You”
• Neulander, “Iran, Womanhood”
• Oravec, “Understanding Representation: Artificial Glorification in the New
Zealand Film and Tourism Industry”
• Tan, “Voices of the People and the British Monarchy”
Readings:
• WC Chapter 3, “Film Production and Finance”
The Department of Literature presents the annual Literature Colloquium. This
year’s text: Spike Lee’s Do the Right Thing! A whole day devoted to a single text,
with presentations from students, faculty and special guests. Come join in!
Readings:
• Berghahn, “‘The past is a foreign country’: Exoticism and nostalgia in
contemporary transnational cinema”
Step 7: Annotated Bibliography and Preliminary Topic via Canvas by 11:59PM
Readings:
• WC Chapter 4, “Film Festivals and World Cinema”
• Martin-Jones, “Transnational turn or turn to world cinema?”
Zimna wojna (Cold War), Poland/UK/France, D: Pawel Pawlikowski, 2018, 88 m.
Amazon Prime.
MID-TERM EXAM: This is an open-book essay exam. Prepare to work in a group.
Midterm due at 11:59PM.
Class readings Group One
Step 8: Storyboard due via Canvas by 11:59PM.
TBA
Class readings Group Two
Class readings Group Three
Open Lab
Class readings Group Four
Step 9: Rough Edit Due. Bring to class for…
Rough Edit Workshop, Day 1
L’auberge espagnole (The Spanish Apartment), France/Spain, D: Cedric Klapisch,
2002, 122m. Streaming via Library.
Rough Edit Workshop, Day 2 (new groups!)
Curatorial Statements Workshop
TBA
Reading:
• WC Chapter 9, “Transnational Formations”
Readings:
• WC Chapter 10, “Polyvalent World Cinema”
NO CLASS – THANKSGIVING!
Reading:
• TBD
The Contemporary World Cinema Project Syllabus – 10
�M 11/30
Scr
L
Step 10: Video Essay due to Vimeo; send link, password and Curatorial
Statement via Blackboard Dropbox by 11:59PM
W 12/2
The Farewell, USA, D: Lulu Wang, 2019, 100m. Amazon Prime.
21
Th 12/3
TH
12/9-10
Reading:
• TBD
FINAL EXAM. The prompt will be released via Canvas during class on December
3rd; the exam itself will be due via Canvas on December 9th at 11:59PM. On
Thursday, December 10th, we will meet at 9:30AM for an online brunch session
for one last discussion.
The Contemporary World Cinema Project Syllabus – 11
�Like many of your future college courses, this class will require you to craft an essay that
critically analyzes a topic of your choice – in this case, an examination of a single film a
representative of a particular country. Unlike many of your future college courses, this class will
ask you to present that analysis as a short audiovisual essay – and, moreover, all of the course
essays will be gathered in a single location for public viewing on the internet (meaning that the
potential audience for your product is not just your professor or even your peers, but
potentially anyone with an internet connection).
I cannot assume that everyone has the same background with either editing skills or research
methodology and, as such, the progression throughout this research project consists of a
number of smaller assignments that will ensure that your essay will bring together quality
investigation as well as a creative touch. Part of this progression will involve crafting somewhat
personal responses while learning how to edit in DaVinci Resolve (a side benefit of this
particular course!); part of this progression ensures that you do the proper research to ensure
that your analysis is properly grounded.
due dates
M 8/24
F 9/4
F 9/11
W 9/16
W 9/23
F 10/2
F 10/16
M 10/26
M 11/9
M 11/30
Step 1: Country Choices Due via e-mail by 12:01am
Step 2: Film Possibilities Due via Blackboard Dropbox by 11:59PM
Step 3: Preliminary Bibliography and Cultural Historiography Due via Blackboard Dropbox by
11:59PM
Step 4: Videographic Pecha-Chuka due to Vimeo; send link and password via Blackboard
Dropbox by 11:59PM
Step 5: Tell A Story due to Vimeo; send link and password via Blackboard Dropbox by 11:59PM
Step 6: Alternative Trailer (with a Twist) due to Vimeo; send link and password via Blackboard
Dropbox by 11:59PM
Step 7: Annotated Bibliography and Preliminary Topic Due via Blackboard Dropbox by 11:59PM.
Step 8: Storyboard due via Blackboard Dropbox by 11:59PM.
Step 9: Rough Edit Due – Bring to class for Rough Edit Workshop
Step 10: Video Essay due to Vimeo; send link and Curatorial Statement via Canvas by 11:59PM
�step 1: choose your country.
The first step is to pick a country. Each person in the class has to pick a unique country and we need
some geographical breadth as a whole. As such, you should submit a list of five possible countries whose
cinema you might want to explore. The five countries should be ranked from 1-5, and should feature
countries from at least three of the six major continents. (While virtually every country imaginable has
claims to their own cinema, Antarctica is not one of them.) We will need at least some representation
from Europe, Latin America, the Middle East, Asia and Africa, so think about that as you choose your
countries. I will do my best to accommodate your top choices, in the order in which you submit them –
thus, it behooves you to get your choices in as early as possible. For each country, list a one-sentence
reason why you want to investigate that country.
You can choose from any number of countries, any number of different kinds of films. A look at the most
recent set of films submitted for the nomination for this year’s Best Foreign Film Academy Award shows
94 different countries – and yet even this list doesn’t include any of the genre films associated with
India, Ghana or (in a very controversial decision) Nigeria. Look deep and broad and don’t be afraid of
countries with smaller output, or countries with genre films.
Submit this first assignment via Canvas by 11:59PM on Sunday, August 23rd (i.e. the day before the first
day of class). I will inform you on the first day of class of the country that you have been assigned. (In
most cases, I hope to offer your first choice. You will earn a very easy 2% toward your grade for
completing this assignment on time; you will earn only half-credit without the sentences.
step 2: choose your films.
Now that you have picked a country, it’s time to pick a film from that country. Your final product will be
about a single film – but this preliminary list should contain three films. You are free to choose nearly
any film from your country made after the year 2010, but be careful of your choices as they will become
your primary source for both your editing assignments and your video essay. (You may switch films after
the first and the second editing assignments – but your choice for the Alternative Trailer locks you into
that film for the rest of the semester.) The only films you cannot choose are the ones selected by last
year’s class; check out whatisworldcinema.org in order to ensure you haven’t done so.
Do your research before you make your choices. What kinds of films have been made in your country
over the last 10 years? Have things changed from an earlier period? Is there a film that seems
particularly representative from your country – or something that seems very much out of the ordinary?
(How do you determine this?) Investigate various films and watch a few before submitting your choice.
(You will be working intimately with these films – so you want to have watched them before you commit
to them.)
Once you select three films, simply email me the titles, and a single paragraph (for each film) indicating
why you chose by Friday, September 4th via Canvas at 11:59PM. You will earn 3% toward your grade for
completing this assignment on time; you will earn only one point if you forget the explanatory
paragraph.
The Contemporary World Cinema Project Syllabus – 13
�step 3: contextualize your country and its
cinema.
To start getting a feel for the country you have selected, this first set of research assignments are meant
to contextualize some elements before you start research more earnestly. They are meant to be done in
a very quick and dirty fashion – but take some care with the second part in particular, as it will affect
other parts of the course as well…
a. The Cultural Historiography
The first part of this assignment is to complete a table indicating concurrent historical/political,
cultural, and cinematic occurrences. This should be presented as quickly and as dirty as possible;
bullet points are OK, and (FOR THIS ASSIGNMENT ONLY) material may be cut-and-pasted from
other resources (you should indicate where the information is coming from; Wikipedia is OK for
this assignment ONLY); you, however, must organize the chronology in an easily understood
manner. The easiest way to organize elements might be by decade, but particular historical or
cinematic events may offer up a different division. For example, the Peruvian cinematic tradition
is greatly affected by a coup d’etat in 1968, followed by a film law being established in 1972;
therefore, arbitrarily dividing this history at 1970 would not make sense.
For ease of reading, you may want to adjust page layout to “landscape” for this. Not all sections
will be equally filled for a particular year or period; some significant historical/political events
may require a great amount of space to consider, and yet cinematic elements may be
underdeveloped for the same period.
Use the following table headings (a template is available on Canvas):
Dates
Historical/Political
elements
Selfexplanatory
•
Major historical
events (changes in
governments, wars,
natural disasters,
etc.)
Cultural elements
•
Cinematic elements
Significant cultural
•
markers: major
books/songs/art/TV
completed; note
cinematic elements
are not included
here
•
Major films released
(also: foreign movies
made in the country
might be included here;
e.g. US film Treasure of
the Sierra Madre made
in Mexico)
Other cinematic
ventures: studios
founded, film festivals
begin, laws established,
etc.
Your historical and cultural overview can be any length (my guess is that this will be at least five
pages long) and go back at least to 1980; if your research uncovers elements that occur earlier
The Contemporary World Cinema Project Syllabus – 14
�that might affect your film, go back to include as much as you need. (For example, the Peruvian
film law mentioned above affects production in the country as late as 2003, and thus would be
worth mentioning here despite its occurrence before 1980.)
DO NOT COVER EVERY HISTORICAL OR CULTURAL OCCURRENCE: pick and choose to determine
the major events, and the elements that might influence cinematic development. For example,
the high period of mural painting by Orozco and Siquieros might be a very significant element to
put it “cultural elements” for Mexico, while the advent of television variety show Sabado
Gigante would not necessarily be considered for Chile.
b. The Preliminary Bibliography
In order to do more in-depth research, you need to know what is already out there: how have
people already discoursed on cinema from your country, and your film in particular? You
therefore need to submit a preliminary bibliography of at least 10 sources. Of these 10 sources:
• At least 7 of these sources should be scholarly in nature. The majority of these will be
books or articles from scholarly journals (either in print or online). Pay attention when
Derrick Jefferson comes to class: there is more to research than Google and JSTOR. I will
expect you to have gone further.
• At least 3 of these sources should be in audiovisual format. These may come in the form
of video essays, DVD extras, interviews, podcasts, etc.
• At least 1 of the sources must satisfy both of these requirements: i.e. must be scholarly
and in audiovisual format.
Exceptions to the above requirements might be made for more obscure/smaller cinematic
traditions; please see me more for information about this.
Arrange the entries alphabetically by author’s last name, as you would for a regular
bibliography. For full credit, these entries should be submitted in MLA style. (Not sure how to
properly cite it? Check out Purdue University OWL’s handy online resource!) Also note that
neither Wikipedia nor IMDB are ever a proper source (outside of what I indicated above).
In addition, based on this preliminary research, please write 1-2 sentences maximum concerning
the information you expect to find in each source. Note that you do not have to have read, nor
have access yet to these sources to guess why they might be useful. (Please do not include
sources that you cannot figure out why they will be useful.)
One added caveat here: you may have noticed that the second half of the course is a little
lacking in the readings department. This is why you may want to be a little careful: I will pick a
single reading from everyone’s preliminary bibliography for the whole class to read. In this
way, we may all have a taste of what the others are researching. So choose wisely, as your
material might be read by everyone!
A template for this assignment can be found attached to the assignment in Canvas. Submit both
documents together as a saved file (.doc or .pdf, please) by Friday, September 11th by 11:59PM.
The Contemporary World Cinema Project Syllabus – 15
�step 4: craft a videographic pecha-kucha.
This is the first of your creative assignments, geared to both get you to start interacting with your film
and using some of the editing skills you will need to craft your final essay. This particular assignment –
along with the other two short editing assignments in this course – are taken and modified from
Christian Keathley and Jason Mittel’s The Videographic Essay: Criticism in Sound and Image (Montreal:
Caboose Books, 2016), which was something that came out of workshops they organized at Middlebury
College.
The Pecha-Kucha is a unique form of presentation that takes a strict approach to using Powerpoint:
there are 20 slides, each slide stays on screen for 20 seconds and automatically advances; therefore,
each presentation is exactly 6 minutes and 40 seconds long. Invented in Japan (pecha-kucha means
“chatter” in Japanese), the presentation form has become extremely popular for (strangely enough) the
freedom that comes from creating meaning when given very strict parameters.
As such, the Videographic Pecha-Kucha aims for similar goals: you must craft a one-minute film, using
exactly 10 clips from your film of 6 seconds each in duration, accompanied by a one-minute
uninterrupted piece of audio from the film.
Our first editing lessons (and the videos you will want to watch and practice on beforehand) involve
getting familiar with the DaVinci Resolve Workspace, making clips and exporting your material, so this
will be an ideal assignment to play with the workspace.
When you complete your Pecha-Kucha, upload it to Canvas as an mp4 file by Wednesday, September
16th at 11:59PM. After everyone has submitted them – check out some of your peers’ work and leave a
comment!
step 5: tell a story.
Our second editing class will bring together involve experimenting with the Fusion tab in the editing
suite in order to manipulate audio, specifically addressing the voice-over. Many video essays employ
some of critical voice-over, and as such you should learn how to record and manipulate your own voice.
(Most of my essays, as it happens, do not necessarily employ voice-over, although I often manipulate
sound in other ways.) Keathley and Mittel discuss why we actually need to practice for voice-overs, as
opposed to necessarily for a live presentation:
In such live contexts, we seek to ‘hear past’ the vocal delivery in favour of what is being
said, and unless the delivery is truly atrocious, we manage to do that without much
effort. But in a videographic essay which disembodies the speaker, the quality of the
vocal delivery is immediately conspicuous, and whether a viewer keeps watching
depends in large part on whether they want to keep listening. (12)
To practice this, your second creative assignment is literally to tell a story, using voice-over, to
accompany an unedited portion (no longer than three minutes) from your film. What kind of story
should it be? Personal? Fictional? About the people on screen? About what happened at breakfast this
morning? That’s up to you – but the one thing it should not be is an analysis or “director’s commentary”
The Contemporary World Cinema Project Syllabus – 16
�of the sequence. You should incorporate some element of the audio from the sequence in your final
mix, allowing it to interplay with your voice-over. (Please note that your voice-over does not need to
continue uninterrupted over the clip.)
Once again, when you complete your storytelling, upload it to into Canvas (as an mp4 file) by
Wednesday, September 23th at 11:59PM. And again, check out some of your peers’ work and leave a
comment
step 6: craft an alternative trailer… with a
twist.
After learning more about Fusion (this time adding transitions and keyframing), the final editing exercise
asks you to craft a one-to-two-minute trailer for your film. (Clearly, it should not mimic the actual
trailers for these films.) Your trailers, however, have a few more constraints on them:
•
•
•
•
All trailers should feature 3-4 on-screen titles (no more, no less), consisting of no more than five
words each.
All trailers should feature at least two transitions that are not cuts.
All trailers should show at least one use of keyframing.
Each person will also be randomly assigned an additional “twist” from the following list:
o All images must be of characters in motion.
o There can be no close-ups of people, only objects.
o No shots can show the camera in motion.
o Shots can include no more than one person at a time.
One more time, when you complete your trailer, upload it to Canvas by Friday, October 2nd at 11:59PM
And again, check out some of your peers’ work and leave a comment
step 7: annotate some bibliographic entries –
and start focusing your topic.
By this point, you should have been looking at some of those bibliographic references in an attempt to
learn more about your film, and all sorts of thing surrounding it. It’s time to start processing some of
that information more concretely.
(a) The Annotated Bibliography: From your original list – or, new material that you discovered when
you kept doing work based on that list, choose three sources. At least one of your sources
should be scholarly in nature; at least one of these sources should be audiovisual. You will write
bibliographic annotations on each of these sources. I am requesting a precise structure for these
annotations. (Full disclosure: My ideas here are modified from a writing pedagogy-oriented
blog; the original source can be found at http://aristotelianbirdseyeview.wordpress.com.)
Each annotation should be structured as follows, to be completed in no more than six or seven
sentences:
The Contemporary World Cinema Project Syllabus – 17
�•
•
•
•
•
The first sentence should include the author’s name, the title of the work, the date of
publication in parentheses, a rhetorically accurate verb (such as asserts, argues,
suggests, implies, claims), and a that-clause containing the major assertion (thesis
statement) of the work: for example, “In ‘Men and Machines,’ Joan Smith . . . .” Follow
this with a strong, rhetorically precise verb such as “discusses,” “explores,” “argues,”
“demonstrates,” “traces.” Then state the thesis of the article: “traces man’s use of
machinery to make the work easier and the world more livable.”
Sentence two should explain how the author develops and/or supports the thesis. This
sentence should discuss methodology—how the article works; that is, how the author
accomplishes his/her task. This sentence should also support the strong verb used in
SENTENCE 1. (This may take more than one sentence.) For instance: “Smith discusses
three specific technological advances: the steam engine, the internal combustion
engine, and the computer chip. She claims that these inventions are milestones that
signaled great chances in man’s mechanical progress.” You should cite in your text
where to locate the specific points you address. (See example below.)
If relevant, describe the intended audience and/or the relationship the author
establishes with the audience. Identify the audience and/or the purpose of the essay.
(This may also take more than one sentence and these sentences should support what
has gone before.) You could use information about where the essay was originally
published to draw conclusions about audience. For instance, if Smith’s article was
published in The New Yorker, you would immediately know that she wrote for highly
educated business and professional people interested in the ways social and
technological changes interact.
State the author’s apparent purpose, followed by an in order to (to, for) phrase. In the
example above, Smith’s purpose is to inform her readers, perhaps so that they can
better understand what the past can reveal about the influence of technology on the
future.
Finally, provide an evaluation or judgment of the source. Is this source useful or credible
and, more importantly, why (specifically) do you think this? How does it bring a new
perspective on your film and/or the context around your film? Do you agree with it?
What do you get out of it? What questions does this source raise in your own
investigation? (This is not usually part of an annotated bibliography, but will be useful
for me and, hopefully, for you.)
EXAMPLE
Falicov, Tamara L. “U.S.-Argentine Co-productions, 1982-1990: Roger Corman, Aries Productions,
‘Schlockbuster’ Movies and the International Market.” Film & History 34.1 (2004): 31-38.
In “U.S.-Argentine Co-productions, 1982-1990,” Tamara Falicov argues that movies produced in
Argentina under the aegis of Roger Corman’s production companies during the 1980s negatively
impacted the Argentine film industry. She supports this primarily through close readings of
several films directed by Héctor Olivera, contrasting how his Argentine productions have more
contextual coherence than similar films made in English for Corman. She concludes that such coproductions support how the economic model of “dependency theory” might be applied to
The Contemporary World Cinema Project Syllabus – 18
�“how First World elites exploit poorer nations in their exhaustive search for ever cheaper
sources of labor, raw materials and lax governmental regulations abroad” (36). Falicov’s goal is
to bring attention to the unequal relationship between otherwise ignored exploitation
filmmaking designed for the U.S. home video market and the more art-oriented “national
cinema” of Argentina. The article provides a good model for how to approach exploitation
filmmaking in a Latin American context, even though her narrow focus on a single Argentine
director invites other methodologies with other countries.
(b) The Preliminary Topic:
After all this research and working on your editing assignment, you should have a relatively good
understanding about what is going on with your film. As such, at this point I ask you to submit a
preliminary essay topic – no more than a paragraph is necessary – to let me know what
direction you are thinking of taking for the project. Of the ten points allotted to Step 7, mere
completion of this part constitutes a single point, but it will allow me to make sure that you
actually have a topic that you will be able to complete for the assignment. This preliminary
articulation of your essay topic does not tie you to that topic; indeed, you may change your mind
until the day you publish the video essay.
Both parts should be submitted as a single document. Submit it to Canvas by Friday, October 16th by
11:59PM.
step 8: draft a storyboard of your video essay
and curatorial statement.
By Monday, October 26th, you should at least have a rough idea of what you are doing for your project –
and, indeed, you might be starting to put ideas together. At this point, I would like to see evidence of
that – still in its unedited form. What should do you think you should be using? Why? Will you have
narration? How much are you planning to speak? What are the main points you trying to communicate?
One way to draft out these possibilities is a storyboard. Also used for films in general, this can allow you
to lay out the shape of your argument along with the visuals. In this form, you can sketch what visuals
from your film you might use (and even provide screen grabs from your film) as they correspond to parts
of your argument that you are developing. Do you think you’ll need voiceover, or do you want the
dialogue to shine through? How do you want to develop this argument? Read Arola, Sheppard and
Ball’s Chapter 6 “Designing Your Project” to get some ideas on how to do this.
Compile this information in some format – PDF file is likely easiest – so that I may evaluate it accordingly
and offer some advice before you head into the final thrust of the course. Show as best as you can HOW
you will accomplish what you will try to accomplish.
The Contemporary World Cinema Project Syllabus – 19
�step 9: craft a rough edit of (and workshop)
your video essay and curatorial statement.
Before you get to this step: Read Arola, Sheppard and Ball’s Chapter 7 “Drafting and Revising Your
Project” for suggestions on putting together a rough cut and how to get and give feedback on it.
By Monday, November 9th, you should have a rough cut of your video essay. (You do not have to upload
it yet onto Vimeo; in fact, in its rough form, you will want to be able to tweak things from your
workspace. You should export it as an .mp4, however, so that your partners can view it easily.) Upload
only the first rough edit to Canvas on the 9th so that I can offer some advice. On this day, we will divide
into smaller breakout groups to workshop your essays directly: in pairs, you will view provide
constructive commentary for the video essays and offer suggestions for what material might be needed
in the curatorial statements to help the viewer understand what is going on. Colette and I will be
maneuvering between breakout rooms to offer our own suggestions.
You might then choose to tweak your essays over the next few days…since on Thursday, November 12th,
you will do the same thing, only now with new pairings. With more sets of eyes, you should receive
some significant peer feedback to really fine-tune your piece.
By Monday, November 16th, you will be doing the same with the written portions. Having seen your
video essays, now the feedback will turn to crafting a good curatorial statement, one that is written well
and communicates what you want to say.
I will provide guidance for how to manage these workshops, which are very much designed to be
working classes.
step 10: upload your video essay and submit
your curatorial statement!
When you complete your video essay, upload it to your Vimeo account by Monday, November 30th at
11:59PM. Make sure that the words “For educational purposes only” are burned into the video at the
end; this will allow us to claim Fair Use if Vimeo asks us to take it down. Also, be sure that you have no
password on the video, so that it may be linked out to the general page. Be aware that this is a fairly
hard deadline.
The curatorial statement – which should complement your video essay, but not be an exact rehash of
your essay’s ideas and themes – should be between 500-1000 words in length. It should also provide a
proper bibliography, and formatted in MLA style. Include also the link to your final essay within Vimeo.
Submit all of this as a Word document, or as a PDF, to Canvas by Monday, November 30th at 11:59PM.
step 11: revel in your awesomeness.
Because you will have crafted something really impressive – and we will gather them all together to show our
work to the world!
The Contemporary World Cinema Project Syllabus – 20
�My classes tend toward extensive use of the discussion board function within Canvas. I use them for two
primary reasons: (1) this allows for a more holistic “reading check” instead of more directed quizzes and
the like; and (2) this allows us to start discussion on particular readings ahead of time, which permits
more efficient use of face-time in class for more problematic/detailed discussions as well as more clips.
There are particular elements of certain films and readings that may not be covered during class, or
perhaps you would like to further discuss certain parts of them in more detail. Hence, I would like you to
continue your thoughts and ideas (or, indeed, spark them while you’re reading) on the discussion board.
The way that this works best is to make a regular habit of checking and posting to the discussion
boards. While posting to the boards is relatively easy, I will also expect you to keep checking regularly
even after you have posted so that you may be involved in the discussion that ensues. (Hence:
discussion!) For class purposes, I will assume that you have read your peers’ postings before coming to
class. This means that some topics, specifically pertaining to the readings, may not surface during class
because they will have played out on the discussion boards; this does not mean that you are not
responsible for these readings, nor that you should be careless in your interactions with them.
I will say that this is the easiest portion of your grade to complete since in theory you will already be
doing the readings. Failure to post anything, however, will result in a loss of the full number of points,
which is a significant blow to your grade. (I say this since in the past a portion of the class failed to do
this and their grades were severely affected.)
Upon entering the discussion board site, you will find a discussion board already generated for each dass
period for which there are readings. Feel free to add new threads within these boards; the flow of the
discussion should come from you. I will be monitoring (though not necessarily moderating) the threads
and your response will steer in-class lectures in a particular direction if there is enough interest
generated about a certain topic.
Participation in the discussion boards comprises up to 11.5% of your grade. The evaluation of these
elements, however, is slightly complicated:
The Contemporary World Cinema Project Syllabus – 21
�•
At the beginning of the semester, you will each be assigned two reading dates from throughout the
semester, for which you will be discussion leaders and are responsible for posting 24 hours before
classtime on the reading(s) for that day. (For days where there is more than one reading, you should
try to bring as many readings into play as possible.) These posts should not summarize material, but
rather engage with the readings: your goal is to start discussion about the readings. Toward this
end, you should:
o highlight particular passages that were interesting/enlightening/confusing (note the
multiple “passages”; working off a single passage, unless you do a great job explaining why,
is not good enough)
o relate concepts between different readings within the same week (or from before);
o discuss the relevance of the readings with regard to particular film examples; and
o ask questions of your peers to stimulate discussion.
These initial postings should be at least 200 words long.
•
Most of the rest of the class are contributors. The nature of your posts should be participatory and
meant to be in the spirit of discussion. Up until two hours before class, contributors should return to
the discussion board and comment on other responses; feel free to respond to what other people
have said about your posting as well. A well-written discussion post should generate a conversation,
so part of the assessment will include how people have commented on your original posting – as
well as how often you post to those written by others. Please reply by 12:01AM on the day the
readings are due (in other words, by midnight before class). This will allow everyone (including
me!) to read everyone’s comments before class.
Also at the beginning of the semester, you will each be assigned two reading dates from throughout
the semester, for which you will be wrappers, meaning that you are responsible for “wrapping up”
and bringing together the most interesting, curious, relevant or thoughtful elements of the
discussion. You may also interject your own thoughts/questions here, but your post should
synthesize (and cite) your colleagues’ work. Please post these by 8:00am the morning before class –
just enough time for everyone to look over your posting to quickly see how the conversation has
run.
Please note that contributors do not necessarily need to wait for leaders to post once their allotted
time has gone by, and can take the initiative early and often. Just be sure to come back and read
that day’s discussion as well. Wrappers can begin anytime after 12:01am and do not need to
incorporate any work after they have posted.
In fact, if the due-time has gone by and no one has posted; assume that the leader forgot – and post
yourself. If you do so, you will steal the extra points for that week! You may do this up to twice per
semester. (These are additional bonus points! Woooo! #crimepays)
Note that terse postings that invoke information gathering (“what are we supposed to read?”, “can I
borrow somebody’s book?”, “can someone summarize the film’s plot for me?”), non-sequiturs (“is
anyone also taking bio 115? how are we supposed to get everything done in this class with a
midterm in that class?”) or rudeness (“what a stupid interpretation – of *course* that represents a
penis, dumb-ass!”) will not be counted and may count against you in terms of your general attitude
portion of the grade.
•
•
•
•
The Contemporary World Cinema Project Syllabus – 22
�•
•
You may continue to post to the discussion boards following the class period the discussion is due
(including at this point bringing up elements discussed in class), although I will assume that no one
(including myself) will be checking those boards two days following the reading. I will move the
discussion board to the bottom of the page after the second day, unless discussion is so heated it
merits continual observation; if you are still interested in the earlier discussions, they can be found
by scrolling to the bottom of the page.
The discussion period will officially end (for credit purposes) at noon on the day of class. At that
point, I will assess the discussion boards using the following rubric adapted from a rubric by Laura L.
Bush):
o Excellent work (1 point for leaders/wrappers; ½-point for contributors):
Leader posts an initial message of more than 200 words on time; posting generates
comments from at least five other members of the group. Contributor replies in
meaningful and extended ways. Both leaders and contributor engage with the
material fully, citing material from the text(s) due that day. Wrappers concisely
synthesize tenor and content of entire conversation.
Demonstrates excellent critical thinking skills, including logical analysis, synthesis
and interpretation of the texts; provides sufficient and persuasive evidence for
support.
Offers prompt, timely and relevant contributions to the conversation, voluntarily
moderating, playing devil’s advocate, or synthesizing ideas and parts of the
conversation as needed, including from texts beyond the immediate class
o Satisfactory work (2/3-point for leaders/wrappers; 1/3-point for contributors):
Leader posts an initial message of two hundred words on time; posting generates
comments from at least five other members of the group OR Excellent work above
generates fewer than five additional comments. Contributor replies, entering into
the discussion in a fair way, but does not engage the text significantly; comment
may reference other postings or that day’s readings. Wrappers synthesize tenor and
content of most of the conversation, but may also not provide much direct
evidence. Note: any original posting, reply or wrap-up that does not have any
citations from that day’s text(s) will fall into this category.
Demonstrates fair critical thinking skills by analyzing, synthesizing and interpreting
although post tends somewhat toward summary; offers evidence for support,
although it may be sometimes insufficient or unpersuasive.
Keeps up somewhat with discussion and does not dominate, but establishes a
discernable presence
o Insufficient work (½-point for leaders/wrappers, 1/4-point for contributors):
Leader posts an initial message of under two hundred words, OR posts late, BUT
posting still generates more than five comments from other members of the group;
OR Satisfactory work described above generates fewer than five comments from
other members of the group. Contributor replies, going through the motions, but
does not really enter into the discussion; comment does not address other postings,
which could be evident by parroting positions already stated without developing
The Contemporary World Cinema Project Syllabus – 23
�them further. Wrappers synthesize tenor and content of a small
part of the conversation, and does also not provide much direct
evidence for their position.
Summarizes rather than analyzes, evidence is absent or insufficicent; contributors
struggle to maintain discussion or change topic to do so.
o Deficient work (0 points for both leaders and contributors):
Leader/wrapper does not post OR Insufficient work described above generates
fewer than five comments from other members of the group. Contributors either do
not respond, or say little more than variations of “I agree,” “Good point” or “I
disagree”
For your information, the Canvas site will also have the most updated versions of the syllabus and all
assignments, as well as screening guides for all the films and some secondary readings as noted in the
class reading schedule.
The Contemporary World Cinema Project Syllabus – 24
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Syllabi
Syllabus
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
The Contemporary World Cinema Project <em><strong>(*modified for remote learning, fall 2020)</strong></em>
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.
<p><span>Inspired by ideas articulated by Dudley Andrew, Franco Moretti and Catherine Grant, this seminar will examine questions of contemporary world cinema from multiple perspectives (for example: What do international films look like? Why do they look that way? Who watches them?) by working back and forth between concepts of examining single, individual texts (what is this particular film trying to tell me?) and broader, globally relevant contexts (what do we learn when we examine many films in a similar manner?). </span></p>
<p><span>As part of that project, each student will study in detail a single international film of their choice made since the year 2010; in addition to some traditional writing and research projects, all students will craft an </span><span>audiovisual essay </span><span>– that is, a short 6- to 10-minute film that visually presents their argument concerning their film, in coordination with a curatorial piece between 500 and 1000 words. All of the pieces will be collected onto a single, public website which together will present our collective response to defining “world cinema.” </span></p>
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.
Chile
Mexico / México
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
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Films taught / Películas
<div class="page" title="Page 8">
<div class="section">
<div class="layoutArea">
<div class="column">
<p><span><em>Homemade<br /></em></span><a href="https://cinegogia.omeka.net/items/show/96"><em>No</em></a><br /><a href="https://cinegogia.omeka.net/items/show/440"><em>Retablo</em></a><br /><a href="https://cinegogia.omeka.net/items/show/471"><em>Roma</em></a><span><em></em> </span></p>
</div>
</div>
</div>
</div>
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Jeffrey Middents, American University
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Attribution - NonCommercial
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Contemporary World Cinema Project <em><strong>(*modified for remote learning, fall 2020)</strong></em>
Description
An account of the resource
<div class="page" title="Page 2">
<div class="layoutArea">
<div class="column">
<p><span>Inspired by ideas articulated by Dudley Andrew, Franco Moretti and Catherine Grant, this seminar will examine questions of contemporary world cinema from multiple perspectives (for example: What do international films look like? Why do they look that way? Who watches them?) by working back and forth between concepts of examining single, individual texts (what is this particular film trying to tell me?) and broader, globally relevant contexts (what do we learn when we examine many films in a similar manner?). </span></p>
<p><span>As part of that project, each student will study in detail a single international film of their choice made since the year 2010; in addition to some traditional writing and research projects, all students will craft an </span><span>audiovisual essay </span><span>– that is, a short 6- to 10-minute film that visually presents their argument concerning their film, in coordination with a curatorial piece between 500 and 1000 words. All of the pieces will be collected onto a single, public website which together will present our collective response to defining “world cinema.” </span></p>
</div>
</div>
</div>
-
https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/9ab86919c7c4bfa5fdc85ee578dcadf5.JPEG?Expires=1712793600&Signature=uhMKyzJefN4aV4MBWRVIPYvEVJl9dc2Ir%7EIfKbE5FqxesEFlPFTIcz5i6-h2A4hjRPaeYOqgMXB0E8A%7E8%7E-GuADJxPCpKmnhzt2OmT38wT-9GkQt13a9urJC70-RfmS2yvG-f1vqwTMXYJdRy5TuipN6HQr21OLfZj6ajYSYuNo5JeT4GdkA33ESAQdzGIwTh6Mrr9h%7E%7EsJu3wlTtN4yO5YR8lWTcEbwllVRLyzHnU%7ErTHgqbotLUZN7Jr5NY7IPvJJ%7EnRW08B728rHBzN4O4fyGdXaplGxQ75pnITgv2jGOT1S7sBi0mMwFOzsbx9CfRfeRc3cHge19gFEHab6sQw__&Key-Pair-Id=K6UGZS9ZTDSZM
ce45cd0a42925b31350bd16234f3f18e
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.
Wiñaypacha
Title
Eternity
Director
The director of the film. El/La director/a de la película.
Óscar Catacora
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2017
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Cine Ayamara Studios
Ministerio de Cultura de Perú (Perú)
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.
<span>Like the elderly couple in Ozu’s wonderful <em>Tokyo Story</em> (1953), the main characters of Wiñaypacha carry upon their bent backs the sadness of being forgotten by their son. Nonetheless, they do not invest in anger nor build up blame. They spend their days weaving the blanket that keeps them warm on cold nights, chewing on coca leaves, and dreaming of a wind that will bring their firstborn back home. (<a href="https://www.filmaffinity.com/" target="_blank" rel="noreferrer noopener">Film Affinity US</a>)</span>
<em>Al igual que la pareja de ancianos en la maravillosa </em>Historia de Tokio<em> de Ozu (1953), los personajes principales de Wiñaypacha cargan la tristeza de ser olvidados por su hijo. Sin embargo no se dejan llevar por la ira ni atribuyen la culpa a nadie. Pasan sus días tejiendo la manta que los mantiene calientes durante las noches frías, masticando hojas de coca y soñando con un viento que traerá a su primogénito de vuelta a casa. (Translated by Andrew Toth)</em>
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
Relationships / Relaciones
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
YouTube: <a href="https://www.youtube.com/watch?v=Fz7X7iDpS7U" target="_blank" rel="noreferrer noopener">https://www.youtube.com/watch?v=Fz7X7iDpS7U</a>
Film Guide / Guía de película
Add link to related film guide
Guía en español: <a href="https://cinegogia.omeka.net/items/show/868">https://cinegogia.omeka.net/items/show/868</a><br />Guide in English: <a href="https://cinegogia.omeka.net/items/show/909">https://cinegogia.omeka.net/items/show/909</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
Wiñaypacha
Description
An account of the resource
Like the elderly couple in Ozu’s wonderful <em>Tokyo Story</em> (1953), the main characters of Wiñaypacha carry upon their bent backs the sadness of being forgotten by their son. Nonetheless, they do not invest in anger nor build up blame. They spend their days weaving the blanket that keeps them warm on cold nights, chewing on coca leaves, and dreaming of a wind that will bring their firstborn back home. (Film Affinity US)
Aymara / aimara
Indigenous filmmaking / Producciones indígenas
-
https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/75ac186cf8df7aa6bfd121b0ca6e33df.pdf?Expires=1712793600&Signature=sDjvEFMz-DUnCBllEVrtdJhGzPYwZrUloWUj2CbBtoP8KVXe25NeoAAJP8kfilBhAZWG-B6S3iVmMdaIsozlJlijYGvS8IObdQRnlPmXYacLgfeYWfqa1UlIYBq1JdOiZoJPgZugss5juhr6ZDwR6Vp84hujdOWxF0Qh08kNq3qY3QPiY-jDFTbTk1x-5wKEjEUX17xCcF8TFTIDxB9-9SsYnqLWoU1SL16Xb%7EsDYgo5NRuXERj76tQw6dPF8kt5ziVae%7E2z3IvMwONm53NZx3YjZh%7EhO2xIqXC3oKO94ZU5I7N-Ar%7Ei0bgTskqst-GHWkqBJSGQtVkPd0MQw1VE3g__&Key-Pair-Id=K6UGZS9ZTDSZM
187db653976322454fcd2efebdd24c59
PDF Text
Text
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Issues in Latin American and Latino Studies: Migrations and Immigrations
Latin American & Latino Studies 680 (Class code: 6152 )
Spring 2012
Tuesdays: 5:30 p.m.-8:15 p.m.
202 Gottschalk Hall
Dr. Manuel F. Medina
medina502@gmail.com
Prerequisites:
A class on Latin American Social Sciences or Humanities helpful but not required
Course description, objectives & goals:
A. To study the development of Latin American culture, arts and literature from Pre-Columbian times
concentrating on the following criteria:
1. The social-political-cultural evolution of the Latin-American culture(s)
2. The development of Latin-American fine arts and literature and their role in the establishment of
national identities.
3. A discussion of past Latin America's social-cultural issues and problems and their influences in the
present, and a study of the possibilities for the future
Course Goals:
To learn about the main events and historical characters that have forged the development and the evolution
of the Latin-American culture(s) , arts and literature from Pre-Columbian times to the present. To address
social-cultural and political issues derived from the tutelage of the Spanish Empire.
Required Texts:
...y no se lo tragó la tierra / ...And the Earth Did Not Devour Him. [Tomás Rivera, 1964. Trans.
Evangelina Vigil-Piñón].
In the Time of the Butterflies [Julia Alvarez, USA/Dominican Republic, 1994].
Dreaming in Cuban [Cristina Garcia. Cuba/USA, 1993].
Additional materials available from the class website.
Optional Text: Global Studies: Latin America and the Caribbean [Paul Goodwin, McGraw-Hill/Dushkin;;
14 edition, 2010]
�Teaching Methods:
This class demands active student participation. I expect you to contribute to the class discussions. Be sure to
complete the assigned reading before each class. Otherwise, you will be unable to take effective notes and to
take part in the discussions. Reading beforehand will make it easier to follow my lecture in Spanish. While
lectures will cover the general topics, the assigned readings will provide you with complimentary information.
Attendance:
First: If you don’t attend class, you’ll miss important information that will help you better understand the
subject matter, the readings and to do well on the exams.
Second: I will deduct points from your grade for every un-excused absence, after the first two, using the
following scale:
Three to five: 5% deduction from the class grade
Six to eight: a one letter grade reduction
Nine or more: a failing grade (F) in the class
Note: Please, contact me regarding excused absences such as medical and family emergencies, jury duty, and
other I could include in this category.
Grading policies: Assignments Percentage of Course Mark
1. Class participation & attendance 10%
2. Reading responses and similar assignments 10%
3. A midterm 25%
4. Presentations:
1. Country case 1 2.5%
2. Country case 2: 2.5%
Research presentation/lead class discussion 20%
5. Term paper:
1. Thesis statement and annotated bibliography: 5%
2. Draft: 5%
Revised Draft 20%
Grading scale:
95.5%-100% A+
92.5%-95.4% A
89.5%-92.4% A-
85.5%-89.4% B+
82.5%-85.4% B
79.5%-82.4% B-
75.5%-79.4% C+
72.5%-75.4% C
69.5%-72.4% C-
65.5%-69.4% D+
62.5%-65.4% D
59.5%-62.4% D-
0%-59.4% F
Class Participation:
Reading, analytical thinking, questioning, challenging old beliefs, expressing one's own opinions and writing
represent the main components of this course. Please, make sure to complete all the assigned reading before
class so you can participate in class discussions.
Exams:
The exams will consist of essays that will measure your knowledge of the assigned readings, the videos, the
class lectures, and the material introduced in the oral presentations.Your answers must incorporate ideas and
issues addressed in class, along with your own points of view.
�Papers:
I will provide details about the term paper on the second class session.
Submitting work:
You must submit your paper and related assignments at the start of the class on the date stated in the
assignment schedule. I will not accept late papers unless you and I have mutually agreed upon an extension
before the paper's deadline. I very seldom grant extensions.
Oral Presentations:
Students will lead the discussion for half-class period. Dr. Medina will assist seminar participants to select
reading materials and additional assignments on the topic to be discussed that day.
Student Academic Rights and Responsibilities:
Every student is expected to be thoroughly familiar with the University's Code of Student Rights and
Responsibilities and Student Conduct which can be found in the General Information section of the
Undergraduate Catalog.
Along with preparing for and attending class, each student has the responsibility of promoting high academic
standards. Students are expected to cooperate in all classes with the instructor to achieve an optimal learning
environment. The College of Arts and Sciences does not tolerate cheating, fabrication, falsification, multiple
submission, plagiarism, or complicity in academic dishonesty. The College of Arts and Sciences has a
statement of academic discipline for action against students who cheat or plagiarize.
University Policy on Discrimination and Sexual Harassment:
The University of Louisville strives to maintain the campus free of all forms of illegal discrimination as a place
of work and study for faculty, staff, and students.
Sexual harassment is unacceptable and unlawful conduct and will not be tolerated in the workplace and the
educational environment.
If an individual is shown to have violated the sexual harassment policy, the individual will be subject,
depending upon the seriousness of the violation, to disciplinary action up to and including termination of
employment or expulsion from the University.
Policy on Instructional Modifications or accommodations:
I encourage students who have a disability or other educational, physical or mental limitations or conditions
which may impair their ability to complete assignments or otherwise satisfy course criteria to meet with me to
identify, discuss and document any feasible instructional modifications or accommodations. Please notify me
no later than the end of the second week of the semester or no later that the end of the second week after
you get diagnosed with a disability or condition, whichever occurs first. You may contact the Disabilities
Resource Center for information and auxiliary aid.
The University of Louisville is committed to providing access to programs and services for qualified students
with disabilities. If you are a student with a disability and require accommodation to participate in and
complete requirements for this class, contact the Disability Resource Center (852-6938) for verification of
eligibility and determination of specific accommodations.
Note: The instructor reserves the right to make changes in the syllabus when necessary to meet learning
objectives, to compensate for missed classes, or for similar reasons.
Last Update: 5-23-2016
Site design: ©2007-2012 medina502 (@) gmail.com
All rights reserved.
�Home
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Enero / 9 |
Introduction: Historical Settings
Enero / 16 | | Homework |
Martin Luther King. No class.
Enero / 23 | | Homework | Film info (PDF file) |
US Latinos
Film: La ciudad/The City [David Riker, US, 1998]
Country Case;; Argentina
TBA
Enero / 30 |
US Latinos: Migrant Workers
Fiction: . . .y no se lo tragó la tierra / ...And the Earth Did Not Devour Him. [Tomás Rivera, 1964.
Trans. Evangelina Vigil-Piñón].
Country cases: Bolivia
Febrero / 6 | | Homework | Film info (PDF file) |
Migrations: Argentina, Europe
Film: The Tango Lesson [Sally Potter, England, 1997]
Country cases: Paraguay, Colombia
Febrero / 13 |
Paper Proposal, Thesis Statement and Working Bibliography Due.
Revolutions and Dictators:
�Fiction: In the Time of the Butterflies [Julia Alvarez, USA/Dominican Republic, 1994]
Country cases: Dominican Republic, Haiti:
Reading TBA
Febrero / 20 | | Homework | Film info (PDF file) |
Brazil & Race:
Film: Black Orpheus/Orfeo Negro [Marcel Camus, Francia/Brazil, 1959] & Orfeu [Carlos Diegues,
Brazil, 1999]
Country cases: Brasil, French Guyana, Surinam
Reading TBA
Febrero / 27 |
No class.
Marzo / 1 |
Last Day to Withdraw from Class
Marzo / 5 | | Homework | Film info (PDF file) |
Revolutions.
Film: Men with Guns/Hombres armados [Walter Salles, USA, 1997)
Countiy cases: Mexico, Guatemala, Honduras
Readings: TBA
Marzo / 12 |
Spring Break. No class.
Marzo / 19 | | Homework |
Midterm exam
Marzo / 26 | | Homework | Film info (PDF file) |
Cuba and the Revolution
Film: Memories of the Underdevelopment/Memorias del subdesarrollo [Tomás Gutiérrez Alea, Cuba, 1967].
Countiy cases: Cuba, El Salvador, Costa Rica.
Readings: TBA
Abril / 2 | | Homework |
Cubans in the US
Fiction: Dreaming in Cuban [Cristina Garcia. Cuba/USA, 1993].
Countiy cases: Nicaragua, Guyana
Readings: TBA
�Abril / 9 | | Homework | Film info (PDF file) |
Chile and Pinochet
Paper draft due
Film: Machuca/Machuca, [Chile & Spain, Andrés Wood, 2003].
Countiy cases: Chile, Ecuador, Venezuela
Readings: TBA
Abril / 16 | | Homework | Film info (PDF file) |
Sex and Human Trafficking
En la puta vida/In This Tricky Life [Beatriz Flores Silva, Uruguay, 2001].
Countiy cases: Uruguay
Readings: TBA
Abril / 23 | | Homework | Film info (PDF file) |
Paper Final Version due
Film: No se lo digas a nadie/Don't Tell Anyone [Francisco Lombardi, Perú, 1998]].
Countiy cases: Peru,
Readings: TBA
Last Update: 5-23-2016
Site design: ©2007-2012 medina502 (@) gmail.com
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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.
Migrations and Immigrations
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.
To learn about the main events and historical characters that have forged the development and the evolution of the Latin-American culture(s) , arts and literature from Pre-Columbian times to the present. To address social-cultural and political issues derived from the tutelage of the Spanish Empire.
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
Cuba
Dominican Republic / República Dominicana
Mexico / México
Peru / Perú
Region / Región
The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso.
Latin America / Latinoamérica
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
New Latin American Cinema / Nuevo Cine Latinoamericano
Contemporary / Contemporáneo
Films taught / Películas
<a href="https://cinegogia.omeka.net/items/show/263"><i>Orfeu Negro</i></a><br /><i>Hombres armados</i><br /><a href="https://cinegogia.omeka.net/items/show/34"><em>Memorias del subdesarrollo </em></a><br /><a href="https://cinegogia.omeka.net/items/show/125"><em>Machuca </em></a><br /><a href="https://cinegogia.omeka.net/items/show/78"><em>En la puta vida </em></a><br /><a href="https://cinegogia.omeka.net/items/show/130"><em>No se lo digas a nadie</em></a>
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Manuel Medina, University of Louisville
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Open Educational Resources (OER)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Migrations and Immigrations
Description
An account of the resource
To learn about the main events and historical characters that have forged the development and the evolution of the Latin-American culture(s) , arts and literature from Pre-Columbian times to the present. To address social-cultural and political issues derived from the tutelage of the Spanish Empire.
-
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4724e66a0138a12fc01c3c9c49037a58
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.
Canción sin nombre
Title
Song Without a Name
Director
The director of the film. El/La director/a de la película.
Melina Léon
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2019
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / español
Indigenous / indígena
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
La Vida Misma Films (Perú)
MGC (United States)
La Mula Producciones (Perú)
Borde Carde Films (Perú)
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.
<span>Perú, en el apogeo de la crisis política de los años ochenta. Georgina es una joven de los Andes cuya hija recién nacida es robada en una clínica de salud falsa. Su búsqueda desesperada de la niña la lleva a la sede de un importante periódico, donde conoce a Pedro Campos, un periodista solitario que se encarga de la investigación. Basada en una historia real. (<a href="https://ficunam.unam.mx/pelicula/cancion-sin-nombre/" target="_blank" rel="noreferrer noopener">FICUNAM</a><a class="waffle-rich-text-link">)</a></span>
<span>The story, loosely based on true events, begins in 1988 with Georgina (Pamela Mendoza), a Quechua woman who sells potatoes in the outer limits of Lima. She responds to a notice for a clinic that helps pregnant women like herself deliver babies. But in the moments after she gives birth, her child is taken from her. Despondent, Georgina finds her way to the headquarters of a national newspaper, where she breaks down in tears. Her grief compels the paper to put the soft-spoken reporter, Pedro (Tommy Párraga), on the case. He investigates in hopes of finding Georgina’s child. Danger mounts as Pedro’s reporting leads him to government officials, but just as the movie shows the markers of a solid political thriller, the director Melina León resists building suspense. State secrets are revealed, and shadowy terrorist groups attack. But no matter how major the turning point, the action always happens in the background or offscreen. (<a href="https://www.nytimes.com/2020/08/06/movies/song-without-a-name-review.html" target="_blank" rel="noreferrer noopener">NY Times</a>)</span>
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
Docu-drama
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Human Rights / Derechos humanos
Indigenous peoples / Pueblos indígenas
Film Guide / Guía de película
Add link to related film guide
Guía en español: <a href="https://cinegogia.omeka.net/items/show/683">https://cinegogia.omeka.net/items/show/683</a>
Film Guide in English: <a href="https://cinegogia.omeka.net/items/show/886">https://cinegogia.omeka.net/items/show/886</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
Canción sin nombre
Description
An account of the resource
<span>Perú, en el apogeo de la crisis política de los años ochenta. Georgina es una joven de los Andes cuya hija recién nacida es robada en una clínica de salud falsa. Su búsqueda desesperada de la niña la lleva a la sede de un importante periódico, donde conoce a Pedro Campos, un periodista solitario que se encarga de la investigación. Basada en una historia real. (<a href="https://ficunam.unam.mx/pelicula/cancion-sin-nombre/" target="_blank" rel="noreferrer noopener">FICUNAM</a><a class="waffle-rich-text-link">)</a></span>
Quechua
-
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f3777a9b94db02a0007221b12b79297c
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 última tarde
Title
One Last Afternoon
Director
The director of the film. El/La director/a de la película.
Joel Calero
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2016
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / español
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Factoría Sur Producciones (Perú)
Bhakti Films (Colombia)
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
<span>Se trata de la historia de una pareja que se reencuentra después de 19 años para firmar los papeles de divorcio, un proceso que habían postergado mucho tiempo. Y en una tarde descubrirán lo mucho que han cambiado, discutirán sobre qué fue lo que no funcionó entre ellos y qué tanto se modificaron los ideales por los que antes luchaban. Nos encontramos también con una película sobre dos ex-militantes de izquierda que reflexionan sobre cómo ha cambiado el país y sus luchas con él. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>)</span>
<span>After 19 years without seeing each other, two former “guerrilleros” reunite to sign their divorce papers. As they catch up with their lives and revisit their shared romantic and political past, they unveil intimate secrets to finally discover who they truly are and how much their country and convictions still hurt them. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>)</span>
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
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
La última tarde
Description
An account of the resource
<span>Se trata de la historia de una pareja que se reencuentra después de 19 años para firmar los papeles de divorcio, un proceso que habían postergado mucho tiempo. Y en una tarde descubrirán lo mucho que han cambiado, discutirán sobre qué fue lo que no funcionó entre ellos y qué tanto se modificaron los ideales por los que antes luchaban. Nos encontramos también con una película sobre dos ex-militantes de izquierda que reflexionan sobre cómo ha cambiado el país y sus luchas con él. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>)</span>
-
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50e6240a1b0e2831376947f8ed2850c8
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.
Iskobakebo, un difícil reencuentro
Title
Iskobakebo, A Difficult Reunion
Director
The director of the film. El/La director/a de la película.
Fernando Valdivia
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2014
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / español
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Instituto del Bien Común (Peru)
Teleandes Producciones (Peru)
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.
<span>Pibia Awin es una de cinco ancianos Iskobakebo (Isconahua) que fueron arrancados de su aldea y ahora viven en la cuenca del río Callería, en Perú. Son los últimos sobrevivientes Iskobakebo, un pueblo que habitaba en la profundidad del bosque, en aislamiento. Una visita inesperada sugiere que sus parientes se encuentran en la Amazonía brasileña, y entonces nace la esperanza del reencuentro. Este documental nos acerca al mundo de los indígenas en aislamiento voluntario de la frontera Perú-Brasil y las graves amenazas como la carretera Pucallpa-Cruzeiro do Sul, la tala ilegal, el narcotráfico y los conflictos territoriales que ponen su existencia en permanente peligro. (Film's Official Website)</span>
<span><em>Pibia Awin is one of the five Iskobakebo Elders who were forcibly removed from their village and now live in Peru's Callería River Basin. They are the last Iskobakebo survivors, a tribe that used to live in isolation in the depths of the forest. An unexpected visit suggests that their relatives are in the Brazilian Amazon, and hope for a reunion is born. This documentary brings us closer to the world of indigenous peoples, living in voluntary isolation along the Peru-Brazil border, who face serious threats such as the Pucallpa-Cruzeiro do Sul highway, illegal logging, drug trafficking and territorial conflicts that put their existence in constant danger. (Translated by Abi Dresser)</em> </span>
Category / Categoría
A broad category or mode of cinematographic production.
Documentary Films / Cine documental
Genre / Género
A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.
Social problem films / cine sociológico
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Borderlands & Boundaries / Fronteras
Drug traffic / Narcotráfico
Environment / El medio ambiente
Human Rights / Derechos humanos
Indigenous peoples / Pueblos indígenas
Political violence / Violencia política
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Iskobakebo, un difícil reencuentro
Description
An account of the resource
<span>Pibia Awin es una de cinco ancianos Iskobakebo (Isconahua) que fueron arrancados de su aldea y ahora viven en la cuenca del río Callería, en Perú. Son los últimos sobrevivientes Iskobakebo, un pueblo que habitaba en la profundidad del bosque, en aislamiento. Una visita inesperada sugiere que sus parientes se encuentran en la Amazonía brasileña, y entonces nace la esperanza del reencuentro. Este documental nos acerca al mundo de los indígenas en aislamiento voluntario de la frontera Perú-Brasil y las graves amenazas como la carretera Pucallpa-Cruzeiro do Sul, la tala ilegal, el narcotráfico y los conflictos territoriales que ponen su existencia en permanente peligro. (Film's Official Website)</span>
Amazon / Amazonas
-
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4710660a15a1853f3810cec6759027d1
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Film Database
Filmography
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
El socio de Dios
Title
God's Partner
Director
The director of the film. El/La director/a de la película.
Federico García Hurtado
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
1987
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / español
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Instituto Cubano del Arte e Industrias Cinematográficas - ICAIC (Cuba)
Kuntur
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.
<span>A principio del siglo XIX, el empresario Julio Cesar Arana, conocido como “el socio de Dios”, se alía con empresas extranjeras, en su mayoría europeas, para explotar las reservas de caucho en la región de la Amazonía peruana. Su éxito y poder se basa en su falta de escrúpulos. No se detiene ante nada, ni siquiera ante el exterminio de las tribus originarias. De este modo ocurren los llamados crímenes de Putumayo; las comunidades amazónicas se revelan y resisten. (<a href="http://www.festival-cannes.fr/" target="_blank" rel="noreferrer noopener">Festival Cannes</a>)</span>
<em>In the early nineteenth century, the entrepreneur Julio Cesar Arana, known as "God's partner", teams up with foreign companies, mostly European, to exploit rubber reserves in Peru's Amazonian region. His success and power are fueled by his lack of conscience. He stops at nothing, even in the face of the extermination of native tribes. This is how the so-called crimes of Putumayo occurred as Amazonian communities rose up and resisted. (Translated by Abi Dresser)</em>
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
Docu-drama
Historical films / cine histórico
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Environment / El medio ambiente
Indigenous peoples / Pueblos indígenas
Violence / Violencia
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
El socio de Dios
Description
An account of the resource
<span>A principio del siglo XIX, el empresario Julio Cesar Arana, conocido como “el socio de Dios”, se alía con empresas extranjeras, en su mayoría europeas, para explotar las reservas de caucho en la región de la Amazonía peruana. Su éxito y poder se basa en su falta de escrúpulos. No se detiene ante nada, ni siquiera ante el exterminio de las tribus originarias. De este modo ocurren los llamados crímenes de Putumayo; las comunidades amazónicas se revelan y resisten. (<a href="http://www.festival-cannes.fr/" target="_blank" rel="noreferrer noopener">Festival Cannes</a>)</span>
Amazon / Amazonas
-
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fecf6e50ff948ac459214aa9a40431d5
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 manos de Dios
Title
The Hands of God
Director
The director of the film. El/La director/a de la película.
Delia Ackerman
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2004
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Filfilms (Peru)
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.
<span>Documental acerca de Julio ''Chocolate'' Algendones Farfán, destacado percusionista, compositor e intérprete de la música afro-peruana y del jazz. Fue considerado el gran maestro del cajón y reconocido internacionalmente. (<a href="https://videoteca.cultura.pe/video/categoria/documentales/las-manos-de-dios" target="_blank" rel="noreferrer noopener">Videoteca de Culturas</a>)</span>
<em>Tells the story of the legendary Peruvian percussionist Julio "Chocolate" Algendones, a musician famous for his speed and dexterity on the cajon drum. Includes interview and concert footage. (WorldCat)</em>
Category / Categoría
A broad category or mode of cinematographic production.
Documentary Films / Cine documental
Genre / Género
A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.
Educational / Cine didáctico
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Afro-Latin American / afro latinoamericano
Music / La música
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Las manos de Dios
Description
An account of the resource
<span>Documental acerca de Julio ''Chocolate'' Algendones Farfán, destacado percusionista, compositor e intérprete de la música afro-peruana y del jazz. Fue considerado el gran maestro del cajón y reconocido internacionalmente. (<a href="https://videoteca.cultura.pe/video/categoria/documentales/las-manos-de-dios" target="_blank" rel="noreferrer noopener">Videoteca de Culturas</a>)</span>
Afro-Peruvian / afro-peruano
-
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1f293075a96526a1714acc6f29808e8f
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.
Tinta Roja
Title
Red Ink
Director
The director of the film. El/La director/a de la película.
Francisco Lombardi
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2000
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Producciones Inca Films (Perú)
Tornasol Films (Spain)
América Producciones (Perú)
Televisión Española (Spain)
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
<span>Alfonso Fernández, joven universitario limeño, apenas terminados sus estudios de periodismo, se presenta al sensacionalista diario El Clamor para solicitar trabajo como reportero en prácticas. En realidad, él quiere ser escritor y está convencido de que esta experiencia le servirá solamente para engrosar su currículo. En vez de asignarlo a la sección de espectáculos, tal y como deseaba, lo envían a policiales. Su visión cambiará radicalmente. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>)</span>
<span>A man studying to be a writer learns some unpleasant lessons about himself in this drama. Alfonso is an aspiring novelist who, as part of his scholarship to a writing program, must take an internship at a tabloid newspaper alongside his girlfriend Nadia. While Nadia is given a simple office assignment, Alfonso is made an assistant to one of the paper's top writers, Faundez, which turns out to be a demanding job. With his driver Van Gogh and his photographer Escalona, Faundez heads out each day to collect stories through intimidation and emotional manipulation, and he has no qualms about using sources for his own purposes or passing along stories to his less-industrious significant other, Roxanna. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>)</span>
Category / Categoría
A broad category or mode of cinematographic production.
Fiction Films / Cine de ficción
Genre / Género
A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.
Drama
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Relationships / Relaciones
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tinta Roja
Description
An account of the resource
<span>Alfonso Fernández, joven universitario limeño, apenas terminados sus estudios de periodismo, se presenta al sensacionalista diario El Clamor para solicitar trabajo como reportero en prácticas. En realidad, él quiere ser escritor y está convencido de que esta experiencia le servirá solamente para engrosar su currículo. En vez de asignarlo a la sección de espectáculos, tal y como deseaba, lo envían a policiales. Su visión cambiará radicalmente. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener">Portal del cine y audiovisual latinoamericano y caribeño</a>)</span>
Journalism / Periodismo
-
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7086107858777ebc7571c2e5aedb0e1b
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 ciudad y los perros
Title
The City and the Dogs
Director
The director of the film. El/La director/a de la película.
Francisco Lombardi
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
1985
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Producciones Inca Films (Perú)
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.
<span>La historia tiene lugar en un colegio militar y pretende ser el retrato de un microcosmos social donde conviven “todas las sangres” de una sociedad tan diversa y compleja como la peruana, en el contexto de la disciplina y los valores militares. La película, con profundo espíritu crítico, se centra en la muerte del “Esclavo”, un cadete débil abusado por sus compañeros. Mientras se devela el confuso incidente que provocó la tragedia conoceremos a una galería de personajes entre los que destacan “El Jaguar”,el “Poeta” y el Teniente Gamboa, entre otros, que con sus luces y sus sombras construyen un universo donde la complejidad de la conducta humana se expone con implacable sequedad. (<a href="https://cineaparte.com/" target="_blank" rel="noreferrer noopener">Cine Aparte</a>)</span>
<em>The story takes place at a military school and aims to portray a microcosm in which people of "all bloods", from Peru's diverse and complex society, live together in the context of discipline and military values. Profoundly critical, the movie centers on the death of "The Slave", a weak cadet who is abused by his classmates. As the confusing and tragic incident unfolds, we get to know an array of characters, notably “Jaguar”, “The Poet” and Lieutenant Gamboa. The redeeming qualities and failures of these characters create a universe that exposes the complexity of human behavior with unrelenting directness. (Translated by Sarah Shorter)</em>
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.
Violence / Violencia
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
La ciudad y los perros
Description
An account of the resource
<span>La historia tiene lugar en un colegio militar y pretende ser el retrato de un microcosmos social donde conviven “todas las sangres” de una sociedad tan diversa y compleja como la peruana, en el contexto de la disciplina y los valores militares. La película, con profundo espíritu crítico, se centra en la muerte del “Esclavo”, un cadete débil abusado por sus compañeros. Mientras se devela el confuso incidente que provocó la tragedia conoceremos a una galería de personajes entre los que destacan “El Jaguar”,el “Poeta” y el Teniente Gamboa, entre otros, que con sus luces y sus sombras construyen un universo donde la complejidad de la conducta humana se expone con implacable sequedad. (<a href="https://cineaparte.com/" target="_blank" rel="noreferrer noopener">Cine Aparte</a>)</span>
Literary adaptation / Adaptación literaria
-
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aba37651e57bff7bb6a84ed28040b9cb
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.
Coraje
Title
Courage
Director
The director of the film. El/La director/a de la película.
Alberto Durant
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
1998
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / español
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Agua Dulce Films
Fernando Colomo Producciones Cinematográficas S.L.
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.
<span>Coraje is about the last few months in the life of María Elena Moyano, who was killed at the age of 33 by the Peruvian revolutionary movement Sendero Luminoso. María Elena was the founder and leader of the so-called Women's Federation of Villa El Salvador, a slum district that had been built in the desert on the outskirts of Lima and was run by the inhabitants themselves. This community won several prizes abroad, such as the Spanish 'Principe de Asturias' and the 'Messenger City of Peace'. Two months before the brutal attack, María has spoken out against the campaign of hatred and violence of Sendero Luminoso and even though she was called 'Mama Coraje' by the local press, that condemned her to death.The film is narrated by a female Spanish doctor who remembers María's last months. We see the difficult conditions in which the vital and charismatic María did her work: the economic crisis, the hunger in the Villa, the bureaucratic opposition and increasing terror of the Senderos. But Coraje is above all a lively and intimate portrait of a fascinating woman who is not portrayed as a inviolable heroine, but as an ordinary woman with two children and a husband who is characterised by doubts and despair as well as courage. (<a href="https://iffr.com/en/1999/films/coraje" target="_blank" rel="noreferrer noopener">International Film Festival Rotterdam</a>)</span>
<em>Coraje se trata de los últimos meses de la vida de María Elena Moyano, asesinada a los treinta y tres años por el movimiento revolucionario peruano, Sendero Luminoso. María Elena fue la fundadora y líder de la Federación Popular de Mujeres de Villa El Salvador (FEPOMUVES), una comunidad pobre en el desierto en las afueras de Lima que fue dirigida por los habitantes mismos. La comunidad ganó varios premios internacionales, como el "Príncipe de Asturias" (Españ) y el "Messenger City of Peace." Dos meses antes del ataque, María habló en contra de la campaña de odio y violencia de Sendero Luminoso. Sendero Luminoso condenó a María a la muerte a pesar de su reputación como "Mamá Coraje" de la prensa local. La película es narrada por una doctora española que recuerda los últimos meses de María. La película muestra las condiciones difíciles en las que María trabajó, como la crisis económica, el hambre en la Villa, la opresión burocrática y la creciente violencia de los Senderos. Pero Coraje es una presentación animada e íntima de una mujer fascinante, quien no es una heroína perfecta, sino una mujer ordinaria con dos hijos y un esposo; ella tiene dudas y desesperación, pero tambien coraje. (Translated by Andrew Magel)</em>
Category / Categoría
A broad category or mode of cinematographic production.
Fiction Films / Cine de ficción
Genre / Género
A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.
Docu-drama
Historical films / cine histórico
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Afro-Latin American / afro latinoamericano
Gender identity / Identidad de género
Political violence / Violencia política
Race / Raza
Social inequality / Desigualdad social
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Coraje
Description
An account of the resource
<span>Coraje is about the last few months in the life of María Elena Moyano, who was killed at the age of 33 by the Peruvian revolutionary movement Sendero Luminoso. María Elena was the founder and leader of the so-called Women's Federation of Villa El Salvador, a slum district that had been built in the desert on the outskirts of Lima and was run by the inhabitants themselves. This community won several prizes abroad, such as the Spanish 'Principe de Asturias' and the 'Messenger City of Peace'. Two months before the brutal attack, María has spoken out against the campaign of hatred and violence of Sendero Luminoso and even though she was called 'Mama Coraje' by the local press, that condemned her to death.The film is narrated by a female Spanish doctor who remembers María's last months. We see the difficult conditions in which the vital and charismatic María did her work: the economic crisis, the hunger in the Villa, the bureaucratic opposition and increasing terror of the Senderos. But Coraje is above all a lively and intimate portrait of a fascinating woman who is not portrayed as a inviolable heroine, but as an ordinary woman with two children and a husband who is characterised by doubts and despair as well as courage. (<a href="https://iffr.com/en/1999/films/coraje" target="_blank" rel="noreferrer noopener">International Film Festival Rotterdam</a>)</span>
Afro-Peruvian / afro-peruano
-
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8632e54f09f11dbaa16613d6c961cfd6
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.
Hija de la laguna
Title
Daughter of the Lake
Director
The director of the film. El/La director/a de la película.
Ernesto Cabellos Damián
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2015
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / español
English / inglés
Indigenous / indígena
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Guarango Cine y Video
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.
<span>El filme narra la historia de Nélida Ayay, una joven activista proveniente de una familia campesina quien viaja a la ciudad de Cajamarca para estudiar leyes y poder proteger en el ámbito legal a una de las lagunas amenazadas por el proyecto minero. En el tránsito de esta historia, Ayay se comunica con la laguna a la cual se refiere como Mamayaku (Madre Agua) y brinda asistencia a la líder campesina Máxima Acuña en su lucha por no perder la posesión de sus tierras frente a la minera Yanacocha, la misma que busca explotar el yacimiento Conga. Source: Díaz, José Carlos. “Paraíso y resistencia: La lucha ecomarxista y ecofeminista contra el extractivismo en <em>Hija de la laguna</em> (2015) de Ernesto Cabellos. <em>LL Journal</em> (The Journal of the Students of the Ph.D. Program in Latin American, Iberian and Latino Cultures, CUNY), vol. 13, no. 1, Spring 2018, pp. 1-15.<br /></span>
<span><em>The film tells the story of Nélida Ayay, a young activist from a peasant family who travels to the city of Cajamarca to study law in order to legally protect one of the lagoons threatened by the Conga mining project. Throughout the film, Ayay communicates with the lake, which she refers to as Mamayaku (Mother Water), and provides assistance to the community leader Máxima Acuña in their fight to protect their land from the Yanacocha mining company which seeks to exploit the Conga deposits. (Translated by Andrew Magel)</em> </span>
Category / Categoría
A broad category or mode of cinematographic production.
Documentary Films / Cine documental
Genre / Género
A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.
Social problem films / cine sociológico
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Environment / El medio ambiente
Indigenous peoples / Pueblos indígenas
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Available at
Website, streaming service, distributor
<a href="https://www.youtube.com/watch?v=ICyD9xBQY6o" target="_blank" rel="noreferrer noopener">https://www.youtube.com/watch?v=ICyD9xBQY6o</a>
Film Guide / Guía de película
Add link to related film guide
Guía en español: <a href="https://cinegogia.omeka.net/items/show/864">https://cinegogia.omeka.net/items/show/864</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
Hija de la laguna
Description
An account of the resource
<span>El filme narra la historia de Nélida Ayay, una joven activista proveniente de una familia campesina quien viaja a la ciudad de Cajamarca para estudiar leyes y poder proteger en el ámbito legal a una de las lagunas amenazadas por el proyecto minero. En el tránsito de esta historia, Ayay se comunica con la laguna a la cual se refiere como Mamayaku (Madre Agua) y brinda asistencia a la líder campesina Máxima Acuña en su lucha por no perder la posesión de sus tierras frente a la minera Yanacocha, la misma que busca explotar el yacimiento Conga. Source: Díaz, José Carlos. “Paraíso y resistencia: La lucha ecomarxista y ecofeminista contra el extractivismo en <em>Hija de la laguna</em> (2015) de Ernesto Cabellos. <em>LL Journal</em> (The Journal of the Students of the Ph.D. Program in Latin American, Iberian and Latino Cultures, CUNY), vol. 13, no. 1, Spring 2018, pp. 1-15.<br /></span>
Quechua
-
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a3fc65159031a0a166815810917e3905
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.
Retablo
Director
The director of the film. El/La director/a de la película.
Álvaro Delgado-Aparicio
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2017
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Siri Producciones (Perú)
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.
<span>Segundo Paucar, un chico ayacuchano de 14 años que quiere ser retablista, está siendo entrenado por su padre, un maestro reconocido, para continuar con el legado familiar. Camino a una fiesta patronal, Segundo observa casi por accidente a su padre en un acto que hace que su mundo se le venga abajo. (<a href="https://cineaparte.com/" target="_blank" rel="noreferrer noopener">Cine Aparte</a>)</span>
<em>Segundo Paucar is a 14-year-old from Ayacucho, Peru, who wants to be a "retablista," an artisan who makes the traditional Ayacuchan art pieces called "retablos." Segundo is training under his father, a recognized master, in order to continue the family legacy. On his way to a patron saint festival, Segundo accidently observes his father in an act which causes his world to turn upside down. (Translated by Sarah Shorter)</em>
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
Indigenous peoples / Pueblos indígenas
LGBTQ people / Personas LGBTQ
Relationships / Relaciones
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Film Guide / Guía de película
Add link to related film guide
<a href="https://cinegogia.omeka.net/items/show/885">https://cinegogia.omeka.net/items/show/885</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
Retablo
Description
An account of the resource
<span>Segundo Paucar, un chico ayacuchano de 14 años que quiere ser retablista, está siendo entrenado por su padre, un maestro reconocido, para continuar con el legado familiar. Camino a una fiesta patronal, Segundo observa casi por accidente a su padre en un acto que hace que su mundo se le venga abajo. (<a href="https://cineaparte.com/" target="_blank" rel="noreferrer noopener">Cine Aparte</a>)</span>
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64998b0453de6c9dfeb49ea5f7f95812
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 hora final
Title
The Last Hour
Director
The director of the film. El/La director/a de la película.
Eduardo Mendoza de Echave
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2017
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / español
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
La Soga Producciones (Peru)
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.
<span>Carlos Zambrano y Gabriela Coronado, dos integrantes del Grupo de Inteligencia de la PNP (GEIN), tienen como objetivo la captura del líder senderista Abimael Guzmán de quien no se conoce su paradero desde hace más de diez años. En esta implacable búsqueda los agentes trabajarán bajo la fachada de ser pareja y casi sin darse cuenta terminarán en una complicada e intensa relación que los pondrá en la mira del Servicio de Inteligencia, la CIA y del mismo Sendero Luminoso. En esta espiral de guerra solo les quedará confiar el uno en el otro. (<a href="http://www.mali.pe/agenda_detalle.php?id=912" target="_blank" rel="noreferrer noopener">MALI, Museo de Arte de Lima</a>)</span>
<em>Carlos Zambrano and Gabriela Coronado, two members of the Peruvian Special Inteligence Group (GEIN), have set out to capture the terrorist leader Abimael Guzmán. The leader's whereabouts has not been known for more than 10 years. In this relentless search, the agents work under the guise of romantic partners and, without realizing it, end up in a complicated and intense relationship. Their relationship will put them under the close watch of the inteligence service, the CIA, and the Shining Path. In this difficult war, Zambrano and Coronado have no choice but to trust one another. (Translated by Sarah Shorter)</em>
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
Police film / cine policíaco
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Relationships / Relaciones
Violence / Violencia
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
La hora final
Description
An account of the resource
<span>Carlos Zambrano y Gabriela Coronado, dos integrantes del Grupo de Inteligencia de la PNP (GEIN), tienen como objetivo la captura del líder senderista Abimael Guzmán de quien no se conoce su paradero desde hace más de diez años. En esta implacable búsqueda los agentes trabajarán bajo la fachada de ser pareja y casi sin darse cuenta terminarán en una complicada e intensa relación que los pondrá en la mira del Servicio de Inteligencia, la CIA y del mismo Sendero Luminoso. En esta espiral de guerra solo les quedará confiar el uno en el otro. (<a href="http://www.mali.pe/agenda_detalle.php?id=912" target="_blank" rel="noreferrer noopener">MALI, Museo de Arte de Lima</a>)</span>
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74456c11918ce14484006b2da55a7865
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.
The Three Caballeros
Director
The director of the film. El/La director/a de la película.
Norman Ferguson
Clyde Geronimi
Jack Kinney
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
1944
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.
English / inglés
Spanish / español
Portuguese / portugués
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.
United States / Estados Unidos
Argentina
Brazil / Brasil
Chile
Ecuador
Mexico / México
Peru / Perú
Uruguay
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Walt Disney Productions (United States)
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.
<span>A large box arrives for Donald on his birthday, three gifts inside. He unwraps one at a time, and each takes him on an adventure. The first is a movie projector with a film about the birds of South American: Donald watches two cartoons, one tells of a penguin who longs to live on a tropical isle and the other about a gaucho boy who hunts the wild ostrich. The second gift is a pop-up book about Brazil. Inside is Zé Carioca, who takes Donald to Brazil's Bahia for a mix of animation and live action: the two cartoon birds sing and dance with natives. The third gift is a piñata, accompanied by Panchito. A ride on a magic serape takes the three amigos singing and dancing across Mexico. (<a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener">IMDB</a>)<br /></span>
<em>Donald recibe una caja grande con tres regalos adentro para su cumpleaños. Abre uno a la vez, y cada uno lo lleva a una aventura distinta. El primer regalo es un proyector con una película sobre las aves de América del Sur: Donald ve dos dibujos animados, uno sobre un pingüino que anhela vivir en una isla tropical y otro sobre un niño gaucho que caza el avestruz salvaje. El segundo regalo es un libro de "pop-up" sobre Brasil. Adentro encuentra a Zé Carioca, quien lleva a Donald a la Bahía de Brasil donde se mezclan la animación y la acción en vivo: los dos pájaros animados cantan y bailan con los habitantes de la región. El tercer regalo es una piñata, acompañada de Panchito. Un paseo en un sarape mágico lleva a los tres amigos a cantar y bailar por todo México. (Traducido por Bethania Jimenez)</em>
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.
Animated films / cine de animación
Comedy films / comedia
Musical films / musical
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Popular Culture / Cultura popular
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Studio Cinema / Cine clásico de estudio
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Three Caballeros
Description
An account of the resource
<span>A large box arrives for Donald on his birthday, three gifts inside. He unwraps one at a time, and each takes him on an adventure. The first is a movie projector with a film about the birds of South American: Donald watches two cartoons, one tells of a penguin who longs to live on a tropical isle and the other about a gaucho boy who hunts the wild ostrich. The second gift is a pop-up book about Brazil. Inside is Zé Carioca, who takes Donald to Brazil's Bahia for a mix of animation and live action: the two cartoon birds sing and dance with natives. The third gift is a piñata, accompanied by Panchito. A ride on a magic serape takes the three amigos singing and dancing across Mexico. (<a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener">IMDB</a>)<br /></span>
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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 <em>Nouvelle Vague</em> 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
<em>¡Bienvenido Mister Marshall!</em><br /><em><a href="https://cinegogia.omeka.net/items/show/848">Dispuesto a todo</a><br /><a href="https://cinegogia.omeka.net/items/show/367">Güeros</a></em><br /><a href="https://cinegogia.omeka.net/items/show/141"><em>La hora de los hornos</em></a><br /><a href="https://cinegogia.omeka.net/items/show/342"><em>Now!</em></a><br /><a href="https://cinegogia.omeka.net/items/show/271"><em>Los Olvidados</em></a><br /><a href="https://cinegogia.omeka.net/items/show/193"><em>Relatos salvajes</em></a><br /><a href="https://cinegogia.omeka.net/items/show/204"><em>7 cajas</em></a><br /><a href="https://cinegogia.omeka.net/items/show/83"><em>Sólo con tu pareja</em></a><br /><a href="https://cinegogia.omeka.net/items/show/183"><em>La teta asustada</em></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 <em>Nouvelle Vague</em> 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/7878a8ab74a5984fd0bfaaa8a22f5830.pdf?Expires=1712793600&Signature=gLji6PVBnp6xgxKzZ9gsWd0Rk1yRdNFZBylIj9yPVIReE78t0Z8Q%7EKhbdyUfEKuXD69LcF2HNKjeKkHYiambkmkseVkCqmMA4Y3buEGZD3NrDEHvyf6Ppy-GKkpwBqq0dU2CTt4vngaq5aSmmsex%7EAUzJ0DHNNAU6FzakpoZEzH4p0CJwLT8W0zeZvjeyZLGvIQDxZ%7EDLKSoCdjt-zD-E1WC1PbXzlXQv33tOqZ8PLun-5Ntb3KmfDOHYkux10H9RKYjyStFds8t4Mram6%7EEy1m%7EkDmvzPBlhR%7EoI5RVpvz0fdxoieZU-iZEieXleacOWzOxgemeOQe0dflNJTIqPQ__&Key-Pair-Id=K6UGZS9ZTDSZM
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PDF Text
Text
Latin American Cinema
Amherst College – Spring 2019
Meetings:
Professor:
Email:
Tuesdays, 1:00-3:30pm (class)
Thursdays, 1:00-3:30pm (required screenings)
Paul A. Schroeder Rodríguez
pschroeder@amherst.edu
Welcome to Latin American Cinema!
Still from Roma, dir. Alfonso Cuarón, Mexico, 2018
What will I learn in this course?
In this course, you will learn how Latin Americans have represented themselves on the big screen,
through close readings of representative films from each of the following major periods:
•
•
•
•
•
silent cinema (1890s-1930s)
studio cinema (1930s-1950s)
Neorealism/Art Cinema (1950s)
the New Latin American Cinema (1960s-1980s), and
contemporary cinema (1990s to today)
Throughout the course, we will examine evolving representations of modernity, and pay special
attention to how these representations are linked to different constructions of gender, race,
sexuality, and nationality. We will conclude the course with a collective screening of videoessays
created by students in the course.
1
�What will I do in this course?
•
•
•
•
watch one film per week on a big screen, and discuss them in a small classroom setting
present and lead a Q&A of one of these film screenings
write short reviews of three films
create a 7 - 9 minute videoessay on a Latin American film of your choosing, for a public
screening at the end of the semester
How will I be evaluated?
Grade breakdown
Attendance and class participation
200 points
Three film reviews
150 points
Presentation of a film
100 points
Two videographic assignments
200 points
Proposal for the videoessay
50 points
Script for the final videoessay
100 points
First version of the videoessay
100 points
Final draft of the videoessay
100 points
---------------
Total
1000 points
Attendance and class participation (200 points)
Attendance is mandatory to both the film screenings (Thursdays) and the class discussions
(Tuesdays). Your participation grade will be based on both attendance and your involvement and
engagement in the classroom discussions and activities. Each unexcused absence will
automatically deduct 25 points. For absences to be excused they must be supported in writing by
a medical doctor, a counselor, or similar professional.
Three film reviews (50 points each)
The objective of these exercises is to practice synthesizing information and applying the language
of film analysis (see handout “Major terms and concepts in film studies”) to a variety of films seen
in class. Each review should be approximately 500 words long (about 2 double-spaced pages),
and include the following:
• Identification and brief summary of the film (director, year, genre, period, and narrative
summary) – approximately 150 words
2
�• The context of production (When and where it was produced? What contemporary events help
situate the film?) – approximately 50 words
• The film’s mode of production and mode of representation (was it an industrial or artisanal
production, or perhaps a combination of both? How does this affect the film’s aesthetics,
narrative form?) – approximately 100 words
• Select one sequence that stood out to you, and discuss how its aesthetic and narrative choices
affect the production of meaning. – approximately 100 words
• Your personal assessment of the film. – approximately 100 words
• An appropriate title, given what you have written (it could be as simple as “Review of X”, or
something creative.)
Presentation of a film (100 points)
Each student will be in charge of presenting one of the films scheduled for screening. This includes
doing a brief introduction before the screening, and leading the Q&A afterwards. The introduction
should cover, at a minimum, the information outlined above for the film reviews. For the Q&A,
be prepared with one or two questions to ask the audience, in case they do not raise any questions.
Two video-graphic assignments (100 each)
Staff from the Office of Information Technology (IT) will hold in-class workshops for these lowstakes assignments designed to give you the technical skills necessary to prepare your final
videoessay. You may work in pairs to create these assignments. Then, in class, we will screen
these assignments and give each other constructive feedback. Instructions:
1. Choose one of these pre-selected sequences in our shared class folder:
•
•
•
•
•
•
¡Que viva México! – digging their own graves - 01:14:00 – 01:17:09
Opening sequences in ¡Que viva México! (00:05:11- 00:07:35) and María Candelaria
00:02:13-00:02:37
Los olvidados – Pedro’s dream – 00:27:50 – 00:31:00
Deus e o Diabo na Terra do Sol – final sequence – 01:57:20 – 01:58-50
Frida, naturaleza viva – opening sequence – 00:04:14 – 00:07:14
La mujer sin cabeza – accident sequence – 00:04:43 – 00:08:05
2. Open with 3-5 seconds of a title sequence that reads: “Videographic assignment #X,”
followed by a subtitle that clearly communicates your main point, and/or prepares/engages
the viewer for what follows. The slide should also include the title of the film, its director,
country, year of release, your name(s), and today’s date, for example:
•
•
•
Videographic assignment #1
Jump-cuts in De cierta manera (Sara Gómez, Cuba, 1974)
by Your Name / June 13, 202
3
�3. Prepare and include a voiceover narration and at least one form of text (for example, an
intertitle) that together support one main point that you want to say about the sequence. Aim
to use at least three terms from the handout “Major terms and concepts in film studies.”
Proposal for your final videoessay (50 points)
The written proposal for your final videoessay will take the form of an abstract. It should be 250
to 300 words in length, and include:
• a working title
• a clearly stated topic or hypothesis
• a sketch of your argument
• a bibliography of at least one primary source (i.e., the film) and two secondary sources
(e.g., a peer-reviewed essay of the film, perhaps a more theoretical essay, etc.)
The objective of this exercise is to help you to think about the most important idea(s) of your final
videoessay, and to present these in a concise form that will then guide your work. We will do inclass peer-reviews of proposals, and I will also schedule individual meetings to discuss your
proposals.
Script for final videoessay (100 points)
The script will guide your work on the editing table. It should include:
• a working title
• the text of the voiceover (approximately 600-1000 words)
• a list of the film clips you plan to use (give each clip a short name and include their
timestamps; this will help save time later during the editing)
• additional elements such as intertitles, credits, etc.
First version of the videoessay (100 points). This version should be 7-9 minutes in
length, and be close to what you have in mind for the final version. We will do peer-reviews of
all first versions during class.
Final version of the videoessay (100 points). We will hold a public screening of all the
videoessays on the last day of classes, in Keefe Auditorium. Be sure to invite your friends!
Student Responsibilities
1. Come to all screenings with an open mind.
2. Come to all class discussions having viewed and reflected on the film to be discussed, and
having completed any assigned readings for that day.
3. Take notes on paper during screenings and during class discussions.
4. Turn off and stow away all your electronic devises during screenings and class discussion; we
may collectively agree otherwise on a case by case basis.
5. Adhere to Amherst College’s Honor Code at all times. This includes avoiding plagiarism, a
form of theft that consists of using citations or ideas from others without properly
acknowledging the source. Please take a few minutes to do the online tutorial on plagiarism
4
�at http://www.lib.usm.edu/plagiarism_tutorial/, and review the list of previous sanctions at
Amherst College, posted at
https://www.amherst.edu/offices/student-affairs/community-standards/csrb-precedents/irand-plagiarism-precendents/node/668841
6. If you need special accommodations please see me as soon as possible to make the
arrangements.
7. If you must miss a class or a screening, please try to communicate with a classmate about what
you missed, and contact me afterwards with any additional questions or concerns.
Course Materials
Required Text:
Schroeder Rodríguez, Paul A. Latin American Cinema: A Comparative History. Oakland:
University of California Press (2016).
or
---. Una historia comparada del cine latinoamericano, trad. Juana Suárez. Madrid:
Iberoamericana-Vervuert (2020).
Available in Frost Library (on Reserves and as an e-book), and for purchase online.
Also required: a paper notebook, and something to write with.
Moodle: The syllabus, films, e-reserves, and additional resources and readings are available and
updated continuously on our course Moodle website.
Additional Course Resources
The Writing Center: An invaluable resource for help on your papers, located at 101 Charles Pratt
Hall. They can help with thesis development, structure, and incorporating evidence, among other
things.
Office of Information Technology (IT). Staff from IT will lead in-class workshops for the
videoessays. They will also be available for help during some of the class sessions, and outside
of class by appointment.
Calendar
Before class:
During class:
5
�Week 1, day 1 (classroom)
•
•
•
•
Week 1, day 2 (theater)
Screening of:
In-class activities to get to know one another
Choose films for presentations
Go over the syllabus
Watch and discuss 2-3 videoessays
Roma (dir. Alfonso Cuarón, Mexico, 2018)
Week 2, day 1 (classroom)
Discussion of Roma and the assigned reviews.
Readings:
Use handout “Major terms and concepts in film
studies” to collectively describe and discuss the ocean
sequence from Roma in detail.
Latin American Cinema, pp. 1-14, 303306; or Una historia comparada, 17-39.
Olivia Cosentino, “Feminism and
Intimate/Emotional Labor” (Moodle)
In-class workshop on writing the review of Roma (film
review #1).
Ignacio Sánchez-Prado, “Class Trouble”
(Moodle)
Week 2, day 2 (theater)
Screening of:
¡Que viva México! (Sergei Eisenstein, Mexico, 1931)
Film review #1 due (on Roma), with in-class peer
review.
Week 3, day 1 (classroom)
1:00-1:50pm
Reading:
Discussion of ¡Que viva México! in Converse 302
Latin American Cinema, pp. 45-46 and
50-60; or Una historia comparada, 43-46
and 88-100.
2:00-3:30pm
Week 3, day 2 (theater)
Screening of:
Editing workshop for videographic assignments, led by
IT staff: adding voiceover and text to one of the preselected sequences listed at the end of the syllabus.
Meet in AV computer lab (Seeley Mudd 115).
María Candelaria (Emilio Fernández, Mexico, 1943)
6
�Week 4, day 1 (classroom)
1:00-1:50pm
Read:
Discussion of María Candelaria
Latin American Cinema, pp. 71-78, and
102-106; or Una historia comparada,
113-120, 135-136, 155-160.
2:00-3:30pm
Time to continue work on videographic assignment #1
with the help from IT staff, Seeley Mudd 115.
Joanne Hershfield, The Invention of
Dolores del Rio, pp. ix-xvi and 52-63.
Week 4, day 2 (theater)
Keefe Theater, screening of:
Aventurera (Mexico, Alberto Gout, 1950)
Film review #2 due (on a film you might consider for
your final essay)
Week 5, day 1 (classroom)
1:00-2:20
Read: Latin American Cinema, pp. 116122; or Una historia comparada, 173174 and 178-182.
Discussion of Aventurera, Converse 302
2:30-3:30pm
Peer reviews of video-graphic assignment #1, plus time
to begin work on videographic assignment #2 with help
from IT staff.
Seeley Mudd 115
Week 5, day 2 (theater)
Time to work on videographic assignment #2 with help
from IT staff. Meet in Seeley Mudd 115.
Week 6, day 1 (classroom)
Peer reviews of video-graphic assignment #2
Week 6, day 2 (theater)
Keefe Theater, screening of:
Los olvidados (Luis Buñuel, México, 1950)
7
�Week 7, day 1 (classroom)
1:00-1:50pm - Discussion of Los olvidados
Read: Latin American Cinema, pp. 129142, and 161-162; or Una historia
comparada, 191-208.
2:00-3:30pm – IT staff lead workshop on digitizing
your own clips using Camtasia, and on additional
editing techniques (create a basic sequence, transitions
of video and sound, and multiple screens), Seeley
Mudd 115
Week 7, day 2 (theater)
Keefe Theater, screening of:
Deus e o Diabo na Terra do Sol (a.k.a., Black God,
White Devil, Glauber Rocha, Brasil, 1963)
Film review #3 due (on a film you might consider for
your final essay).
Week 8, day 1 (classroom)
1:00-2:00pm
Read:
Discussion of Deus e o Diabo na Terra do Sol
Latin American Cinema, pp. 167-178; or
Una historia comparada, 239-253.
2:00-2:20pm
Glauber Rocha, “Aesthetics of Hunger”
or “La estética del hambre” (Moodle)
Proposal for your final videoessay due, with in-class
peer reviews.
2:30-3:30pm
Time to work on your videoessay with help from IT
staff, Seeley Mudd 115.
Week 8, day 2 (theater)
Keefe Theater, screening of:
De cierta manera (Sara Gómez, Cuba, 1977)
Week 9, day 1 (classroom)
Latin American Cinema, pp. 207-209; or
Una historia comparada, 293-295.
Week 9, day 2 (theater)
1:00-2:20pm - Discussion of De cierta manera (Sara
Gómez, Cuba, 1977)
2:30-3:30pm – Workshop on voice acting your
voiceover, with Susan Daniels. Place: recording
booths in Seeley Mudd.
Time to work on your script (class does not meet)
8
�Week 10, day 1 (classroom)
Script for final videoessay due, with in-class peer
reviews.
Time to work on your videoessay with help from IT
staff, Seeley Mudd 115.
Week 10, day 2 (theater)
Keefe Theater, screening of:
Frida, naturaleza viva (Paul Leduc, Mexico, 1984)
Week 11, day 1 (classroom)
1:00-2:20pm - Discussion of Frida, naturaleza viva
Latin American Cinema, pp. 208-216,
2:30-3:30pm – Time to work on your videoessay with
and 228-236; or Una historia comparada, help from IT staff, Seeley Mudd 115.
297-306.
Week 11, day 2 (theater)
Keefe Theater, screening of:
La mujer sin cabeza (Lucrecia Martel, Argentina,
1984)
Week 12, day 1 (classroom)
1:00-2:20pm - Discussion of La mujer sin cabeza
Latin American Cinema, pp. 245-251,
261-262, 265-269, and 277-279; or Una
historia comparada, 345-354, 367-371,
374-382, and 390-391.
2:30-3:30pm – Time to work on your videoessay with
help from IT staff, Seeley Mudd 115.
Week 12, day 2 (theater)
1:00-2:20pm - Prepare the program of the public
screening, to share it with friends and appropriate
campus groups. Conduct a dry run of the event.
2:30-3:30pm – Time to work on your videoessay with
help from IT staff, Seeley Mudd 115.
Week 13, day 1 (classroom)
Finish your videoessay with help from IT staff, and
upload it to the shared class Google Drive.
Week 13, day 2 (theater)
Public screening of the videoessays.
9
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Syllabi
Syllabus
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
Latin American Cinema
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
In this course we will explore how Latin Americans have represented themselves on the big screen, through close readings of representative films from each of the following major periods: <br /><ul><li>silent cinema (1890s-1930s),</li>
<li>studio cinema (1930s-1950s),</li>
<li>Neorealism/Art Cinema (1950s),</li>
<li>the New Latin American Cinema (1960s-1980s), and</li>
<li>contemporary cinema (1990s to today)</li>
</ul>
Throughout the course we will examine evolving representations of modernity and pay special attention to how these representations are linked to different constructions of gender, race, sexuality, and nationality. We will conclude the course with a collective screening of video essays created by students in the course.
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.
Brazil / Brasil
Cuba
Mexico / México
Peru / Perú
Region / Región
The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso.
Latin America / Latinoamérica
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Silent Cinema / Cine mudo
Studio Cinema / Cine clásico de estudio
New Latin American Cinema / Nuevo Cine Latinoamericano
Contemporary / Contemporáneo
Films taught / Películas
<a href="https://cinegogia.omeka.net/items/show/194"><em>Aventurera</em></a><br /><a href="https://cinegogia.omeka.net/items/show/270"><em>De cierta manera</em></a><br /><a href="https://cinegogia.omeka.net/items/show/403"><em>Deus e o Diabo na Terra do Sol</em></a><br /><em>Frida, naturaleza viva<br /><a href="https://cinegogia.omeka.net/items/show/134">La mujer sin cabeza</a></em><br /><a href="https://cinegogia.omeka.net/items/show/114"><em>Maria Candelaria</em></a><br /><a href="https://cinegogia.omeka.net/items/show/271"><em>Los olvidados</em></a><br /><a href="https://cinegogia.omeka.net/items/show/112"><em>¡Que viva México!</em></a><br /><a href="https://cinegogia.omeka.net/items/show/471"><em>Roma</em></a>
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Paul A. Schroeder Rodríguez, Amherst 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
Related Course Materials / Materiales relacionados
Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live.
<a href="https://cinegogia.omeka.net/videoessays">Resources for Teaching Video Essays</a>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Latin American Cinema
Description
An account of the resource
In this course we will explore how Latin Americans have represented themselves on the big screen, through close readings of representative films from each of the following major periods: <br /><ul><li>silent cinema (1890s-1930s),</li>
<li>studio cinema (1930s-1950s),</li>
<li>Neorealism/Art Cinema (1950s),</li>
<li>the New Latin American Cinema (1960s-1980s), and</li>
<li>contemporary cinema (1990s to today)</li>
</ul>
Throughout the course we will examine evolving representations of modernity and pay special attention to how these representations are linked to different constructions of gender, race, sexuality, and nationality. We will conclude the course with a collective screening of video essays created by students in the course.
-
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PDF Text
Text
Contributed by Lisa M. Rabin, George Mason University
SPAN 575: Spanish-language
Film, Television, and/or Digital Media
Lisa M. Rabin – Department of Modern & Classical Languages
George Mason University
Gabriel Figueroa, from La Perla (Emilio Fernández, México, 1947) i
Course description:
This course is an introduction to Latin American film and television studies.
It is conducted in Spanish and is open to graduate students and advanced
undergraduates with the permission of the instructor. Students will acquire
knowledge on contemporary trends in film and television studies, including
film theory, the archival turn, and ethnographies of television reception, as
they relate to the film and television cultures of the rich and diverse regions
of Latin America. The course’s historical purview takes students from
classical narratives of the 1930s and 40s to revolutionary cinema of the 1960s
and 70s to melorealism and the telenovela of the contemporary period.
Learning objectives:
To learn basic concepts and a working vocabulary of film and television show
interpretation; to gain expertise in the analysis of film and TV form; to gain a
good understanding of the historical and current trends in the academic
disciplines of film and television studies; to situate 20 th and 21st-century
movements and individual works of Latin American film and television
production in their historical contexts.
Course requirements:
This class is a seminar, which means that all participants will be asked to
help construct class learning through their active and creative engagement
with the course material. To this end, each student will also be asked to
�contribute one oral report over the course of the semester on a course
reading. Specific guidelines for this report will be posted under
“Assignments” early in the semester.
Students must also commit to diligently watching assigned films and shows
online or in the library before they are discussed in class, and to carefully
complete the assigned readings and written assignments. I have structured
the class for you to have frequent non-graded homework assignments on your
viewing and reading. These informal assignments can be done in longhand,
but they should be brought to class, where you will use them in small group
work and larger class discussion. Occasionally, I will collect and look over
the assignments. Please remember that this homework – which can be
measured in how you contribute to discussion – is part of your overall
participation grade.
Your larger written assignments are two short papers over the course of the
semester and one final research project (20-25 pp. for graduates and 10-15
pp. for undergraduates). You will provide a proposal and annotated
bibliography for your research project due after spring break. Detailed
instructions on these assignments will be posted on Blackboard with ample
time in advance.
Class readings:
Required textbooks available in bookstore:
Stephen M. Hart, Latin American Cinema. Reaktion Books (June 15, 2015)
ISBN-10: 1780233655. [“LAC” in the syllabus]
John Sinclair and Joseph Straubhaar, Latin American Television Industries.
[“LATI” in the syllabus]. London: British Film Institute, 2013. ISBN-10:
1844573885.
Paul Schroeder-Rodríguez, Latin American Cinema: A History. [“LACCH” in the
syllabus]. Berkeley: U of California P, 2016.
Required supplemental readings for class and oral reports:
All of the following are posted as files corresponding to class dates under “Content”
on Blackboard [“Bb” in the syllabus].
Australian Broadcasting Network RN. "Philospher's Zone: Gilles Deleuze (part II),
April 2, 2011. Web (audio). Available:
http://mpegmedia.abc.net.au/rn/podcast/2011/04/pze_20110402 .mp3.
Transcript of available:
�http://www.abc.net.au/radionational/programs/philosopherszone/at-themovies-with-gilles-deleuze-part-2/3012248#transcript) [Bb]
Bazin, André. Chapters 1-6 in Bazin, What Is Cinema? Vol. II, trans. Hugh Gray.
Berkeley: U of California P, 1971. Pp. 1-101. Available:
https://archive.org/details/Bazin_Andre_What_Is_Cinema_Volume_2 [Bb]
Benavides, O. Hugo. Introduction, Chapter 1, and Postscript: Ugly Betty, in
Benavides, Drugs, Thugs, and Divas: Telenovelas and Narcodramas in Latin
America. Austin: U of Texas P, 2008. Pp. 1-24, 25-45 and 211-216.
Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction." In
Hannah Arendt, ed., Illuminations, trans. Harry Zohn. New York: Random
House, 1968. Pp. 217-252. Available:
https://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.ht
m [Bb]
Bourdieu, Pierre. “On Television.” In Meenakshi Gigi Durham and Douglas M.
Kellner, eds., Media Studies: Keyworks. New Jersey: Wiley, 2013. Pp. 253-259
[Bb].
Burton, Julianne. "Towards a History of the Social Documentary in Latin America."
In Julianne Burton, ed., The Social Documentary in Latin America.
Pittsburgh: U of Pittsburgh P, 1990). Pp. 3-30. [Bb]
García, Desiree J. "The Soul of a People": Mexican Ranchera Spectatorship and the
Transnational Comedy." Journal of American Ethnic History 30.1 (2010): 7298. Web. http://doi.org/10.5406/jamerethnhist.30.1.0072. Bb]
Gunning, Tom. "The Cinema of Attractions: Early Film, Its Spectator and the
Avant-Garde." Wide Angle 8.3 & 4 (1986): 65-68. Available:
http://www.columbia.edu/itc/film/gaines/historiography/Gunning.pdf [Bb]
Horton, Justin. "Mental Landscapes: Bazin, Deleuze, and Neorealism, Then and
Now." Cinema Journal 52.2 (2013): pp. 230-45. Available:
https://www.academia.edu/2535088/Mental_Landscapes_Bazin_Deleuze_and_Neore
alism_Then_and_Now_. [Bb]
López, Ana. "Early Cinema and Modernity." Cinema Journal 40.1 (2000): 48-78.
Web. DOI: 10.1353 / cj.2000.0020. Available:
http://muse.jhu.edu/journals/cinema_journal/v040/40.1lopez.pdf. [Bb]
�---. "Tears and Desire: Women and Melodrama in the 'Old' Mexican Cinema." In
Ana River, Alicia Rios and Abril Trigo, eds., The Latin American Cultural
Studies Reader. Durham: Duke UP, 2004. Pp. 441-458. [Bb]
Martín-Barbero, Jesús. “Memory and Form in the Latin American Soap Opera.” In
Robert Allen, ed., To Be Continued . . .: Soap Operas Around The World
(London: Routledge, 1995), 286-285 [Bb]
---. “Narratives of Identity and Media Genres.” In Geoffrey Kantaris and Rory
O’Brien, eds. Latin American Popular Culture: Politics, Media, Affect.
Woodbridge, UK: Tamesis, 2013. 141-166. [Bb].
Mulvey, Laura. "Visual Pleasure and Narrative Cinema.” Screen 16.3 (1975): 6-18.
Available:
http://imlportfolio.usc.edu/ctcs505/mulveyVisualPleasureNarrativeCinema.pd
f. [Bb]
Pick, Zusana. "Gendered Identities and Femininity." Chapter 3, The New Latin
American Cinema: A Continental Project. Austin: U of Texas P, 1993. Pp. 6696 [Bb]
Podalsky, Laura. Introduction and Chapter 1, Passion, Aesthetics, and Politics:
Rethinking the New Latin American Cinema. New York: Palgrave, 2011. Pp.
1-58. [Bb]
---. “Los ricos también lloran: Mexican telenovelas and the geographical
imagination.” In Stephen Hart and Richard Young, eds., Contemporary Latin
American Cultural Studies. London: Arnold, 2003 [2014]). Pp.151-166 [Bb].
Ramírez Berg, Charles. "The Cinematic Invention of Mexico: The Politics of the
Fernández Unit Style." Chapter 6 in Berg, Classical Mexican Cinema: The
Poetics of the Classical Golden Age (Austin: U of Texas P, 2015). Pp. 91-132
[Bb]
Singer, Ben. "The Ambimodernity of Early Cinema: Problems and Paradoxes in the
Film and Modernity Discourse." In Klaus Kreimeier and Annemone Ligensa,
eds., Film 1900: Technology, Perception, Culture. Bloomington: Indiana UP,
2009. Pp. 37-52. [Bb].
Strongly recommended supplemental texts (available on Amazon, etc.):
Timothy Corrigan and Patricia White, The Film Experience. 4th Edition. Boston:
Bedford/St. Martin’s, 2015.
�Timothy Corrigan, A Short Guide to Writing About Film (Boston: Pearson, 2015, 9th
edition).
We will also be frequently accessing this website on Spanish-language terms of film
art: Cineglos. Available at: http://college.holycross.edu/projects/cineglos/
Most of the films are available on the web for free (links posted on syllabus). An
account with Netflix is recommended to occasionally access those films not available
on the web; otherwise I will make the film available on reserve in the Johnson
Center Library.
Grade distribution:
Attendance and participation: 20%
Oral report: 10%
Short papers: 15% x 2 = 30%
Proposal and annotated bibliography for final research project: 15%
Final research project: 25%
Overall percents translated into letter grades:
90 -100% = A
80 - 89% = B
70 - 79% = C
60 - 69% = D
59% and below = F
Honor Code:
All work must be your own. Please do not have others edit your papers. You are expected
to abide by the Honor System and Code as it appears in the George Mason University
Undergraduate Catalog. Honor Code violations will not be tolerated. If I think your paper
has been edited by another speaker of Spanish, I am obligated to report it to the Honor
Code. Consult the GMU Honor Code for information at
http://jiju.gmu.edu/catalog/apolicies/index/html
Disability Support Services:
If you are student with a disability and you need academic accommodations, please
see me and contact the Office of Disability Resources at 703-993-2474. All academic
accommodations must be arranged through that office.
Important Enrollment Information:
Students are responsible for verifying their enrollment in this class.
Schedule adjustments should be made by the deadlines published in the Schedule of
Classes. (Deadlines each semester are published in the Schedule of Classes
available from the Registrar's Website: registrar.gmu.edu.)
Last Day to Add ________
�Last Day to Drop ________
After the last day to drop a class, withdrawing from this class requires the approval
of the dean and is only allowed for nonacademic reasons.
Class schedule (tentative):
Week 1
Introduction to the scope of the class.
Goal # 1: Develop a critical language for “reading” films and television shows.
Goal # 2: Situate Latin American cinema in its historical context.
Goal # 3: Become familiar with current methodologies of film and television studies.
Introduction to film form.
Introduction to the early history of Latin American cinema,
and the "thesis of modernity" in film studies.
Clips from several silent "classic" movies, and activity in the interpretation of their
filmic form:
Nobleza Gaucha (Eduardo Martinez de la Pera, Ernesto Gunch, & Humberto Cairo,
Argentina, 1915), https://www.youtube.com/watch?v=gfQ09kiPFXg
The last malón (Alcides Greca, 1917), https://www.youtube.com/watch?v=dBcaKbx9bY
El automóvil gris (Enrique Rosas, Mexico, 1919),
https://www.youtube.com/watch?v=Lpjj4CQC7P0
and Limite (Mário Peixoto, Brazil, 1929),
https://www.youtube.com/watch?v=8o5idn067DA
HOMEWORK:
Read:
1. LAC, Introduction and chapter 1, pp. 12-22
2. Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in
Hannah Arendt, ed., Illuminations, trans. Harry Zohn (New York: Random House,
1968), pp. 217-252). Available:
https://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm [Bb]
3. Tom Gunning, "The Cinema of Attractions: Early Film, Its Spectator and the
Avant-Garde,"
Wide Angle, 8.3 & 4 (1986): 65-68. Available:
http://www.columbia.edu/itc/film/gaines/historiography/Gunning.pdf [Bb]
�4. Australian Broadcasting Network RN, "Philospher's Zone: Gilles Deleuze (part
II), April 2, 2011, web (audio). Available:
http://mpegmedia.abc.net.au/rn/podcast/2011/04/pze_20110402 .mp3
(The transcript of this issue is here:
http://www.abc.net.au/radionational/programs/philosopherszone/at-the-movies-withgilles-deleuze-part-2/3012248#transcript) [Bb]
Student groups will watch and report on:
El automóvil gris (Enrique Rosas, Mexico, 1919),
https://www.youtube.com/watch?v=Lpjj4CQC7P0
Limite (Mário Peixoto, Brazil, 1929),
https://www.youtube.com/watch?v=8o5idn067DA
¡Viva Mexico! (Sergei Eisenstein, Mexico, 1931),
https://archive.org/details/QuevivaMexico
El Húsar de la muerte (Pedro Sienna, Chile, 1925)
https://www.youtube.com/watch?v=r2aWYoFR4sQ
Luis Pardo (Enrique Cornejo Villanueva, Peru, 1927),
https://www.youtube.com/watch?v=VRz8Tnb9A0o
Brasa dormida (Humberto Mauro, Brazil, 1928),
https://www.youtube.com/watch?v=WOWKK3VdfkA
OJO: Please look to Blackboard for questions on these films coordinate with the
readings. We will use the questions as guiding points for class discussion.
Week 2
Discussion of readings and films.
Oral reports:
Ben Singer, "The Ambimodernity of Early Cinema: Problems and Paradoxes in the
Film and Modernity Discourse," in Klaus Kreimeier and Annemone Ligensa, Film
1900: Technology, Perception, Culture (Bloomington: Indiana UP, 2009), pp 37-52
[Bb].
Ana Lopez, "Early Cinema and Modernity," Cinema Journal 40.1 (2000): 48-78,
web,
DOI: 10.1353 / cj.2000.0020, accessible:
http://muse.jhu.edu/journals/cinema_journal/v040/40.1lopez.pdf
�The coming of sound! Case History: Mexico.
Introduction to narrative form in film. The coming of sound and the "classical
narrative." The beginning of the "Golden Age” of the Mexican film industry.
Watch: Allá en el Rancho Grande (Fernando de Fuentes, Mexico, 1936),
https://www.youtube.com/watch?v=CT5U7BVJWr0
HOMEWORK:
Read:
1. LAC, chapter 1, pp. 22-31
2. Ana M. López, "Tears and Desire: Women and Melodrama in the 'Old' Mexican
Cinema," in Ana River, Alicia Rios and Abril Trigo, The Latin American Cultural
Studies Reader (Durham: Duke UP, 2004), pp. 441-458 [Bb]
3. Charles Ramirez Berg, "The Cinematic Invention of Mexico: The Politics of the
Fernández Unit Style," in Classical Mexican Cinema: The Poetics of the Classical
Golden Age (Austin: U of Texas P, 2015), pp. 91-132 [Bb]
4. Garcia, Desiree J. "The Soul of a People": Mexican Ranchera Spectatorship and
the Transnational Comedy," Journal of American Ethnic History 30.1 (2010). 72-98.
http://doi.org/10.5406/jamerethnhist.30.1.0072 [Bb]
Individual groups will watch and prepare for discussion on one:
La mujer del puerto (Arcady Boytler, Mexico, 1936),
https://www.youtube.com/watch?v=m5NgGUyo7jY
Flor Silvestre (Emilio Fernandez, Mexico, 1943),
https://www.youtube.com/watch?v=qwYOtZ7cBMA
Maria Candelaria (Emilio Fernandez, Mexico, 1943),
https://www.youtube.com/watch?v=P0i-yu87FkA
Enamorada (Emilio Fernandez, Mexico, 1946),
https://www.youtube.com/watch?v=qIvh-NOiVDA
Nosotros los pobres (Ismael Rodriguez, Mexico, 1946)
https://www.youtube.com/watch?v=dvjyyvSVJbg
�Río Escondido (Emilio Fernandez, Mexico, 1948),
https://www.youtube.com/watch?v=DwNxUR5dN1g
Week 3
Discussion of the readings and films.
Oral reports:
Laura Mulvey, "Visual Pleasure and Narrative Cinema, Screen 16.3 (1975): 6-18.
Accessible:
http://imlportfolio.usc.edu/ctcs505/mulveyVisualPleasureNarrativeCinema.pdf
Lecture on mise-en-scène and cinematography. Clips from the team of
Fernández and Figueroa.
Steps toward a new language for film:
Los olvidados (Luis Buñuel, Mexico, 1950), at: http://vimeo.com/57837968
HOMEWORK:
Read: LAC, pp. 32-46.
André Bazin, What Is Cinema? Vol. II, trans. Hugh Gray, pp chapters. 1-101. Web.
Available:
https://archive.org/details/Bazin_Andre_What_Is_Cinema_Volume_2 [Bb]
Watch (all):
Roberto Rossellini, Roma, Città Aperta (Italy, 1945)
https://www.youtube.com/watch?v=gxCV0euA__o (click "CC" in right-hand corner
for Spanish subtitles)
Luchino Visconti, The Bicycle Thieves (Italy, 1948)
Nelson Pereira dos Santos, Río 100 Degrees,
https://www.youtube.com/watch?v=HwNJn0QMhoU
Fernando Birri, Throw a Dice (Argentina, 1955),
https://www.youtube.com/watch?v=QWnUdTVFVlk
Julio Garcia Espinosa and Tomas Gutierrez Alea, The Charcoal Worker,
https://www.youtube.com/watch?v=bzBsw58u0rI
Margot Benacarraf, Araya (Venezuela, 1959),
https://www.youtube.com/watch?v=OhE-ZUcRhWc
�Week 4
Discussion on readings and films.
Oral report:
Justin Horton, "Mental Landscapes: Bazin, Deleuze, and Neorealism, Then and
Now," Cinema Journal 52.2 (2013): pp. 230-45. Accessible:
https://www.academia.edu/2535088/Mental_Landscapes_Bazin_Deleuze_and_Neore
alism_Then_and_Now_ [Bb]
Discussion of the first paper, due in person and in class Week 6.
Introduction to the New Latin American Cinema. Influences of the Griersonian
“social” documentary, Italian neorealism and the "French New Wave."
Lecture on film editing.
HOMEWORK:
Read: LAC, pp. 46-64
Fernando Solanas and Octavio Getino, "Towards a Third Cinema," Tricontinental
14, (octubre, 1969), 107-132.
Watch (all):
Tomas Gutierrez Alea, Memorias del subdesarrollo (Memories of Underdevelopment,
Cuba, 1968),
https://www.youtube.com/watch?v=37PS0A_chbc
Jorge Sanjinés, Yawar Mallku (The Blood of the Condor) (Bolivia, 1969)
https://www.youtube.com/watch?v=f51nkM1jt64
Fernando Solanas and Octavio Getino, La hora de los hornos
(The Hour of the Furnaces, Argentina, 1964), part 1.
Individual groups watch one of the following:
Glauber Rocha, Deus e o Diabo (God or the Devil, Brazil, 1964),
https://www.youtube.com/watch?v=yax2nV8YtR4
Patricio Guzman, The Battle of Chile (Chile/Cuba, 1975, 1976, 1979),
https://www.youtube.com/watch?v=71o4pSUqpUw (all three parts)
Sara Gómez, One Way or Another (Cuba, 1973)
https://www.youtube.com/watch?v=FjBNyMWg87c (all parts)
�Respond to questions under "Announcements."
Week 5
Discussion on the readings and films.
Reports: Zusana Pick, "Gendered Identities and Femininity," chapter 3 of The New
Latin American Cinema: A Continental Project (Austin: U of Texas P, 1993), pp. 6696 [Bb]
Julianne Burton, "Towards a History of the Social Documentary in Latin America,"
in Julianne Burton, ed. The Social Documentary in Latin America
(Pittsburgh: U of Pittsburgh P, 1990), pp. 3-30 [Bb]
The New Latin American Cinema, con: the genre of documentary genre.
Jorge Silva and Marta Rodriguez, Chircales (The Brick Workers, Colombia, 19641971), https://www.youtube.com/watch?v=YwDR-eU8XuM
HOMEWORK:
Your focus for next week is to finish the first paper, due in class in person.
Week 6
Turn in first paper.
Latin American cinema of the 1970s-1990s.
Clips from Jorge Sanjinés, La nación clandestina
(The Hidden Nation (Bolivia, 1989),
HOMEWORK:
Read:
LAC, 65-83
Report: Paul Schroeder-Rodriguez, "New Latin American Cinema,"
LACCH, 163-243
Watch:
Fernando Solanas, Sur (The South, Argentina-France, 1988),
https://www.youtube.com/watch?v=GuMKHrYJcfw
�Arturo Ripstein, El lugar sin límites
(The Place Without Limits, https://www.youtube.com/watch?v=OgG_dceLqSw
Daniel Diaz Torres, Alicia en el pueblo de maravillas
(Alice in Wondertown, Cuba, 1991),
https://www.youtube.com/watch?v=uB1vizQbPKQ
Week 7
Discussion of reading and films.
Latin American “melorealist” cinema of the contemporary period.
Clips from Luis Puenzo, La historia oficial (The Official Story, Argentina, 1985)
HOMEWORK:
Read: LAC, 83-104
Watch:
Maria Luisa Bemberg, De eso no se habla
(I Don’t Want to Talk About It, Argentina, 1993),
https://www.youtube.com/watch?v=Fk-4snPox3w
Maria Navarro, Danzón (Mexico, 1991)
Tomas Gutierrez Alea, Fresa y chocolate (Strawberry and Chocolate, Cuba-SpainMexico, 1993), https://www.youtube.com/watch?v=q9RVwP8mbcw
Walter Salles, Central do Brasil (Central Station, Brazil, 1998),
https://www.youtube.com/watch?v=LzlamJXfllM
Respond to questions under "Announcements."
Tuesday, March 8
Discussion of reading and films.
Oral report: Laura Podalsky, Introduction and Chapter 1, Passion, Aesthetics, and
Politics: Rethinking the New Latin American Cinema (New York: Palgrave, 2011),
pp. 1-58 [Bb]
Latin American cinema of the 2000-. Clips from Fernando Mireilles and Kátia
Lund, Cidade de Deus (City of God, Brazil-France, 2002)
�HOMEWORK:
Write the first draft of the proposal and bibliography for your final research paper,
due in class Week 9 in person.
Individual groups watch one:
Lucrecia Martel, La ciénaga (The Swamp, Argentina, 2002),
https://www.youtube.com/watch?v=I8WD0Nc9sBY
Alejandro Gonzalez Iñárritu, Amores perros (Life’s A Bitch, Mexico, 2000)
Fernando Mireilles and Kátia Lund, Cidade de Deus (City of God, Brazil-France,
2002)
Francisco Vargas Quevedo, El violín (The Violin, Mexico, 2005),
https://www.youtube.com/watch?v=lhz573klQ8Y
Week 9
Turn in the first draft of the proposal and bibliography for your final research
paper.
Discussion of the films.
Discuss instructions for the second paper, due in class Week 11 in person.
Introduction to Television Studies as a discipline.
Introduction to the history of television in Latin America. Case study: the early
radiodrama in Cuba: the migrations of El derecho de nacer (The Right to Be Born,
Félix B. Caignet, Cuba, 1948) from radiodrama to telenovela.
Audio clips from El derecho de nacer.
HOMEWORK:
Read: LATI, Introduction and Chapter 1.
Jesús Martín-Barbero, “Narratives of Identity and Media Genres,” in Latin
American Popular Culture: Politics, Media, Affect, eds. Geoffrey Kantaris and Rory
O’Brien (Woodbridge, UK: Tamesis, 2013), 141-166 [Bb].
Watch:
El derecho de nacer (México, 1966), https://www.youtube.com/watch?v=_jIoum9jL-g
�Week 10
Discussion of the reading and telenovela.
Oral report: Pierre Bourdieu, “On Television,” in Meenakshi Gigi Durham and
Douglas M. Kellner, Media Studies: Keyworks (New Jersey: Wiley, 2013), 253-259
[Bb].
Oral report: Jesús Martín-Barbero, “Memory and Form in the Latin American Soap
Opera,” in Robert Allen, To Be Continued . . .: Soap Operas Around The World
(London: Routledge, 1995), 286-285 [Bb]
The rise of the telenovela industry in Mexico. Clips from Rafael Banquells,
Los ricos también lloran (The Rich Also Cry, México, 1984),
https://www.youtube.com/watch?v=ptyKTmhU670
HOMEWORK:
Finish the second paper, due in class Week 11 in person.
Week 11
Turn in second paper.
The rise of the Brazilian telenovela industry. Watch clips from Walter Avancini,
Xica da Silva (Chica da Silva, Brazil, 1996)
HOMEWORK:
Read: LATI, chapter 2.
Laura Podalsky, “Los ricos también lloran: Mexican telenovelas and the
geographical imagination,” in Stephen Hart and Richard Young,
Contemporary Latin American Cultural Studies (London: Arnold, 2003 [2014]), 151166 [Bb].
Watch one episode from each telenovela:
Jayme Monjardim, Terra Nostra (Our Land, Brazil, 1999),
https://www.youtube.com/watch?v=I05jR8La1Fc
�Gonzalo Martínez Ortega, Jorge Fons and Claudio Reyes, El vuelo del águila (The
Flight of the Eagle, México, 1994-1995),
https://www.youtube.com/watch?v=bY83gJbK5x4&list=PLCB5A07AC8EB62F2A
Walter Doehner, Zapata, amor en rebeldía (Zapata, Love In Rebellion, México,
2004), https://www.youtube.com/watch?v=NqAMcHJl_Kw
Week 12
Discussion of readings and telenovelas.
Oral report: O. Hugo Benavides, Introduction and Chapter 1,
Drugs, Thugs, and Divas: Telenovelas and Narcodramas in Latin America
(U of Texas P, 2008)
The morphing of the contemporary telenovela in content and form.
HOMEWORK:
LATI, 3-4
O. Hugo Benavides, “Ugly Betty,” in Drugs, Thugs, and
Divas: Telenovelas and Narco-Dramas in Latin America (Austin: U of Texas P,
2008), 211-216 [Bb].
Watch episodes from Mario Ribeiro Ferreira, Yo Soy Betty La Fea (I Am Ugly Betty,
Colombia, 1999-2001), https://www.youtube.com/watch?v=QHowDtMsx4E
and Fernando Gaitán, Ugly Betty (USA, 2006-2010),
https://www.youtube.com/watch?v=PwtHCc1Yjeg
Week 13
Discuss reading and telenovelas.
The contemporary telenovela: narcodramas and recent US adaptations. Clips from
Mauricio Cruz and Walter Doehner, La reina del sur (The Queen of the South,
México, 2011) and Jenny Snyder Urman, Jane the Virgin (USA, 2014-)
HOMEWORK:
Finish writing your research project, due next week in class and in person.
�Week 14 – final class
Turn in final project.
Taking the long view: Latin American film and television studies -- history,
aesthetics, popular culture.
i
Screenshot of film La perla http://cinemexicano.mty.itesm.mx/imagenes/perla.jpg, Web, accessed 24
April 2017, https://en.wikipedia.org/wiki/File:La_perla.PNG#Licensing.
Fair use: though this image is subject to copyright, its use is covered by the U.S. fair use laws
because:
1. The screenshot is of lower resolution and quality than the original video (copies made from it
will be of inferior quality).
2. No free or public domain images have been located for this content.
3. The screenshot does not limit the copyright owners' rights to distribute the show or DVDs in
any way.
4. The screenshot is intended to represent the nature of the show. Its inclusion in the document
is important as an example of the material covered in the syllabus.
5. The screenshot is being used for informational purposes only, and its use is not believed to
detract from the original show or DVD in any way.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Syllabi
Syllabus
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
Latin American Film & Television Studies / Introducción a los estudios latinoamericanos fílmicos y televisivos
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
This course is an introduction to Latin American film and television studies. It is conducted in Spanish and is open to graduate students and advanced undergraduates with the permission of the instructor. Students will acquire knowledge on contemporary trends in film and television studies, including film theory, the archival turn, and ethnographies of television reception, as they relate to the film and television cultures of the rich and diverse regions of Latin America. The course’s historical purview takes students from classical narratives of the 1930s and 40s to revolutionary cinema of the 1960s and 70s to melorealism and the telenovela of the contemporary period.
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Argentina
Bolivia
Brazil / Brasil
Chile
Cuba
Mexico / México
Peru / Perú
Venezuela
Region / Región
The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso.
Latin America / Latinoamérica
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Silent Cinema / Cine mudo
Studio Cinema / Cine clásico de estudio
New Latin American Cinema / Nuevo Cine Latinoamericano
Contemporary / Contemporáneo
Films taught / Películas
<a href="https://cinegogia.omeka.net/items/show/109"><em>Araya</em></a><br /><a href="https://cinegogia.omeka.net/items/show/73"><em>Alicia en el pueblo de maravillas</em></a><br /><a href="https://cinegogia.omeka.net/items/show/165"><em>Allá en el Rancho Grande</em></a><br /><a href="https://cinegogia.omeka.net/items/show/25"><em>Amores perros</em></a><br /><a href="https://cinegogia.omeka.net/items/show/162"><i>El automóvil gris</i></a><br /><a href="https://cinegogia.omeka.net/items/show/105"><em>La batalla de Chile: Lucha de un pueblo sin armas</em></a><br /><a href="https://cinegogia.omeka.net/items/show/703"><em>Braza dormida</em></a><br /><a href="https://cinegogia.omeka.net/items/show/28"><em>Central do Brasil</em></a><br /><a href="https://cinegogia.omeka.net/items/show/239"><em>Chircales</em></a><br /><a href="https://cinegogia.omeka.net/items/show/491"><em>Cidade de dues</em></a><br /><a href="https://cinegogia.omeka.net/items/show/262"><em>La ciénaga</em></a><br /><a href="https://cinegogia.omeka.net/items/show/272"><em>Danzón</em></a><br /><a href="https://cinegogia.omeka.net/items/show/270"><em>De cierta manera</em></a><br /><a href="https://cinegogia.omeka.net/items/show/725"><em>De eso no se habla</em></a><br /><a href="https://cinegogia.omeka.net/items/show/403"><em>Dues e o Diablo</em></a><br /><a href="https://cinegogia.omeka.net/items/show/273"><em>Enamorada</em></a><br /><a href="https://cinegogia.omeka.net/items/show/729"><em>Flor Silvestre</em></a><br /><a href="https://cinegogia.omeka.net/items/show/79"><em>Fresa y chocolate</em></a><br /><a href="https://cinegogia.omeka.net/items/show/141"><em>La hora de los hornos</em></a><br /><a href="https://cinegogia.omeka.net/items/show/72"><em>La historia oficial</em></a><br /><a href="https://cinegogia.omeka.net/items/show/727"><em>El lugar sin limites</em></a><br /><a href="https://cinegogia.omeka.net/items/show/804"><em>El húsar de la muerte</em></a><br /><a href="https://cinegogia.omeka.net/items/show/730"><em>Luís Pardo</em></a><br /><a href="https://cinegogia.omeka.net/items/show/163"><em>Limite</em></a><br /><a href="https://cinegogia.omeka.net/items/show/114"><em>María Candelaría</em></a><br /><a href="https://cinegogia.omeka.net/items/show/242"><em>El Mégano</em></a><br /><a href="https://cinegogia.omeka.net/items/show/34"><em>Memorias del subdesarrollo</em></a><br /><a href="https://cinegogia.omeka.net/items/show/278"><em>Nosotros los pobres</em></a><br /><a href="https://cinegogia.omeka.net/items/show/692"><em>La mujer del puerto</em></a><br /><em><a href="https://cinegogia.omeka.net/items/show/260">La nacíon clandenista</a><br /></em><a href="https://cinegogia.omeka.net/items/show/271"><em>Los olvidados</em></a><br /><a href="https://cinegogia.omeka.net/items/show/112"><em>¡Que viva México!</em></a><br /><a href="https://cinegogia.omeka.net/items/show/231"><em>Río, 40 graus</em></a><br /><a href="https://cinegogia.omeka.net/items/show/167"><em>Río Escondido</em></a><br /><a href="https://cinegogia.omeka.net/items/show/206"><em>Sur</em></a><br /><a href="https://cinegogia.omeka.net/items/show/230"><em>Tire dié</em></a><br /><a href="https://cinegogia.omeka.net/items/show/417"><em>El último málon</em></a><br /><a href="https://cinegogia.omeka.net/items/show/77"><em>El violín</em></a><br /><a href="https://cinegogia.omeka.net/items/show/265"><em>Yawar Mallku (Sangre de Cóndor)</em></a>
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Lisa M. Rabin, George Mason University
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Attribution - NonCommercial
Related Course Materials / Materials relacionados
Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live.
<a href="https://cinegogia.omeka.net/items/show/295">Directrices para exámenes y ensayos</a>
Related Course Materials / Materiales relacionados
Add links to any related course materials (instructions for essays, exams, etc.). Be sure to add as HTML and check the hyperlink when it is live.
<a href="https://cinegogia.omeka.net/items/show/295"><span>Essay and Exam Instructions / Directrices para exámenes y ensayos</span></a>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Latin American Film & Television Studies
Description
An account of the resource
This course is an introduction to Latin American film and television studies. It is conducted in Spanish and is open to graduate students and advanced undergraduates with the permission of the instructor. Students will acquire knowledge on contemporary trends in film and television studies, including film theory, the archival turn, and ethnographies of television reception, as they relate to the film and television cultures of the rich and diverse regions of Latin America. The course’s historical purview takes students from classical narratives of the 1930s and 40s to revolutionary cinema of the 1960s and 70s to melorealism and the telenovela of the contemporary period.
-
https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/6c9c32b829c7ec838cd5be64d6287d3a.jpg?Expires=1712793600&Signature=B6j-mnFUJUyQJxI8atQqlCY1ywV7BFZIbCluC4UyKOZzWn6gpApx4lgKeow6mjpnbKB0Gb1Otf%7EHTFI6sCo1OngnT5pKgjYZupLN6zIxnvU79WdYhhcEjO-dNYcmwZmhITOO%7EL-cWIojDqjtmH-79Fr3L-oVZVWZUNQ2i72byOBa4ZSCUC%7Eir2TgGoI4ykNvgU90pr6pnDI54hwP4zSHdTY018H7SyxtGyBSG7CULWBJcJVsxypNuPg6CQDzGW4cr7is9TXYz3VJjwQdl4lZ91YzH3jGYssl9zgKGVC6TYJWrpxuXX2ShGCj-0mImjk-mEQfGfiZe9udvenwk8Yv5A__&Key-Pair-Id=K6UGZS9ZTDSZM
e8b3bd52c03bbd418ddd5db773e3cc73
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 Boca del Lobo
Title
The Mouth of The Wolf
Director
The director of the film. El/La director/a de la película.
Francisco J. Lombardi
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
1988
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / Español
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Producciones Inca Films (Perú)
Tornasol Films (España)
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
La historia tiene lugar en Chuspi, un pequeño pueblo de la "zona de emergencia" asolado por el grupo armado Sendero Luminoso. Una patrulla del ejército, bajo el mando de un oficial violento y arbitrario, debe aniquilar el terrorismo a cualquier precio. Una visión acerca de la lucha antisubversiva y sus excesos. Un estudio de lo que el hombre es capaz de hacer cuando se siente aislado en un clima de violencia, hostigado por la soledad y la muerte. (<a href="https://www.cineaparte.com/" target="_blank">Cine Aparte</a>)
<em>The story takes place in Chuspi, a small town in a state of emergency, devastated by the armed group Sendero Luminoso. An army patrol, under the command of a violent and arbitrary oficial, has to annihilate terrorism at any cost. A film about the fight against subversion and its excesses. A study of what people are capable of doing when they feel isolated in a violent climate, harassed by society and death. (Translation by Angel Carrillo)</em>
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
Action and adventure films / cine de acción, cine de aventuras
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Political violence / Violencia política
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
La Boca del Lobo
Description
An account of the resource
<em>The story takes place in Chuspi, a small town in a state of emergency, devastated by the armed group Sendero Luminoso. An army patrol, under the command of a violent and arbitrary oficial, has to annihilate terrorism at any cost. A film about the fight against subversion and its excesses. A study of what people are capable of doing when they feel isolated in a violent climate, harassed by society and death. (Translation by Angel Carrillo)</em>
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5345b72ae0c6a34f4cf6ded557b1abc1
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.
¡Asu Mare!
Director
The director of the film. El/La director/a de la película.
Ricardo Maldonado
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2013
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / Español
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Tondero Films (Peru)
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.
Before becoming one of the most recognised public figures of Peru, Carlos Alcántara tells his origins beginning from just a normal guy to the great "Pataclaun" and more characters. (<a href="http://www.imdb.com/" target="_blank">IMDB</a>)
<em>Antes de convertirse en una de las figuras públicas más reconocidas del Perú, Carlos Alcántara cuenta su historia desde el principio cuando él era simplemente un hombre normal hasta el momento en que el se convirtió en el gran “Pataclaun”. (Translation by Jessica Batista)</em>
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.
Bio pic / Película biográfica
Comedy films / comedia
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.
Urban Life / Vida urbana
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
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
¡Asu Mare!
Description
An account of the resource
<em>Before becoming one of the most recognised public figures of Peru, Carlos Alcántara tells his origins beginning from just a normal guy to the great "Pataclaun" and more characters. (Translation by Jessica Batista)</em>
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4031dc8b0e7f7fd836d1cbf290f9c384
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 teta asustada
Title
The Milk of Sorrow
Director
The director of the film. El/La director/a de la película.
Claudia Llosa
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2009
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Oberon Cinematográfica (Spain)
Wanda Vision (Spain)
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
Fausta padece una muy conocida enfermedad, llamada “teta asustada”, que se transmite por la leche materna de las mujeres que fueron violadas o maltratadas durante la guerra del terrorismo de Sendero Luminoso en Perú. La guerra se terminó hace tiempo, pero Fausta vive recordándola a causa de su enfermedad, “la enfermedad del miedo”, que le ha robado el alma. La muerte de su madre la pondrá en una situación extrema, teniendo que enfrentarse a sus miedos y al secreto que oculta con más recelo. Y es que se ha introducido una papa en la vagina, a modo de escudo, ya que sólo el asco detiene a los asquerosos. La película, de algún modo, cuenta la búsqueda de un florecer, un viaje del miedo a la libertad. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener"><span>Portal del cine y audiovisual Latinoamericano y caribeño</span></a>)
<em>Fausta suffers from a well known disease known as the “milk of sorrow”, which is transmitted from the breast milk of the women who were raped or abused during the terrorist war of the Shining Path in Peru. The war has been over for some time now, but Fausta is constantly reminded of the war because of her disease, “the disease of fear”, which has robbed her of her soul. The death of her mother puts her in an extreme situation, where she has to confront her fears and her most guarded secret, which is that she has inserted a potato into her vagina, to act as a shield, since only disgust is able to hold back the disgusting. The movie narrates the search for growth, the journey from fear to liberation. (Translation by Jessica Batista)</em>
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.
Political violence / Violencia política
Gender identity / Identidad de género
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Film Guide / Guía de película
Add link to related film guide
<a href="https://cinegogia.omeka.net/items/show/486">https://cinegogia.omeka.net/items/show/486</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 teta asustada
Description
An account of the resource
Fausta padece una muy conocida enfermedad, llamada “teta asustada”, que se transmite por la leche materna de las mujeres que fueron violadas o maltratadas durante la guerra del terrorismo de Sendero Luminoso en Perú. La guerra se terminó hace tiempo, pero Fausta vive recordándola a causa de su enfermedad, “la enfermedad del miedo”, que le ha robado el alma. La muerte de su madre la pondrá en una situación extrema, teniendo que enfrentarse a sus miedos y al secreto que oculta con más recelo. Y es que se ha introducido una papa en la vagina, a modo de escudo, ya que sólo el asco detiene a los asquerosos. La película, de algún modo, cuenta la búsqueda de un florecer, un viaje del miedo a la libertad. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener"><span>Portal del cine y audiovisual Latinoamericano y caribeño</span></a>)
Quechua
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62e9eef35f253a8d04ff3ae1cdf243cd
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.
Diarios de motocicleta
Title
The Motorcycle Diaries
Director
The director of the film. El/La director/a de la película.
Walter Salles
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2004
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
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Filmfour (United Kingdom)
Wildwood Enterprises (United States)
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
Historia del viaje de juventud de Ernesto Guevara y Alberto Granado por varios países latinoamericanos. Antes de iniciar la lucha revolucionaria que lo convertiría en uno de los más grandes revolucionarios latinoamericanos, el Che realizó este viaje en motocicleta junto a su amigo por los lugares más intrincados del continente, para conocer la vida, costumbres y situación social de sus habitantes. Basado en los libros Notas de viaje, diarios de motocicleta, de Ernesto Guevara, y Con el Che por América Latina, de Alberto Granado. (<a href="http://cinelatinoamericano.org/" target="_blank" rel="noreferrer noopener"><span>Portal de cine y audiovisual Latinoamericano y caribeño</span></a>)
<em>Narrates the story of the trip undertaken by a young Ernesto Guevara y Alberto Granado. Before becoming one of the most famous revolutionaries of Latin America, Che Guevara decided to travel throughout various Latino countries on his motorcycle. With his friend by his side, he set out to get to know the people of the countries he visited, their lives, their costumes, and their social standing. Based on the books Notas de viaje, diarios de motocicletas, by Ernesto Guevara, and Con el Che por Ameríca Latina, by Alberto Granado. (Translation by Jessica Batista).</em>
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.
Bio pic / Película biográfica
Action and adventure films / cine de acción, cine de aventuras
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Social inequality / Desigualdad social
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Film Guide / Guía de película
Add link to related film guide
<a href="https://cinegogia.omeka.net/items/show/512">https://cinegogia.omeka.net/items/show/512</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
Diarios de motocicleta
Description
An account of the resource
<em>Narrates the story of the trip undertaken by a young Ernesto Guevara y Alberto Granado. Before becoming one of the most famous relevationaries of Latin America, Che Guevara decided to travel throughout various Latino countries on his motorcycyle. With his friend by his side, he set out to get to know the people of the countries he visited, their lives, their costumes, and their social standing. Based on the books Notas de viaje, diarios de motocicletas, by Ernesto Guevara, and Con el Che por Ameríca Latina, by Alberto Granado. (Translation by Jessica Batista).</em>
Literary adaptation / Adaptación literaria
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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
<em>7 cajas<br /><a href="https://cinegogia.omeka.net/items/show/202">Alamar</a></em><br /><a href="https://cinegogia.omeka.net/items/show/109"><em> Araya </em></a><br /><a href="https://cinegogia.omeka.net/items/show/198"><em>El bonaerense</em></a><br /><a href="https://cinegogia.omeka.net/items/show/200"><em> Elefante blanco</em></a><br /><a href="https://cinegogia.omeka.net/items/show/199"><em> Leonera</em></a><br /><a href="https://cinegogia.omeka.net/items/show/201"><em>Los muertos</em></a><br /><a href="https://cinegogia.omeka.net/items/show/81"><em>Madeinusa </em></a><br /><a href="https://cinegogia.omeka.net/items/show/207"><em>Mundo grúa</em></a><br /><a href="https://cinegogia.omeka.net/items/show/96"><em>No </em></a><br /><a href="https://cinegogia.omeka.net/items/show/108"><em>Nostalgia de la luz</em></a><br /><a href="https://cinegogia.omeka.net/items/show/195"><em>Profundo carmesí</em></a><br /><a href="https://cinegogia.omeka.net/items/show/206"><em>Sur</em></a><br /><a href="https://cinegogia.omeka.net/items/show/205"><em>Terra em transe</em></a><br /><a href="https://cinegogia.omeka.net/items/show/85"><em> Whisky</em></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.
-
https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/2498b1bab6d61a1119c047c0320a2c13.jpg?Expires=1712793600&Signature=GR6OM1XbTalihpUCTi6ooNbWm2etW93xpKRG8rZCAU5UkDjircZFjijDsvItUNdZCey0GTEOqPXltOA8bW2mrbN8yZDfE-TR6qPI4yXtcM8uGHrdBd6doMQY2LdSS-3h6Ligg51Ks1QYklNp18cWj1jkLFGuo09NufgeZETYgh5k9m2VcWyPwpPhr7q2%7EUUXFdRmLbXS4XcdDKKJcB6PPX9FqRDIedxXFdwzrYePec3y9OlLBl4mEzmjZnY591Rmar-OgG53ETP%7EN5ISfWhDJiDaJQCgQgypSGg8h2S5xp1Ff-PDXEnCCwu6xkbfn69caHOtOzIwC3eEaNVL5t4Ubw__&Key-Pair-Id=K6UGZS9ZTDSZM
d014525b57dd19384e79d1353344b591
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.
No se lo digas a nadie
Title
Don't Tell Anyone
Director
The director of the film. El/La director/a de la película.
Francisco Lombardi
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
1998
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / Español
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Producciones Inca Films
Lola Films
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
Joaquín siempre ha sabido que le gustan los hombres, aunque no quiera aceptarlo. Presionado por el entorno social y familiar intenta relacionarse con Alejandra, pero se enamora de Gonzalo, con quien inicia una intensa aventura. El problema es que él quiere que su amigo deje a su novia, pero Gonzalo quiere casarse y continuar los encuentros a ocultas. Decepcionado por la conducta hipócrita de Gonzalo y deprimido por su ruptura con él, decide irse a Miami a buscar una vida más auténtica lejos de los prejuicios de la sociedad limeña. Pero en su nuevo destino tampoco encuentra lo que busca. Decide regresar a Lima aceptando las reglas y convenciones para integrarse socialmente. (<a href="https://cineaparte.com/" target="_blank">Cine Aparte</a>)
<em>Joaquin has always known that he likes men, even if he does not want to accept it. Pressured by his family and his social environment, he tries to establish a relationship with Alejandra, but falls in love with Gonzalo, with whom he initiates an intense adventure. The problem is that he wants his friend to leave his girlfriend, but Gonzalo wants to get married and continue to meet secretly. Disappointed by Gonzalo's hypocritical behavior and depressed by their breakup, he decides to go to Miami to seek a more authentic life away from the prejudices of Lima’s society. But in his new destiny he still does not find what he is looking for so he decides to return to Lima, accepting the rules and conventions in order to integrate socially. (Translation by Jessica Batista)</em>
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
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
No se lo digas a nadie
Description
An account of the resource
Joaquín siempre ha sabido que le gustan los hombres, aunque no quiera aceptarlo. Presionado por el entorno social y familiar intenta relacionarse con Alejandra, pero se enamora de Gonzalo, con quien inicia una intensa aventura. El problema es que él quiere que su amigo deje a su novia, pero Gonzalo quiere casarse y continuar los encuentros a ocultas. Decepcionado por la conducta hipócrita de Gonzalo y deprimido por su ruptura con él, decide irse a Miami a buscar una vida más auténtica lejos de los prejuicios de la sociedad limeña. Pero en su nuevo destino tampoco encuentra lo que busca. Decide regresar a Lima aceptando las reglas y convenciones para integrarse socialmente. (Cine Aparte)
-
https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/b5946334dec5a9e6f4026e918b471e37.pdf?Expires=1712793600&Signature=JOQJ6J9nQyaB%7EtyfEIh9bO%7Eu14SMPvO6HuOtmI3QNq5YXNCpasomTdeOJ%7EmbwRfIaReK8mCB4cOxMmpUMRIQNlpwWGGuLephV6kmSVVe9GBwkABe7iKE4Q-pvclLYSsWrHQ2WTLXKc2uo2dVsrUeInYTyChOXYUM9eiJU77QHjg-9zo56fkUPL5o6LgS69CPQSyIXQHN8YiIsCwPcJO7MyuwxUkGHEoj-3OwmJPDKrdorCOYsfKH-uRxGGC1B5%7EQ2kVSje-ok4%7E4lHRkuOzL-YomslvcY1UHN3Cgk598Q8f3hDx5R%7EPFdvpwHjVTEvOv--mtMw7cMQg9BMu6CyMr3A__&Key-Pair-Id=K6UGZS9ZTDSZM
04b0dfbc4912095142db0076b3256894
PDF Text
Text
Spring 2014, Mondays, 8:10-10:50PM
Professor Jeffrey Middents
Battelle-Tompkins 221, x2979, middents@american.edu
Office hours: Mondays 4-7pm, Thursdays 12-2pm, or by appointment
[The nation] is an imagined political community – and imagined as both inherently limited
and soverign.
-- Benedict Anderson, Introduction to Imagined Communities: Reflections on the Origins and Spread of Nationalism (1983)
…we believe, and after this journey more firmly than before, that the division of America
into arbitrary, illusory nations is completely fictitious. We all make up one single mestizo race
that extends from Mexico to the Straights of Megallan. And so, in the hopes of breaking free
from any charge of provincialism, I raise a glass to Peru. And to a united America.
-- Ché Guevara (Gael García Bernal) in The Motorcycle Diaries
The permeable nature of the contemporary nation has complicated our understanding of international
cinematic production, distribution, and exhibition. While traditional national cinema studies have
demonstrated the effects of politics, economics, and finance on a particular text, what about when these are
Transnational Cinemas, The Syllabus –
1
�multiplied, both at levels of production and spectatorship, for example, The Motorcycle Diaries, a film about an
Argentine traveling across Argentina, Chile, and Peru, starring a Mexican, directed by a Brazilian, with
financing from the United States, Germany, and France; or Looper, a joint U.S.-Chinese production which
does not outwardly seem so? This seminar explores the breadth of theoretical and cultural perspectives on the
complex state of contemporary international cinema.
By the end of this course, you will be able to:
Apply theoretical and practical contexts to examine “transnational cinema” as a broad concept;
Explain historical and contemporary trends concerning international cinema; and
Participate within the intellectual conversation concerning narrative, films and, more specifically,
international cinema.
Grades for this class will be assessed by five elements:
A sequence analysis that will bolster your experience with cinema study, worth 10%
Participation on the course Blackboard site, as detailed below, 5% for twice leading discussions, 2% for
responding each of 12 additional times, worth 24% total;
A 7-10 page research paper about a topic of your choice related to the course, worth 20%;
A 20-minute oral discussion about the course as a whole, worth 30%
Class participation, attendance and attitude, worth 20%.
You will note that the above grade breakdown adds up to 104%. Therefore, extra credit is already included in
the syllabus. I believe there is enough work to be done already in this class; as such, there will be no “extra
credit” offered under any circumstances. Please do not ask for any.
The screenings
If you have taken a film-oriented course at AU before, you know that each course comes accompanied by a
screening. This time, we are experimenting with the idea of having students screen films on their own. As
such, each week features two films that should be screened on your own time. (This is just like reading a novel
for class, only with more special effects and subtitles.) You may watch the films via any format you wish –
DVD, streaming, etc. – with the exception of Week 11, where I would like you to watch specific online
versions of the films.
All the movies are also available at Media Services on DVD – although, since they are reserved for this class,
none of them are available for home use. If a small group wants to schedule a screening time in one of the
small rooms, however, please feel free to do so.
Transnational Cinemas, The Syllabus –
2
�The oral discussion
This is the semester for experimentation: rather than ending the semester with a paper, I am interested in
having a conversation about the topics at hand. This constitutes the largest portion of your grade, and really is
an opportunity to engage with the topics addressed throughout the semester.
The discussion prompt is relatively simple: For this syllabus, I have offered pairs of screened films, each
working off the other for a variety of reasons. For your final exam, I would like to come in to talk about a
different pair of films of your choice, and why they represent another, perhaps unaddressed aspect of
transnational cinema.
Some guidelines for this:
Our discussion will last 20-25 minutes. Some of the best responses will leave us both frustrated that we
can’t continue the conversation.
Your pair of films should not cover aspects in exactly the same way that film pairs already in the syllabus
function. (Among other things, that does not lead to an interesting discussion.) You should submit the
titles of the films that you would like to discuss a week ahead of time by Tuesday, April 22nd.
In the course of the discussion, you must reference at least two films that were screened during the
semester and at least two readings read over the course of the semester.
You will be permitted to bring in whatever material you would like (including clips, although that is not
necessary). A single sheet of notes/citations for your own benefit will probably suffice.
The Essay and Final Presentation
The sole major formal written work for the semester should concern a relatively substantial, rich
argument originating from the ideas being examined this semester. (I will evaluate this paper under
the assumption that you have spent the semester thinking about and working on it.) You may
choose any topic related to any film or films of your choice (whether screened in class, or not) and may take
any approach you wish.
These papers should not be very long, about 8-10 pages in length. I do believe that length in and of
itself never necessarily correlates with complexity. You can have a good, meaty argument that is also
concise. In my opinion, however, paper lengths are only a guideline as to how complex I think your
argument should be; please do not add filler just to bolster up a page length. (Note that I grade down
for filler.) You must use secondary sources for your paper.
On Monday, March 17th (the day following spring break), you will turn into me a one-page summary
of your possible paper topic as well as a preliminary bibliography for your paper, which I will return
with comments and suggestions as to how (or whether!) to proceed. During office hours on
Monday, April 7th, I will ask each of you to come have a 10-minute check-in concerning your
papers. To that meeting, you should bring at the very least an extensive outline; better yet, a good
Transnational Cinemas, The Syllabus –
3
�draft of your paper with specific questions and concerns. You should also think about clips and
format for the presentation. Speaking of which…
At the final exam time on May 5th, you will be presenting a 10-minute talk of your research to the
rest of the class. A couple things to note in particular about this:
You are more than welcome to read your paper, since that is the standard in the humanities;
however, please realize that you cannot read an 8-10 page paper in 20 minutes. Either you will be
reading too quickly and no one will understand you, or you will not have room for any clips.
Thus, you need to pick and choose what exactly you will present.
You will probably want some sort of clip(s) for your presentation. Please come prepared
accordingly with materials on CD, flash-drive, YouTube, whatever you need. Please also
prepare for the possibility… nay, inevitability that something might go wrong with the
technology.
There should be a question-and-answer session after each paper. Be sure to be a good
participant on both sides. You honor your peers by asking them thoughtful questions.
The paper itself is due at the end of Week 12, on Friday, April 18th at 11:59pm.
A Rough Grading Rubric
Here is an idea about what I’m looking for when it comes to both the paper and the oral discussion:
"A" work seriously delves, interacts and/or engages with the texts, readings and/or discussions. Risks
are taken with your chosen topic, but the paper is executed successfully. (As an analogy, think of
Olympic gymnastics, diving or figure skating here: for a perfect score, the routine must not only be
executed flawlessly but also must have a significantly high degree of difficulty.) Questions are raised,
considered, explored and (if possible) answered concerning specific issues raised by the work itself.
Arguments not only exist, but are backed up with sufficient evidence from primary and/or secondary
material. The work is also concise and clear, not relying on jargon. The discussion feels rich and
satisfying, leaving both parties the desire to continue the conversation past the allotted time.
"B" work touches on interesting issues and topics related to the texts, readings and/or discussions
and delves into them somewhat, but lacks an in-depth analysis. There is a strong argument with some
evidence from primary and/or secondary material. Risks may be taken, but not executed as elegantly
– or the topic is executed well, but is relatively “safe.” Writing (or oral communication) is clear and
effective.
"C" work will brush upon topics relating to the texts, but not explore them in any depth. There is an
argument, but it might be confused or insufficiently grounded by (or is lacking) primary and/or
secondary material. Missing information makes comprehension difficult for anyone who is unfamiliar
with the primary texts. Writing (or speaking) serves to obscure somewhat rather than illuminate. The
conversation is rocky, timid, unclear and/or unsure.
Transnational Cinemas, The Syllabus –
4
�
"D" work references the texts and/or topics related to the texts without any sense of synthesis.
Evidence of an argument might have existed at some point but is now lost. No reference is made to
either primary or secondary material. Comprehension is difficult even for those familiar with primary
texts. Most of your writing seems to have more “fluff” than function. The conversation ends without
having communicated a solid position.
Do you really want information on what a failing paper looks like? Please.
The Sequence Analysis and the Work
on the Discussion boards
We will begin the semester with a sequence analysis, in large part in order to get everyone up to speed very
quickly in terms of formal analysis of film. If you have never taken a cinema class before, don’t worry: we will
spend the first couple classes examining how to do this particular assignment. The assignment is detailed in
Appendix A within this syllabus. This exercise is not necessarily a formal essay, but should be taken very
seriously. It is due electronically through Blackboard on Friday, February 7th by 11:59pm.
A good portion of your grade will be determined by informal writing on the Black board discussion boards,
where synthesis of both films and readings will start to come together even before we get to class. Appendix
B lays out the details of the work required throughout the semester, and also provides a more relevant
grading rubric.
Attendance
… is mandatory. You should be aware that your participation grade will start to drop to a maximum of 16
after two absences and will drop significantly after three absences to a maximum of 14. At four absences, the
grade will drop automatically to a failing grade of 11 and then another full point for every subsequent missed
class. Arriving more 20 minutes after the start of class or leaving more than 20 minutes before the end of
class for any reason whatsoever constitutes a half-absence.
That said, don’t worry if you have to miss a class. I don’t have to know why you were out; I am well aware
that things come up that you can’t avoid. For me, an excused absence is the same as an unexcused absence.
There are times when an absence is warranted because life takes a twisted turn – such as a car accident, the
necessity to stay with a friend or loved one or a death in the family. Know that I am truly sympathetic to your
situation. That said, please also be aware that these are no excused absences. It is for this very reason that absences
are permitted at all and this is why you are allowed up to eight which is a significant amount of time. Know
that if you skip seven classes for the hell of it and then have a major emergency, your points will still be taken
away.
Transnational Cinemas, The Syllabus –
5
�Participation and Attitude
I expect active and thoughtful participation during our conversations in class, permeated by a respectful, if
critical, attitude. (Participation will be broadly construed for quieter students – and your grade can be aided by
active participation on the discussion boards.) Arguments and disagreements are encouraged, just be
considerate as you are dis(ap)proving your classmate’s (or my) ideas. Just to be clear, forms of unacceptable
attitude include: sleeping, doing other work or studying for other classes, slouching under the chairs, being
unwilling to participate in small group activities, excessive sarcasm, negative comments, cleaning out one’s
purse during class, etc.
The grading rubric for participation is very similar to the above rubric for written work: "A"-quality
participation (13.5-15) involves thoughtful, sustained interaction and/or engagement with the texts (even if
such positions involve taking a risk), provocative questions and continued involvement throughout the
semester. "B"-quality participation (12-13) finds you touching on interesting issues and topics and
occasionally delving into them further but you are timid in approaching larger issues within discussion. "C"quality participation (10.5-11.5) occasionally finds you participating in discussions, but generally you are
staying on the surface and are unwilling to take any risks. "D"-quality participation (9-10) lets me know you've
seen the films – and that’s it. (I will also consider excessively negative or disruptive attitude to fall in “D”
range.) A failing participation grade of 8 will be given if you never contribute to class discussions or have such
a negative attitude that it affects the class.
On Modern Technology
In general: turn off everything and pay attention for a couple hours. If it’s that important to check a message,
just leave the classroom – although realize that doing that many times during a screening is also quite
distracting. Also, checking the time on your cell phone is distracting and rude. More specifically:
Cell-phones: I find it ridiculous that I have to put a note about this in the syllabus. Common sense
dictates that you should turn off your cell phones during class. If you need to receive an important call,
set your phone to vibrate, quietly exit the class and make sure not to disturb other classes when you leave
the classroom. If I hear your cell phone ring at any point during the semester, I will deduct one point from your final grade
each time it happens.
Texting: Text messaging is not much better – not to mention that texting will prevent you from paying
attention to the scintillating conversation we will be having in class, or the fabulous images on the bigger
screen in the room. During screenings, your stupid screen is also a distraction for everyone else trying to
watch the film. You usually do not expect your cell phone to go off; text messaging is your choice,
however, and the penalty is therefore more serious: each time I detect that you are text messaging/chatting/etc., I
will deduct a full letter grade (i.e. from a B to a C) from your participation grade.
Laptops and tablets: Laptops are great for taking notes, looking up information, showing clips; they’re
also great sucking voids for your attention when you’re surfing the net or IMing others during class. Not
only do such activities prove distracting for you, they also tend to distract those around you. (This was a
problem last semester, and thus I will be stricter about it this semester, FYI.) The problem: I can’t (and
won’t) police everyone’s computing habits. Even if I did, you would continue to chat and stealthily lower
Transnational Cinemas, The Syllabus –
6
�the screen when I came by. (Yes, it’s obvious. You know what else is obvious? Checking Facebook
throughout class.)
So here is the policy: laptop computers and tablets are banned from class, unless you specifically
ask permission to use them ahead of time. (I am slightly more amenable to tablet usage than
laptops.) If you wish to have the readings on your computer instead of printed out and want to reference
them in class, please let me know; that is a legitimate reason for wanting to use a laptop or tablet. That
said, you should not be using your computer otherwise.
If and only if you have permission from me to use a laptop in class, you may do so under the tacit
agreement that you will not to use your computer to distract either yourself or your classmates during
class or screenings. In fact, you agree to sit in the back of the room, preferably at least a seat away from
other students. (Plus, if I need something looked up on the fly, you will be the go-to person to do so, and
you will do so without complaint.) If either I or your classmates complain about your computing
activities, then you agree to a four point deduction on your final class participation grade.
If you have any visitors accompanying you to screenings or class, please advise them of these policies, since I
will otherwise come across as rude when I smack them they start texting.
A Note about Academic Integrity
Standards of academic conduct are set forth in the University’s Academic Integrity Code. By registering, you
have acknowledged your awareness of the AIC and you are obliged to become familiar with your rights and
responsibilities as defined by the Code. I take violations of the AIC extremely seriously and disciplinary actions
will be taken should such violations occur. Please realize that plagiarism and other forms of dishonesty are
unacceptable at all times. If I believe academic integrity has been compromised in any of the assignments, I
will proceed immediately to an AIC violation hearing and will not approach you first. Note that the standard
penalty for an AIC violation for graduate students is expulsion from the program.. Please see me if you have
any questions about the academic violations described in the Code in general or as they relate to particular
requirements of this course. As long as you’re diligently doing your own work, you should be fine.
Thinking about handing things in late?
Don’t. I hate late work. After I’m done with assessing an assignment, I’m done. Late work makes me
grumpy. Work must be done on time in order me to appropriately comment on your material. I reserve the
right to refuse to grade or even look at work that is handed in past the deadline. (Please also note the asking
for extension is not the same concept; I might be willing to grant a single extension for certain work
throughout the semester.)
Transnational Cinemas, The Syllabus –
7
�Meeting with me
…is highly encouraged! Despite the severe tone of the syllabus, I am really quite approachable and welcome
you to come to my office hours or to make an appointment. My office is at 221 Battelle-Tompkins, often the
only one with 80s New Wave, Britpop, semi-flamenco or movie soundtracks coming from it.
Sending me email is also an excellent way of getting in touch with me. However, with the large amount of
spam I seem to get, I suggest putting the words “LIT 346” (or “National cinema”) at the beginning of the
subject line so that I know that you are not spam. If you don’t get a reply back within a day, please follow up
with me to ensure that I got your original note.
The Texts
World Cinemas, Transnational Perspectives, edited by Kathleen Newman and Natalia Durovicová (WCTP
below)
Additional readings in E-Reserves available via Blackboard.
The postings on the Blackboard discussion board by your peers.
The films! If you don’t think of the films as texts already, start doing so, since we will treat them in this
class as we would treat a book or an essay. Most of the screenings to be held on Wednesdays are also
available for your perusal at the Media Library downstairs in Bender Library. (You cannot take the
movies out, but there are plenty of TV-DVD stations down there.)
Schedule of Class Readings &
Screenings
Class
Date
1
1/13
1/20
2
1/27
Topic, Screenings and Readings Due
Screening the nation.
FILMS:
A Room with a View, UK, James Ivory, 1985, 117m
Trainspotting, UK, Danny Boyle, 1996, 96m.
READINGS:
Anderson, “Introduction” to Imagined Communities
Willemen, “The National Revsited”
NO CLASS – MARTIN LUTHER KING, JR. DAY
Beyond the national.
FILMS:
Bend It Like Beckham, UK/Germany/USA, Gurinder Chadha, 2002, 112m
Lagaan/Once Upon a Time in India, India, Ashutosh Gowariker, 2001, 224m
READINGS:
Andrew, “An atlas of world cinema”
Transnational Cinemas, The Syllabus –
8
�
3
2/3
F 2/7
4
2/10
5
2/17
6
2/24
7
3/3
Higbee/Lim, “Concepts of transnational cinema: towards a critical
transnationalism in film studies”
Hjort, “On the plurality of Cinematic Transnationalism” [WCTP]
Redfern, “Connecting the regional and the global in the UK film industry”
Wiemann, “Teaming Multitudes: Lagaan and the Nation in Globality”
Hollywood and the world.
FILMS:
Notorious, USA, Alfred Hitchcock, 1946, 101m.
The Three Caballeros, USA, Walt Disney, 1944, 71m.
READINGS:
Burton-Carvajal, “‘Surprise Package’: Looking Southward with Disney”
Castro, “Notorious: Hitchcock’s Good Neighbor Film”
Crofts, “Reconceptualizing National Cinema/s”
SEQUENCE ANALYSIS DUE
Decentering the world: The shift to Asia.
FILMS:
Jin ling shi san chai/The Flowers of War, China/Hong Kong, 2011, 141m
Pacific Rim, USA, Guillermo del Toro, 2013, 131m
READINGS:
Berry, “What is transnational cinema? Thinking from the Chinese situation”
Xu, “Impact of globalization on the cinema in China”
Zhang, “Chinese Cinema and Transnational Film Studies”
Film Festival Cinema.
FILMS:
Loong Boonmee Raleuk Chat/Uncle Boonmee Who Can Recall His Past Lives,
Thailand/UK/France/Germany/Spain/Netherlands, Apichatpong Weerasethakul,
2010, 112m.
La teta asustada/The Milk of Sorrow, Peru/Spain/Germany, Claudia Llosa, 2009,
94m
READINGS:
Falicov, “Migrating from South to North: The Role of Film Festivals in Funding
and Shaping Global South Film and Video”
Farahmand, “Disentangling the International Festival Circuit: Genre and Iranian
Cinema”
Mazdon, “Transnational ‘French’ Cinema: The Cannes Film Festival”
Wong, “The Films of the Festivals”
The new wave(s).
Cléo de 5 a 7/Cleo from 5 to 7, France, Agnes Varda
Roma, città aperta/Rome, Open City, Italy
READINGS:
Betz, “The Name Above the Subtitle: Language, Coproduction,
Transnationalism”
Brennan, “Marketing Meaning, Branding Neorealism: Advertising and
Promoting Italian Cinema in Postwar America”
Eades, “Neorealism: Another ‘Cinéma de Papa’ for the French New Wave?”
The transnational auteur.
Transnational Cinemas, The Syllabus –
9
�3/10
8
3/17
9
3/24
10
3/31
FILMS:
Babel, Mexico/USA/France, Alejandro González Iñárritu, 2006, 143m
Biutiful, Mexico/Spain, Alejandro González Iñárritu, 2010, 148m
READINGS:
Delayto/López, “Catalan beauty and the transnational beast: Barcelona on the
screen”
Elsaesser, “European Culture, National Cinema, the Auteur and Hollywood”
Kerr, “Babel’s network narrative: packaging a globalized art cinema”
Shaw, “Babel and the Global Hollywood Gaze”
NO CLASS – SPRING BREAK!
East is East, West is West.
FILMS:
Fa yeung nin wa/In the Mood for Love, Hong Kong/France, Wong Kar-Wai, 2000,
98m
Rashomon, Japan, Akira Kurosawa, 1950, 88m
READINGS:
Chow, “Sentimental Returns: On the uses of the Everyday in the Recent Films of
Zhang Yimou and Wong Kar-wai”
Hutchinson, “Orientalism or occidentalism? Dynamics of appropriation in Akira
Kurosawa”
Smith, “Critical Reception of Rashomon in the West”
PAPER TOPIC PROPOSAL DUE IN CLASS.
Latin America?
FILMS:
Diarios de motocicleta/The Motorcycle Diaries,
Argentina/Brazil/USA/Peru/Chile/France/ Germany/UK, Walter Salles, 2004,
126m
La hora de los hornos: 1ra parte: Neocolonialismo y violencia/The Hour of the
Furnaces: Part 1, Neocolonialism and Violence, Argentina, Fernando Solanas &
Octavio Getino, 1968, 85m
READINGS:
Barrow, “New configurations for Peruvian cinema: The rising star of Claudia
Llosa”
Middents, “The first rule of Latin American cinema is you do not talk about Latin
American cinema: Notes on discussing a sense of place in contemporary
cinema”
Solanas and Getino, “Towards a Third Cinema”
Europa, Europa
L’Auberge espagnole, France/Spain, Cédric Klapisch, 2002, 122m
Dogville, Denmark/Sweden/UK/France/Germany/Nertherlands/Norway/
Finland/Italy, Lars von Trier, 2003, 178m
READINGS:
Derakshani, “‘Une histoire de décollage’: The Art of Intercultural Identity in
L’Auberge espagnole”
Elsasser, “Double Occupancy and Small Adjustments: Space, Place and European
Cinema since the 1990s” and “European Cinema as World Cinema: A New
Beginning?”
Transnational Cinemas, The Syllabus – 10
�11
4/7
12
4/14
F 4/18
13
4/21
T 4/22
14
4/28
FINAL
4/29-5/5
5/5
PAPER MEETINGS DURING OFFICE HOURS TODAY; sign up ahead of time.
The politics of subtitles.
FILMS:
Rojo amanecer/Red Dawn, Mexico, Jorge Fons, 1990, 96m
Microphone, Egypt, Ahmed Abdalla, 2010, 120m
READINGS:
Kapsaskis, “Translation and Film: On the Defamiliarizing Effect of Subtitling”
Middents, “Lost in Traducción: The Films We See (And the Movies We Don’t)”
Steinberg, “Re-cinema: Hauntology of 1968”
Exile and diaspora.
FILMS:
Calendar, Canada/Armenia/Germany, Atom Egoyan, 1993, 74m
Bolivia, Argentina, Andrés Caetano, 2001, 75m
READINGS:
Egoyan, “An Essay on Calendar”
López-Vicuña, “Postnational Boundaries in Bolivia by Adrián Caetano”
Naficy, “Situating Accented Cinema”
PAPER DUE
Cinema and the world.
FILMS:
Shijie/The World, China/Japan/France, Zhangke Jia, 2004, 143m
Latcho Drom, Tony Gatlif, 1993, 103m
READINGS:
Andrew, “Time Zones and Jetlag: The Flows and Phases of World Cinema”
[WCTP]
Chung, “Media Heterotopia and Transnational Filmmaking: Mapping Virtual
Worlds”
Hansen, “Vernacular Modernism: Tracking Cinema on a Global Scale” [WCTP]
Malvinni, “Gypsy Music as Film Music: Spectacle and Act”
Selected films to be discussed at oral exams due via email today.
The world is not enough.
FILMS:
Casino Royale, UK/Czech Republic/USA/Germany/Bahamas, Martin Campbell,
2006, 144m
Children of Men, UK/USA, Alfonso Cuarón, 2006, 109m.
READINGS:
Lemke, “Contesting Europe, Provincializing the World”
Udden, “Child of the Long Take: Alfonso Cuarón’s Film Aesthetics in the Shadow
of Globalization”
ORAL EXAMS; sign up ahead of time.
Presentations on final projects! With refreshments!
Transnational Cinemas, The Syllabus – 11
�Appendix A
The Sequence Analysis
This assignment is due electronically on Friday, February 7th at 11:59PM.
For many of you, this is the first time you are taking a film course at any level; for some of you, this is old hat.
To grasp the history of film, it’s also important to be sure that you are actually looking at the text – that is, the
film – and interpreting the images there. In literary analysis, we consider this close reading; in essence, cinema
studies applies a very similar type of formalist analysis. In order to enhance your confidence – or to really get
a grasp – on how to approach the technical requirements of cinema study, I will ask you to complete a short,
detailed analysis of a single scene from the movie I asked you to watch before the semester began. I will
spend the first weeks modeling a scene analysis with all of you using some of the earliest films made.
This short paper aims to:
familiarize you with the vocabulary of film production and film analysis
challenge you to notice visual elements that may be submerged by narrative
move your analytical emphasis from plot to visual representation
allow you to experiment with film writing
This paper should be submitted electronically on Blackboard. You should use the Sequence Analysis
Template (found on Blackboard) to format your paper.
The paper has two parts: Part 1 is a shot by shot technical description that uses a table format, as shown in
the template. This part may be more than 3-4 pages long. Part 2 is your interpretation and analysis of the
scene’s structure. This part should be 1-2 pages long, double-spaced.
Note that I have provided an example for you (using a scene from Walt Disney’s The Three Caballeros) as a
model within Blackboard.
Transnational Cinemas, Appendix A: The Scene Analysis – 12
�Part 1: Sequence Outline
I have provided a single clip from James Ivory’s A Room with a View in the Blackboard folder for this project.
While watching scenes on your computer is not ideal for film study, our focus in this assignment is on editing
and structure. Your first task is to write a shot by shot outline of the structure of the sequence.
You should:
1. Watch the sequence a number of times
2. Take notes on all the visual elements and visual transitions you see in the sequence. Describe in detail
what you see in the frame. Take note of how things are framed within the shot. Don’t be afraid to try
to sketch the shot to note what is important.
3. Start making a list of the sequence’s structure shot-by-shot
4. Using the Format Template, fill in the information that you noted by watching the sequence. You
will notice that the template requires certain kinds of information you may not have noticed when
watching the clip for the first time, and so you should plan to watch the clip even as you are filling in
the template.
5. There is a list of terms that you should be familiar with provided online; look them up or ask me if
you need clarification. (Do not assume, for example, that a “zoom” refers to a camera movement in
any direction; indeed, a zoom is not a movement at all.) There is an excellent resource within the
External Links that I have titled “A primer on film analysis”) on Blackboard.
Remember:
A shot is what you see between transitions or cuts. Your outline basically follows these transitions to
determine the beginning and end of shots.
You should note the mode of transition from one shot to the next. Cuts are the most frequent mode
of transition (and indeed, in this sequence, that is all we will have), but other films that you may be
watching will have fades, dissolves, wipes, etc.
The camera may move within the shot. To account for the movements and their impact you should
split your description of the shot's segments into parts (A, B, C). Know the difference between a
dolly, a pan, a crane and a tilt, and note directions (left, right, up, down, forward backward); know
also that movements may be multiple. Note when the camera is handheld or using a Steadicam
(note: trademarked spelling)
You should take note of important elements of the mise-en-scene: acting, sets, costume, makeup
and lighting, which will help you evaluate the meaning and impact of the visual style and sequence
structure.
Don’t forget sound, both diegetic (that is, something that is clearly occurring in the world of the
film, like dialogue, street noise, etc.) and non-diegetic (things like narration or, often but not always,
music).
The template is designed to help with many kinds of scenes, so not all the elements (lighting,
costume or dialogue) may be notable or changed in all shots. You should consider all these
categories, but you do not have to fill in boxes that don’t add relevant information.
Often, shots will repeat; note this, and also note especially when things start out one way, and then
change.
Transnational Cinemas, Appendix A: The Scene Analysis – 13
�
Don’t try to do this at the last minute. The clip is short but provides a wealth of information; don’t
be surprised how long it will take to detail a two-minute shot! Give yourself enough time to do this
well and to learn from the process.
Part 2: Interpretation and Analysis
For the second part of your analysis you can synthesize your impressions of the structure of the sequence, as
well as your ideas about the meaning and implications of editing, cinematography, mise-en-scène, dialogue,
lighting and style as these interact with the sequence structure. The interpretation of the scene should address
the sequences that immediately surround it (I have only provided you with a sequence, not the full scene;
however, you should relate this part of the sequence to the full scene) as well as the film as a whole. (Think:
what is the point of this scene in context with the entire film?) Often, it may sharpen your point to contrast
the shot or sequence you've examined with something than happens elsewhere in the film.
This part is also informal, but it should be written in an analytical expository style that allows you to provide
the basis of an interpretation for the scene as you saw it. This part should be 1-2 pages in total length,
double-spaced.
Transnational Cinemas, Appendix A: The Scene Analysis – 14
�Appendix B
The Discussion Boards
My classes tend toward extensive use of the discussion board function within Blackboard. I use them for two
primary reasons: (1) this allows for a more holistic “reading check” instead of more directed quizzes and the
like; and (2) this allows us to start discussion on particular readings ahead of time, which permits more
efficient use of face-time in class for more problematic/detailed discussions as well as more clips. There are
particular elements of certain films and readings that may not be covered during class, or perhaps you would
like to further discuss certain parts of them in more detail. Hence, I would like you to continue your thoughts
and ideas (or, indeed, spark them while you’re reading) on the discussion board.
The way that this works best is to make a regular habit of checking and posting to the discussion
boards. While posting to the boards is relatively easy, I will also expect you to keep checking regularly even
after you have posted so that you may be involved in the discussion that ensues. (Hence: discussion!) For class
purposes, I will assume that you have read your peers’ postings before coming to class. This means that some topics,
specifically pertaining to the readings, may not surface during class because they will have played out on the
discussion boards; this does not mean that you are not responsible for these readings, nor that you should be
careless in your interactions with them.
I will say that this is the easiest portion of your grade to complete since in theory you will already be doing the
readings. Failure to post anything, however, will result in a loss of the full number of points, which is a
significant blow to your grade. (I say this since in the past a portion of the class failed to do this and their
grades were severely affected.)
Upon entering the discussion board site, you will find a discussion board already generated for each dass
period for which there are readings. There are also two special boards detailed below. Feel free to add new
threads within these boards; the flow of the discussion should come from you. I will be monitoring (though
not necessarily moderating) the threads and your response will steer in-class lectures in a particular direction if
there is enough interest generated about a certain topic.
Transnational Cinemas, Appendix B: The Discussion Boards – 15
�Participation in the discussion boards comprises up to 15% of your grade. The evaluation of these elements,
however, is slightly complicated:
The first thing you should know is that the class has been randomly split into one of two discussion
groups with six people each. That is in order to keep discussions at a manageable level for yourselves,
particularly so you are not stepping on each other’s toes.
At the beginning of the semester, you will each be assigned two reading dates from throughout the
semester. For those assigned dates, you will be discussion leaders and are responsible for posting 24
hours before classtime on the reading(s) and screening(s) for that day. These posts should not
summarize material, but rather engage with the readings: your goal is to start discussion about the readings.
You should reference all readings and screenings for that week. Toward this end, you might: ask
questions; highlight particular passages that were interesting/enlightening/confusing (note the multiple
“passages”; working off a single passage, unless you do a great job explaining why, is not good enough);
relate concepts between different readings within the same week (or from before); discuss the relevance
of the readings with regard to particular film examples; etc. These initial postings should be at least 300
words long.
The rest of the group are contributors. The nature of your posts should be participatory and meant to be
in the spirit of discussion. Up until two hours before class, contributors should return to the discussion
board and comment on other responses; feel free to respond to what other people have said about
your posting as well. A well-written discussion post should generate a conversation, so part of the
assessment will include how people have commented on your original posting – as well as how often you
post to those written by others. Responses should reference the previous postings, and also at least one
each of the screenings and the readings. Please reply by 5:00PM on the day of class. This will allow
everyone (including me!) to read everyone’s comments before class.
Please note that contributors do not necessarily need to wait for leaders to post, and can take the
initiative early and often. Just be sure to come back and read that day’s discussion as well.
Note that terse postings that invoke information gathering (“what are we supposed to read?”, “can I
borrow somebody’s book?”, “can someone summarize the film’s plot for me?”), non-sequiturs (“is
anyone also taking bio 115? how are we supposed to get everything done in this class with a midterm in
that class?”) or rudeness (“what a stupid interpretation – of *course* that represents a penis, dumb-ass!”)
will not be counted and may count against you in terms of your general attitude portion of the grade.
You may continue to post to the discussion boards following the class period the discussion is due
(including at this point bringing up elements discussed in class), although I will assume that no one
(including myself) will be checking those boards two days following the reading. I will move the
discussion board to the bottom of the page after the second day, unless discussion is so heated it merits
continual observation; if you are still interested in the earlier discussions, they can be found by scrolling
to the bottom of the page. You may also continue discussion about the individual films following the
screenings on the omnibus Film Posting Board. (Note that there are no individual boards for each film.)
Either of these kinds of postings done in a consistent manner will count positively toward the holistic
portion of the postings grade as well as your overall participation grade.
The discussion period will officially end (for credit purposes) at noon on the day of class. At that point, I
will assess the discussion boards using the following rubric adapted from a rubric by Laura L. Bush):
o Excellent work (5 point for leaders; 2 points for responders):
Transnational Cinemas, Appendix B: The Discussion Boards – 16
�
o
o
o
Leader posts an initial message of more than 300 words on time; posting generates
comments from at least four other members of the group. Responder replies in
meaningful and extended ways
Demonstrates excellent critical thinking skills, including logical analysis, synthesis and
interpretation of the texts (both readings and films); provides sufficient and persuasive
evidence for support.
Offers prompt, timely and relevant contributions to the conversation, voluntarily
moderating, playing devil’s advocate, or synthesizing ideas and parts of the conversation
as needed, including from texts beyond the immediate class
Satisfactory work (3-4 points for leaders; 1-1.5 points for responders):
Leader posts an initial message of three hundred words on time; posting generates
comments from at least five other members of the group OR Excellent work above
generates fewer than four additional comments. Responder replies, going through the
motions, but does not really enter into the discussion; comment does not address other
postings, which could be evident by parroting positions already stated without
developing them further.
Demonstrates fair critical thinking skills by analyzing, synthesizing and interpreting
although post tends somewhat toward summary; offers evidence for support, although it
may be sometimes insufficient or unpersuasive. References most but not all of the
readings and screenings.
Keeps up somewhat with discussion and does not dominate, but establishes a
discernable presence
Insufficient work (1-2 point for leaders; ½- to ¾-point for responders):
Leader posts an initial message of under three hundred words, OR posts late, BUT
posting still generates more than four comments from other members of the group; OR
Satisfactory work described above generates fewer than four comments from other
members of the group
Summarizes rather than analyzes, evidence is absent or insufficicent; responders struggle
to maintain discussion or change topic to do so. References only one reading and/or
film.
Deficient work (0 points for both leaders and responders):
Leader does not post OR Insufficient work described above generates fewer than four
comments from other members of the group. Responders either do not respond, or say
little more than variations of “I agree,” “Good point” or “I disagree”
Please note that there is also a discussion board titled Suggestion Box. Feel free to get your feelings about
the class off your chest in an anonymous fashion – what you like about the class, how you feel it can be
improved, what really didn’t work, etc. I will monitor this board in particular and try to address whatever
issues there are as they develop, hopefully in order to correct matters before the semester ends. (Posting here
obviously does not count toward your grade.)
For your information, the Blackboard site will also have the most updated versions of the syllabus and all
assignments, as well as screening guides for all the films and some secondary readings as noted in the class
reading schedule.
Transnational Cinemas, Appendix B: The Discussion Boards – 17
�
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.
Transnational Cinemas
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
This seminar explores the breadth of theoretical and cultural perspectives on the complex state of contemporary international cinema. By the end of this course, you will be able to:<br /><ul><li>Apply theoretical and practical contexts to examine “transnational cinema” as a broad concept</li>
<li>Explain historical and contemporary trends concerning international cinema</li>
<li>Participate within the intellectual conversation concerning narrative, films and, more specifically, international cinema.</li>
</ul>
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.
Peru / Perú
Argentina
Mexico / México
Brazil / Brasil
Region / Región
The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso.
Latin America / Latinoamérica
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Films taught / Películas
<a href="https://cinegogia.omeka.net/items/show/196"><em>Babel</em></a><br /><a href="https://cinegogia.omeka.net/items/show/768"><em>Biutiful</em></a><br /><a href="https://cinegogia.omeka.net/items/show/174"><em>Diarios de motocicleta</em></a><br /><a href="https://cinegogia.omeka.net/items/show/141"><em>La hora de hornos</em></a><br /><a href="https://cinegogia.omeka.net/items/show/183"><em>La teta asustada</em></a><br /><a href="https://cinegogia.omeka.net/items/show/197"><em>Rojo amenecer</em></a>
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Jeffrey Middents, American University
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Attribution - NonCommercial
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Transnational Cinemas
Description
An account of the resource
This seminar explores the breadth of theoretical and cultural perspectives on the complex state of contemporary international cinema. By the end of this course, you will be able to:<br /><ul><li>Apply theoretical and practical contexts to examine “transnational cinema” as a broad concept</li>
<li>Explain historical and contemporary trends concerning international cinema</li>
<li>Participate within the intellectual conversation concerning narrative, films and, more specifically, international cinema.</li>
</ul>
-
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PDF Text
Text
SPAN-456/656.001 & LIT 446/646.002, Fall 2015
Thursdays, 5:30-8:00 PM
Professor Jeffrey Middents
Battelle-Tompkins 221, x2979, middents@american.edu, @middento
Office hours: Mondays and Thursdays 12:30-3:00PM, or via Skype by appointment (Skype: middento)
¡Fílmame esto, Néstor!
– from Relatos salvajes, 2015
The silent period where Pancho Villa becomes a movie star, the Golden Age of Mexican Cinema in the 1940s, the
innovative Cinema Novo in 1950s Brazil, the militant New Latin American Cinema of Cuba, Argentina, Chile and
Bolivia of the 1970s: we could say that Latin American Cinema has arrived in the 2000s, but cinema has long been a
part of the region’s culture. Since the year 2000, cinema has become even more globalized – and yet if we examine
our most contemporary films from the region, we will still find distinctive reflections of local history and culture.
Relatos salvajes may be an international hit, complete with an Oscar nomination, and yet we know that this is also a
very “Argentine” film.
Using methods that both embrace and critique the study of national cinemas, this course provides a survey of
cinema from across the Latin American region, concentrating on the changing tropes of contemporary cinema and
including screenings as part of the AFI Latin American Film Festival.
At the end of this course, you will be able to:
Apply theoretical and practical contexts to examine “contemporary Latin American cinema” as a broad concept;
Explain contemporary trends and discussions concerning Latin American cinema; and
�Cine contemporáneo latinoamericano, otoño 2015 – 2
Use research and analytical skills to write analytically using proper film terminology in Spanish.
Your grade will be assessed using the following components:
A research essay on a contemporary Latin American film topic of your choice, which includes a brief, in-class
final presentation of your work, worth 45% total;
A shorter essay on a film screened at the Latin American film festival,* worth 20%;
Participation on the course Blackboard discussion boards, worth 15-17% total;
Participation on the course Facebook page, worth 2% total; and
Class participation, attendance and attitude, worth 20%.
*: Graduate and Honors students will supplement their work in this section by doing a second paper related to the
Buenos Aires Film Festival; please see Appendix B for more information.
Please note that the grade outlined above already adds up to more than 100%. This means that extra credit is already
built into the course design. There is already a lot to do for the course; please do not ask for any additional work.
Within the Curriculum
Within the Department of World Languages and Cultures:
The Department of World Languages and Cultures offers a B.A. program in Spanish Studies and a minor in Spanish language,
as well as three joint programs in conjunction with other schools: in Language and Area Studies with the School of
International Service; in Foreign Language and Communication Media with the School of Communication; and in Business,
Language and Culture Studies with the Kogod School of Business. For students interested in learning more about these
programs, please contact Núria Vilanova at vilanova@american.edu.
Within all of those undergraduate program, SPAN-456 counts as a Topics course or as a 300-or-above level class counted
toward your degree. (Within the Language and Area Studies program, this course would count toward your group of
humanities-oriented courses.) Within the Foreign Language and Communication Media program, this course might instead
count toward the Contemporary Culture component; ask your advisor for more information on this possibility.
The department also offers an M.A. program in Latin American Studies, a combined BA/MA in Spanish and Latin American
Studies and a Graduate Certificate in Spanish Translation. For all of these programs, SPAN-656 counts as either a topics
course or as an elective.
Within the Literature Department:
The Department of Literature offers a BA with tracks in Literary Studies, Cinema Studies, Creative Writing and Global
Cultural Studies; there are also minors in each of the first three tracks listed above. If you would like more information about
the B.A. or the minor in Literature, I happen to be the Faculty advisor for the undergraduate programs! Please see me in office
hours and I would be happy to offer more information on any of these options.
LIT-446 fulfills the following requirements within the major:
Within the Literary Studies track, this fulfills the “Film, Creative Writing or World Literature” requirement.
Within the Cinema Studies track and minor, this fulfills one of the “Topics in Film Studies” requirements.
Within all tracks and minors, this counts as an elective if the above requirements are already fulfilled.
�Cine contemporáneo latinoamericano, otoño 2015 – 3
For the MFA in Creative Writing, LIT-646 fulfills one of the Literature courses required outside of writing workshops.
As in all LIT courses numbered at the 400 and 600 levels, this course has also been designed specifically to hone your skills in
research and writing. Undergraduate majors may apply methodologies learned in this course toward your capstone these written
during your last year in the program; MFA students may apply research techniques toward their own writing projects; and MA
students will learn strategies that can be applied toward both the comprehensive exam, the mentored scholarly essay and the
thesis options.
Texts
All secondary materials will be available in the “E-Reservas” tab of the course Blackboard page. There are at least two reading
selections for every class, and you will need to read and comment on them 24 hours beforehand. Also, don’t forget about…
The Films
In addition to secondary readings, you will be required to watch two films per week. There is no special projection time or
place which you must attend; instead, it is your responsibility to find and watch the material when you have time. All the films
are available (and placed on reserve) at the Media Services desk in Bender Library – but a good portion of the films are also
available through a variety of home streaming formats like Netflix, YouTube or even through Blackboard. (There are a few
films that are only available at the library.) I have noted how you can access each film (as of August 1, 2015) within the grid
below.
You will also have to watch a film as part of the Latin American Film Festival put on by the Inter-American Development
Bank and the American Film Institute Silver Theater in Silver Spring in September. Plan for it now!
The Facebook Group
We want to ensure that we stay up to date on everything that is happening in the region, and perhaps the best way to do this is
to each keep track of local news and reports about film. Film festivals occur throughout the world, local newspapers and blogs
keep track of local productions (some of which we who are outside those countries will never get to see) and there are often
many local cine-clubs and magazines. Most of these can also be accessed now via the Internet – and, since nearly all are in
Spanish, they are perfect for this class!
At the beginning of the semester, you will be randomly assigned a country. (No more than two people will have the same
country, and some will only have one representative.) Your job at that point is quite simple: keep track of anything you read
about film happening in your country, and post the material on the course Facebook page. The material can be in English or
Spanish. You can post about production (films being made, how films get made, why films are not being made, etc.),
distribution (how and what films get marketed, etc.) or exhibition (how films get seen in your country, in theaters or otherwise,
etc.). Sometimes, the material is not so obvious: for example, a recent piece from Deadline notes that, of all places, Mexico is a
sure-fire international location for Adam Sandler movies to make a lot of money. You do want to make sure that this material
is up-to-the-moment: posting about the success of Asu Mare (or even Asu Mare 2) from the blog Cinencuentro is old news,
indeed. And keeping track of this may be as simple as regularly reading a blog or event setting up a Google alert.
The assessment for this is very simple: post regularly! You will earn a ½-point for each quarter of the semester; post at least
four times (hopefully, there will be more!) and you will earn the maximum of 2 points.
�Cine contemporáneo latinoamericano, otoño 2015 – 4
Essays and Written work
There are weekly written assignments throughout the course, along with two more formal essays – one short one due near the
beginning about a film screened at the AFI Latin American Film Festival, and a much longer one due toward the end of the
semester on a topic of your choice. Instructions for both the weekly discussion board assignments as well as both essays can
be found in the appendices toward the end of this syllabus:
Appendix A: The Blackboard Discussion Boards
Appendix B: Short Essay about the Latin American Film Festival
Appendix C: Long Research Essay
A Rough Grading Rubric
In general, here is a rough idea concerning how I will assess your written work; a more detailed breakdown of assessment for
the discussion boards can be found in Appendix B:
“A” work seriously delves, interacts and/or engages with the texts, readings and/or discussions. Risks are taken with
your chosen topic, but the paper is executed successfully. (As an analogy, think of Olympic gymnastics, diving or
figure skating here: for a perfect score, the routine must not only be executed flawlessly but also must have a
significantly high degree of difficulty.) Questions are raised, considered, explored and (if possible) answered
concerning specific issues raised by the work itself. Arguments not only exist, but are backed up with sufficient
evidence from primary and/or secondary material. The work is also concise and clear, not relying on jargon
“B” work touches on interesting issues and topics related to the texts, readings and/or discussions and delves into
them somewhat, but lacks an in-depth analysis. There is a strong argument with some evidence from primary and/or
secondary material. . Risks may be taken, but not executed as elegantly – or the topic is executed well, but is relatively
“safe.” Writing is clear and effective. A so-called “good paper” will fall into this range.
“C” work will brush upon topics relating to the texts, but not explore them in any depth. There is an argument, but it
might be confused or insufficiently grounded by (or is lacking) primary and/or secondary material. Missing
information makes comprehension difficult for anyone who is unfamiliar with the primary texts. Writing serves to
obscure somewhat rather than illuminate.
“D” work references the texts and/or topics related to the texts without any sense of synthesis. Evidence of an
argument might have existed at some point but is now lost. No reference is made to either primary or secondary
material. Comprehension is difficult even for those familiar with primary texts. Most of your writing seems to have
more “fluff” than function.
Do you really want information on what a failing paper looks like? Please.
Attendance
Attendance to classes and screenings is mandatory. We only meet once a week, so you must do your best to show up. You
cannot participate in the class if you are not there, so diminished attendance affects that part of your grade. You should be
aware that your participation grade will start to drop to a maximum of 16 after two (2) absences and will drop significantly
after three (3) absences to a maximum of 14. With your fourth absence, the grade will drop automatically to a failing grade of
11 and then another full point for every subsequent missed class. Arriving more 20 minutes after the start of class or leaving
more than 20 minutes before the end of class for any reason whatsoever constitutes a half-absence.
Please be aware: If you have to miss a class for some reason, don’t worry or freak out. You are sick, childcare falls through,
there is an accient, you have another essay that is due, you are invited to dinner with Michelle Obama/Gael García
Bernal/etc.: I realize these things happen. I don’t have to know why you were out; for me, there is no difference between
�Cine contemporáneo latinoamericano, otoño 2015 – 5
an unexcused or an excused absence. If you’re going to be absent for a significant period of time (particularly if this
involves an illness), please contact me. I am more amenable to you talking to me before you hit the fourth absence than after you’ve
reached that point.
Asynchronous Classes
(Planned and unplanned)
Unfortunately, it happens to be me who will be missing class first this semester – indeed, I will be missing the very first class,
since I will be attending (and working at) the Telluride Film Festival in Colorado. (Fingers crossed that there will be some
Latin American cinema there! Last year, the Argentine hit Relatos salvajes – which you will be watching later this semester – was
one of the biggest hits.) We can at least plan for this circumstance.
Then there is the concept of the unplanned interruption of classes – particular due to bad weather. The University makes a
particular effort to ensure that classes will still continue even if the physical campus has to close (due to snow, extreme cold,
hurricane, swine flu, presidential candidate visit, etc.). Here is the official statement concerning the possibility of an emergency
closing: “Should the university be required to close for a period of time, we are committed to ensuring that all aspects of our
educational programs will be delivered to our students. These may include altering and extending the duration of the
traditional term schedule to complete essential instruction in the traditional format and/or use of distance instructional
methods. Specific strategies will vary from class to class, depending on the format of the course and the timing of the
emergency. Faculty will communicate class-specific information to students via AU e-mail and Blackboard, while students
must inform their faculty immediately of any absence due to illness. Students are responsible for checking their AU e-mail
regularly and keeping themselves informed of emergencies. In the event of a declared pandemic or other emergency, students
should refer to the AU Web site (www.prepared.american.edu) and the AU information line at (202) 885-1100 for general
university-wide information, as well as contact their faculty and/or respective dean’s office for course and school/collegespecific information.”
In the case of both the planned and unplanned class interruptions, we will follow the same protocol: you will have already
participated within the discussion boards within your groups referring to screenings and readings for that class. To earn
attendance credit for that day, you must now post at least a second time as a participant within the conversation, this
time within an hour (before or after, i.e. between 4:30 and 9:00pm) from the time our class would have met. We will
then continue the topic of the conversation in class whenever we meet next. (Since the planned class happens to be the first
class, there will be a few other things you should do – but I will get to that in the video I will send. Stay tuned.)
Participation and Attitude
I expect your consistent participation throughout various elements of the course, primarily in an attempt to foster a sense of
an engaged community. Be prepared to discuss, having thought about the television shows and the readings. (Yes, you should do
the readings. I will assume you have read what you need to read by the specified class date. Having to post about them
beforehand on the discussion boards will help.) The more you participate, the better the class will be.
I also expect a respectful, if critical, attitude to permeate the class as well. Arguments and disagreements are encouraged, just
be respectful as you are disproving your classmate’s (or my) idea. Just to be clear, forms of unacceptable attitude include:
sleeping, doing other work or studying for other classes, slouching under the chairs, being unwilling to participate in small
group activities, excessive sarcasm, negative comments, etc.
The grading rubric for participation is very similar to the rubric below for written work: “A”-quality participation involves
thoughtful, sustained interaction and/or engagement with the texts (even if such positions involve taking a risk), provocative
questions and continued involvement throughout the semester. “B”-quality participation finds you touching on interesting
�Cine contemporáneo latinoamericano, otoño 2015 – 6
issues and topics and occasionally delving into them further but you are timid in approaching larger issues within discussion.
“C”-quality participation occasionally finds you participating in discussions, but generally you are staying on the surface and
are unwilling to take any risks. “D”-quality participation lets me know you’ve seen the films – and that’s it. (I will also consider
excessively negative attitude to fall in “D” range.) A failing participation grade will be given if you never contribute to class
discussions or have such a negative attitude that it affects the class.
Modern Technology
Under normal circumstances, I ban electronics of all sorts in class. There is statistical evidence now that laptops in class
actually harm your learning, and most social media just distracts. At the same time, all the readings are online and will be much
easier to access if you have an electronic device in front of you. So for this semester, I am being flexible – with a caveat: if you
have an electronic device in front of you, I understand that you have it open and you are using it to work and that you are
working on this class. If you are distracted (or if your activities distract others, which is worse), I would simply prefer you to
leave the class – and I will be happy to tell you to do so.
As for cell phones and text messaging: In general: turn off everything and pay attention for two and a half hours. If it’s that
important to check a message, do so quickly and discreetly. If you need to take a call, just leave the classroom. You are adults,
you know manners, so use them.
Academic Integrity
Standards of academic conduct are set forth in the University’s Academic Integrity Code. By registering, you have
acknowledged your awareness of the AIC and you are obliged to become familiar with your rights and responsibilities as
defined by the Code. I take violations of the AIC extremely seriously and disciplinary actions will be taken should such
violations occur. Please realize that plagiarism and other forms of dishonesty (including poorly or inappropriately cited work)
are unacceptable at all times. If I believe academic integrity has been compromised in any of the assignments, I will proceed
immediately to an AIC violation hearing and will not approach you first. I will also ask for the highest disciplinary action
possible, which is failure with notation on transcript. (Graduate students should note that any AIC violation results in
immediate dismissal from your graduate program.) Please see me if you have any questions about the academic violations
described in the Code in general or as they relate to particular requirements of this course. As long as you’re diligently doing
your own work, you should be fine.
Thinking about handing in something late?
Don’t. I hate late work. After I’m done with assessing an assignment, I’m done. Late work makes me grumpy. I reserve the
right to refuse to grade or even look at work that is handed in past the deadline. On a very, very occasional basis, I might be willing
to grant an extension, but you will only get one during the semester.
Meeting with me
…is strongly encouraged. Despite the severe tone of the syllabus, I am really quite approachable and welcome you to come to
my office hours or to make an appointment. This is particularly true is you feel that something is going wrong during the
semester; do not hesitate to inform me if there is a problem that you foresee will cause problems in finishing your work. My
office is at 221 Battelle-Tompkins, often the only one with the Pandora station set to play quite a bit of Of Monsters and Men
and Imogen Heap. (Plus: as the undergraduate advisor for the Literature major, I generally have snacks.) As a general rule, I
will be more available to meet before class than afterwards, although I am willing to stay for a short while.
�Cine contemporáneo latinoamericano, otoño 2015 – 7
Schedule of Readings and
Assignments
Please note that this schedule may be altered or updated with some notice given. The latest version of the syllabus will be
found on Blackboard.
Fecha
3 set
10 set
17 set
24 set
Temas/Películas y trabajo para el día de clase
OJO: Hoy es día de una clase asíncrona. Les daré instrucciones más específicas para sus postings en
la última semana de agosto. Igual, para ese día, habrá que ver y leer lo siguiente:
Películas para hoy:
Diarios de motocicleta (Argentina/EEUU/Chile/Perú/Brasil/Reino Unido/Alemania/Francia,
Walter Salles, 2004, 126m) – Vimeo, iTunes ($), DVD 1299
Revolución (México, Mariana Chenillo/Fernando Eimbcke/Amat Escalante/Gael García
Bernal/Rodrigo Garcís/Diego Luna/Gerardo Naranjo/Rodrigo Plá/Carlos Reygadas/Patricia
Riggen, 2010, 105m) – DVD 10332
Leer para hoy:
Rojas Bez, José, “Los planos y el montaje en el arte del cine,” 49-94
Middents, Jeffrey, “The first rule of Latin American cinema is you do not talk about Latin
American cinema: Notes on discussing a sense of place in contemporary cinema,” 147-164
Folletín de Cartilla de cine, “Dirección general de cinematografía”
2001 en México
Películas para hoy:
Amores perros (México, Alejandro González Iñárritu, 2000, 154m) – DVD 262
Y tu mamá también (México, Alfonso Cuarón, 2001, 106m) – Netflix, Hulu Plus, DVD 454
Leer para hoy:
Sisk, Christina, “Entre el cha cha chá y el Estado: El cine nacional mexicano y sus arquetipos,”
163-182
Menne, “A Mexican Nouvelle Vague: The Logic of New Waves under Globalization,” 70-92
Cine de festival
Películas para hoy:
Miss Bala (México/EEUU, Gerardo Naranjo, 2011, 113m) – DVD 10557
La teta asustada (Perú/España, Claudia Llosa, 2009, 94m) – Netflix, DVD 8084
Leer para hoy:
Lillo, Gastón, “La teta asustada de Claudia Llosa: ¿Memoria u olvido?,” 421-446
Sautto, Isalia y Paola Uribe, “Gerardo Naranjo entre drama y explosión”
Falicov, Tamara, “‘Cine en Construcción’/’Films in Progress’: How Spanish and Latin American
film-makers negotiate the construction of a globalized art-house aesthetic,” 253-271
ESCOJE TU PELÍCULA PARA EL ENSAYO DEL FESTIVAL DE CINE PARA HOY.
Cine de autor
Películas para hoy:
Temporada de patos (México/EEUU, Fernando Eimbcke, 2004, 90m) – DVD 2114
Club Sándwich (México/Francia, Fernando Eimbcke, 2013, 82m) – DVD MIDDENTS (es mi copia,
pregúntalo por mi nombre)
Leer para hoy:
Valdez, Hugo, “Los cinefotógrafos: Creadores de la imagen fílmica en México,” 113-120
Bonfil, Carlos, “La renovación artística del cine mexicano,” 34-45
Wood, David, “Utopías y maneras de ver en Tlatelolco: Temporada de patos”
Albarrán Torres, “Los domingos de Fernando Eimbcke”
�Cine contemporáneo latinoamericano, otoño 2015 – 8
1 oct
8 oct
vier.
9 oct
15 oct
22 oct
mar.
27 oct
mier.
28 oct
29 oct
Entrevista con Fernando Eimbcke en CinemaNET
Cine popular: El Santos contra la Tetona Mendoza/Asu Mare
Películas para hoy:
Don Gato y su pandilla (México/Argentina, Alberto Mar, 2013, 85m) – Netflix, iTunes, DVD
¡Asu Mare! (Perú, Ricardo Maldonado, 2013, 100m) –
Leer para hoy:
Beteta, Juan José, “¡Asu Mare!: La exitosa comedia de un macho light”
Fraga, Rodrigo, “10 motivos para ver el Santos vs. La Tetona Mendoza”
Wiener, Christian, “El cine peruano no puede reducirse a Asu Mare o La teta asustada”
Argentina: La niña santa/El secreto de sus ojos
Películas para hoy:
La niña santa (Argentina/España/Italia/Países bajos, Lucretia Martel, 2004, 106m) – DVD 1624
El secreto de sus ojos (Argentina/España, Juan José Campanella, 2009) -- Amazon, iTunes ($),
DVD 1704
Leer para hoy:
Moraña, Ana, “Memoria e impunidad a través del imaginario cinematográfico: La mujer sin
cabeza (Lucrecia Martel, 2008) y El secreto de sus ojos (Juan José Campanella, 2009),” 377-400
Oubiña, David, “La vocación de alteridad (Festivales, críticos y subdidios del Nuevo Cine
Argentino”
Quintín, “El mainstream y el off: Un mapa alternativo del cine argentino”
Iñiguez Mendoza, Ulises, “La estrategia del suspenso en La niña santa,” 431-449
Entrega el ensayo del festival de cine hoy para las 11:59pm por el Buzón Digital
Brazil: Madame Sata/Tropa de Elite
Películas para hoy –OJO QUE LAS PELÍCULAS PARA HOY ESTÁN EN PORTUGUÉS; BUSCA CÓPIAS
SUBTITULADAS EN INGLÉS O ESPAÑOL:
Madame Satã (Brasil/Francia, Karim Aïnouz, 2002, 105m) – DVD 966
Tropa de Elite 2: O Inimigo Agora é Outro (Tropa de élite 2Brasil, José Padilha, 2010, 115m) –
Netflix, DVD 6271
Leer para hoy:
Jesus, Diego Santos Vieira de, “Sons of the Fatherland: Brazilian Masculinities in Tropa de Elite
and Praia do Futuro”
Butcher, Pedro, “Breve introducción al cine brasileño de hoy,” 47-71
Chile: Tony Manero/Gloria
Películas para hoy:
Post Mortem (Chile/México/Alemania, Pablo Larraín, 2010, 98m) – YouTube, DVD 10867
Gloria (Chile/España, Sebastián Leilo, 2013, 110m) – Netflix, Amazon, DVD 12258
Leer para hoy:
Bello, María José, “Nuevos autores para el cine chileno,” 4-11
Saavedra, Carlos, “La sobreeexposición del yo,” 21-42
Urrutia, Carolina, “Post Mortem y Tony Manero: Memoria centrífuga de un pasado político,” 6576
Entrega la bibliografía preliminar y párrafo sobre el tema de su ensayo hoy para las 11:59pm por el
Buzón Digital
Charla en la tarde con Directora Guita Schyfter, auspiciada por CLALS (Center for Latin American
and Latino Studies)! Hora y aula pendiente – ¡y habrá comida también!
Invitado especial: Director Mexicana Guita Schyfter
Películas para hoy:
�Cine contemporáneo latinoamericano, otoño 2015 – 9
5 nov
12 nov
19 nov
miér.
25 oct
26 nov
3 dic
10 dic
Novia que te vea (México, Guita Schyfter, 1995, 114m) – DVD 9750
Las cara de la luna (México, Guita Schyfter, 2002, 112m) – BIBLIOTECA (todavía no tiene
número)
Leer para hoy:
Mennell, D. Jan, “Memoria, midrash y metamófosis en Novia que te vea de Guita Schyfter: Un
diálogo textual-visual”
Entrevista con Guita Schyfter por CinemaNET
Región andina: ¿Quién mató a la llamita blanca?/Crónicas
Películas para hoy:
¿Quién mató a la llamita blanca?, Bolivia, Rodrigo Bellott, 2007, 112m – YouTube, DVD 11923
Crónicas, Ecuador/México, Sebastián Cordero, 2004, 108m – DVD 2950
Leer para hoy:
Cordero, Marcelo, “Bolivia: Hacia la construcción de una industria audiovisual propia”
Alemán, Gabriela, “An Intentional Conspiracy: Ecuadorian Cinema in the 60s and 70s”
Caribe y Centroamérica: Suite Habana/Gasolina
Películas para hoy:
Suite Habana, Cuba, Fernando Pérez, 2003, 80m – DVD 7332
La Yuma, Nicaragua/France/Spain/México, Florence Jaguey, 2009, 90m -- BIBLIOTECA (todavía
no tiene número)
Leer para hoy:
Young, Eliot, “Between the Market and a Hard Place: Fernando Pérez’s Suite Habana in a PostUtopian Cuba,” 26-49.
Cortés, María Lourdes, “El renacer del cine centroamericano,” 59-64
Cine queer
Películas para hoy:
XXY, Argentina/España/Francia, Lucía Puenzo, 2007, 96m – Hulu, Amazon, AU Streaming, DVD
4085
Contracorriente, Peru/Colombia/Francia/Alemania, Javier Fuentes-León, 2009, 100m – Netflix,
Hulu , DVD 8696
Leer para hoy:
Amicola, José, “Las huellas del presente y el mundo queer de XXY”
Ruffinelli, Jorge, “Dime tu sexo y diré quién eres: La diversidad sexual en el cine
latinoamericano,” 58-71
Entrega el ensayo de investigación hoy para las 11:59pm por el Buzón Digital
¡¡DÍA DE LA GRACIA!!
Ahora mismo: Instructions Not Included/Relatos salvajes
Películas para hoy:
No se aceptan devoluciones, México, Eugenio Derbez, 2013, 122m – Netflix, iTunes, DVD 11221
Relatos salvajes, Argentina/España, Damián Szifrón, 2014, 122m – iTunes, DVD 12261
Leer para hoy:
Ruiz, Héctor, “Imágenes imaginadas: Imaginario nacional en el cine latinoamericano
contemporáneo,” 160-169
¡A escoger! Búsca una página de la red o de un blog sobre cualquier de esas películas, y anótala.
Periodo de Examenes Finales: Presentaciones de trabajos semestrales!
�Cine contemporáneo latinoamericano, otoño 2015 – 10
Appendix A
the Blackboard Discussion
Boards
My classes tend toward extensive use of the discussion board function within Blackboard. I use them for two primary reasons:
(1) this allows for a more holistic “reading check” instead of more directed quizzes and the like; and (2) this allows us to start
discussion on particular readings ahead of time, which permits more efficient use of face-time in class for more
problematic/detailed discussions. There are particular elements of certain readings that may not be covered during class, or
perhaps you would like to further discuss certain parts of them in more detail. Hence, I would like you to continue your
thoughts and ideas (or, indeed, spark them while you’re reading) on the discussion board.
The way that this works best is to make a regular habit of checking and posting to the discussion boards. While posting
to the boards is relatively easy, I will also expect you to keep checking regularly even after you have posted so that you may be
involved in the discussion that ensues. (Hence the word: discussion!) For class purposes, I will assume that you have read your peers’
postings before coming to class. This means that some topics, specifically pertaining to the readings, may not surface during class
because they will have played out on the discussion boards; this does not mean that you are not responsible for these readings,
nor that you should be careless in your interactions with them.
I will say that this is the easiest portion of your grade to complete since in theory you will already be doing the readings.
Failure to post anything, however, will result in a loss of the full number of points, which is a significant blow to your grade. (I
say this since in the past a portion of the class failed to do this and their grades were severely affected.)
Upon entering the discussion board section of Blackboard, you will find a discussion board already generated for each class
period for which there are readings. There are also two special boards detailed below. Feel free to add new threads within
these boards; the flow of the discussion should come from you. I will be monitoring (though not necessarily moderating) the
threads and your response will steer in-class lectures in a particular direction if there is enough interest generated about a
certain topic.
Participation in the discussion boards comprises 13% of your grade. The evaluation of these elements, however, is slightly
complicated:
The first thing you should know is that the class has been randomly split into one of two discussion groups, each
containing roughly 9-10 people. (All graduate students are in the same group.) That is in order to keep discussions at a
manageable level for yourselves, particularly so you are not stepping on each other’s toes; the number and composition of
the groups may change if the composition of the class changes. For your own reference, the groups are named for two
heroes of the Mexican lucha libre films of the 1970s: El Santo and Blue Demon. (We have many movies featuring El Santo
in the library – go check them out!)
�Cine contemporáneo latinoamericano, otoño 2015 – 11
At the beginning of the semester, you will each be assigned one reading date from the semester. For that assigned date,
you will be the discussion leader and are responsible for posting 24 hours before class time on the reading(s) and
screening(s) for that day. DO NOT BE LATE; IF YOU ARE LATE, ONE OF YOUR CLASSMATES CAN
STEAL YOUR EXTRA POINTS. (See below for more on this.) These posts should not summarize material, but
rather engage with the readings: your goal is to start discussion about the readings. You should reference all readings and at
least one of the episodes for that class. Toward this end, you might: ask questions; highlight particular passages that were
interesting/enlightening/confusing (note the multiple “passages”; working off a single passage, unless you do a great job
explaining why, is not good enough); relate concepts between different readings within the same week (or from before);
discuss the relevance of the readings with regard to particular textual examples; etc. Questions should concern aspects of
the readings. (In other words, questions like “¿Cómo refleja los valores que Saavedra nota sobre el uso de primer planos
existen en cine chileno en la película Gloria?” are better than “¿Por qué creen que Pasternak hizo lo que hizo en Relatos
salvajes?”) Feel free to explore issues of narrative, theme, characterization, style and history – and be ready to discuss these
topics yourself. These initial postings should be at least 300 words long.
The rest of the group are contributors. The nature of your posts should be participatory and meant to be in the spirit of
discussion. Up until two hours before class, contributors should return to the discussion board and comment on other
responses; feel free to respond to what other people have said about your posting as well. A well-written discussion post
should generate a conversation, so part of the assessment will include how people have commented on your original
posting – as well as how often you post to those written by others. Responses should reference the previous postings, and
also at least one each of the screenings and the readings. Please reply by 9:00AM on the day of class. This will allow
everyone (including me!) to read everyone’s comments before class.
Please note that contributors do not necessarily need to wait for leaders to post, and can take the initiative early and often.
Just be sure to come back and read that day’s discussion as well.
Note that terse postings that invoke information gathering, non-sequiturs or rudeness will not be counted and may count
against you in terms of your general attitude portion of the grade.
You may continue to post to the discussion boards following the class period the discussion is due (including at this point
bringing up elements discussed in class), although I will assume that no one (including myself) will be checking those
boards two days following the reading. I will move the discussion board to the bottom of the page after the second day,
unless discussion is so heated it merits continual observation; if you are still interested in the earlier discussions, they can
be found by scrolling to the bottom of the page.
The discussion period will officially end (for credit purposes) at noon on the day of class. At that point, I will assess the
discussion boards using the following rubric adapted from a rubric by Laura L. Bush):
o Excellent work (2 points for leaders; 1-point for responders):
Leader posts an initial message of more than 300 words on time; posting generates comments from at
least four other members of the group. Responder replies in meaningful and extended ways
Demonstrates excellent critical thinking skills, including logical analysis, synthesis and interpretation of
the texts (both readings and episodes); provides sufficient and persuasive evidence for support.
Offers prompt, timely and relevant contributions to the conversation, voluntarily moderating, playing
devil’s advocate, or synthesizing ideas and parts of the conversation as needed, including from texts
beyond the immediate class
Writing is clear and understandable
o Satisfactory work (1.5points for leaders; 2/3-point for responders):
Leader posts an initial message of three hundred words on time; posting generates comments from at
least five other members of the group OR Excellent work above generates fewer than four additional
comments. Responder replies, going through the motions, but does not really enter into the discussion;
comment does not address other postings, which could be evident by parroting positions already stated
without developing them further.
�Cine contemporáneo latinoamericano, otoño 2015 – 12
o
o
Demonstrates fair critical thinking skills by analyzing, synthesizing and interpreting although post tends
somewhat toward summary; offers evidence for support, although it may be sometimes insufficient or
unpersuasive. References most but not all of the readings and screenings.
Keeps up somewhat with discussion and does not dominate, but establishes a discernable presence
Writing is mostly clear and understandable
Insufficient work (1 point for leaders; ½-point for responders):
Leader posts an initial message of under three hundred words, OR posts late, BUT posting still generates
more than four comments from other members of the group; OR Satisfactory work described above
generates fewer than four comments from other members of the group
Summarizes rather than analyzes, evidence is absent or insufficient; responders struggle to maintain
discussion or change topic to do so. References only one reading when there are multiple assigned.
Questions pursued do not explicitly reference text. (In other words, only asking something like “¿Cuáles
otras películas nominadas por un Oscar han visto?” would fall into this category, as it does not explicitly
allow others to engage with the texts.)
Responders parrot previous positions in posting board or do not address either the readings or the
questions provoked.
Writing is somewhat understandable, but grammar issues impede meaning significantly
Deficient work (0 points for both leaders and responders):
Leader does not post OR Insufficient work described above generates fewer than four comments from
other members of the group. Responders either do not respond, or say little more than variations of “I
agree,” “Good point” or “I disagree”
Grammar issues impede meaning so much that responders have a difficult time responding appropriately
One other thing to note: There will be several discussion boards that will not have a leader assigned because they went
unclaimed at the beginning. If there is not one assigned for that date, you may claim the extra points for that day by
becoming the leader yourself. In essence, these are bonus points that can be claimed by the first person who fulfills the
leader role for that day. This is also the case if, for some reason or another, someone is late or has forgotten to post for that day: if the posting time
passes, do not wait for them to post! Become the leader yourself and you will steal their leader points for the day. (The regular leader can still
earn participator points by joining into the discussion.) You may earn these extra points (either by claiming unclaimed dates or
by posting when someone has neglected to do so) up to twice during the semester, for a possible extra two points toward your
grade. A truly earned bonus!
Please note that there is also a discussion board titled Suggestion Box. Feel free to get your feelings about the class off your
chest in an anonymous fashion – what you like about the class, how you feel it can be improved, what really didn’t work, etc. I
will monitor this board in particular and try to address whatever issues there are as they develop, hopefully in order to correct
matters before the semester ends. (Posting here obviously does not count toward your grade, as participation here in
anonymous.)
For your information, the Blackboard site will also have the most updated versions of the syllabus and all assignments, as well
as screening guides for all the films and some secondary readings as noted in the class reading schedule.
�Cine contemporáneo latinoamericano, otoño 2015 – 13
Timeline:
Film Festival occurs September 17th through October 7th
Claim film to be viewed by September 17th
Short Essay due electronically via Digital Dropbox by 11:59PM on Friday, October
9th
Now in its 26th year, the Latin American Film Festival at the American Film Institute Silver Theater in Silver Spring, MD
brings together recent films from all over the continents (along with Spain and Portugal!) that we might not otherwise get to
see in the DC area. This is not a typical “prestige” festival, in that there is no competition either in getting in or during the
screening; it is quite literally a cultural event, and often brings films from countries that are otherwise overlooked at other
festivals (such as several Central American and Caribbean countries). It’s a grand opportunity and usually a very popular event
– and it fits right in with the general themes of this course!
Your job is simple: pick one of the films screened during the festival and write an essay on any topic of your choice about that
film. There are two caveats to this paper (which will be further outlined below): (1) no more than two people may write about
the same film, and (2) your paper must include at least some analysis of aesthetic qualities in the film that also properly uses
film terminology.
�Cine contemporáneo latinoamericano, otoño 2015 – 14
PART 1: CLAIMING YOUR FILM
Information about the festival can be found at the website http://afi.com/silver/laff/. (At the moment, there is still just a
partial roster, but more information and the full list and schedule of films will appear in early September.) Look them over
carefully and identify a film that you think you will enjoy or find interesting. You must claim a film by the first day of the
festival (which happens to be September 17th, a day we meet in class). You may claim a film at any point before then, however,
simply by emailing me your choice. The requests will be processed on a first-come, first-served basis and I will continuously
update a space on Blackboard that shows which films have been claimed.
Please note: Just because you have claimed a film does not mean you must write about that film: as long as someone else has
not claimed a film, you may choose another; if you choose to not pursue your film, however, please let me (and everyone else)
know as soon as possible, so that someone else may have the opportunity, should they have the desire.
Before you go, you might want to check out the materials I have supplied for you online with regard to film terminology. I
have provided at least two resources about basic film terms in Spanish, along with a link to Yale’s excellent site (in English)
which reviews basic terms. If you have questions about some of these terms, do not hesitate to bring them up in class and/or
to see me in office hours and I will be happy to explain them more fully.
Then, view the film! Take notes, if you want, and be sure to note specific aesthetic qualities. Some things you might consider:
How does the camera present what the movie is trying to accomplish? What are the specific visuals that accompany
the telling of the story? Why does the film look the way it does? (For example, if we were to write about Y tu mamá
también, you would note that the entire movie is shot with a hand-held camera. How does that aesthetic choice color
the movie as a whole?)
What do casting choices do for the film? Do you recognize the people in the movie? (Should you?)
Where is the film set? How do you know? Do you believe that? Why is that important? How does the film convince
you of where it is? (This most often makes use of something called mise-en-scène (“puesta en escena”). Look that up, if
you don’t know the term.
Why does the film sound the way it does? What music accompanies it? What accents?
PART 2: WRITING THE PAPER
After your viewing, write a short 4-6 page essay (in Spanish, of course) using the film as the primary subject. Will have to
analyze some visual element about the film in the process and must use some film terminology in your essay. The ultimate
subject of the essay, however, is up to you. Paper may also bring in elements from secondary sources and/or other film, but
this is unnecessary and the primary focus should be on the film you have selected.
Essays should be roughly 4-7 double-spaced pages in length, though that is only meant as a guideline as to how complex I
think your argument should be. I prefer a shorter paper to one that adds “filler” to pad a paper to the page limit; then
again, if your paper is significantly shorter – say, three pages – you may wish to consider whether you have developed a
strong enough argument. Remember that a paper of this length means that you cannot encompass everything about your
topic; rather, by necessity, you will only be able to go into depth about one or two aspects of it.
Secondary sources are not necessary for this essay. The focus should, indeed, be on the film itself and there is no need to
go further. I am more interested that you provide an aesthetic analysis that properly uses film terminology. That said, if
you feel that adding material from any secondary sources (or additional films) will help your argument, feel free to bring in
some research. Use MLA citation style, please, both in considering in-text parenthetical citations and the obligatory
bibliography that will follow.
�Cine contemporáneo latinoamericano, otoño 2015 – 15
Use support to develop your argument. This means that you will be citing passages through extensive description of shots
and sequences from the films (which is how you cite a visual source). This can only help your argument – think about
such support as a foundation upon which you can build a strong argument.
Don’t be scarce. I am here to help. If you start with a general idea, please feel free to come in and I’d be more than happy
to help you out with finding sources, narrowing your topic, helping with an argument. You know when the office hours
are, so make me work.
This paper should not require revision; if the paper is severely lacking, however, I reserve the right to ask you to revise it
before administering a failing grade. I anticipate this might be caused by inexperience – either with using film terminology
properly or with writing a paper in Spanish. If I return it to you without a grade, it will be due back to me again exactly a
week after its return, again through Blackboard.
FOR GRAD STUDENTS AND HONORS STUDENTS ONLY – THE BIFICI ESSAY
For grad students and those students still under the “old Honors” system, your work will be held to a slightly higher standard
– and you will actually write a second festival piece. But your second one comes from a different festival entirely: the famous
Buenos Aires Film Festival (known as “BIFICI”) has graciously put a number of films up on the website cinemargentino for
free for a limited time. You job is very simple: repeat the above exercise with another film taken from their website. You may
use any film up on the site. But hurry: it is entirely unclear how long the website will stay up – so you might want to do
this exercise first in order to make sure you get it done!
Your grade will simply be split in half: each of these papers will be worth 10% instead of 20%. You may turn the BIFICI essay
at any point up to the date the LAFF paper is due.
�Cine contemporáneo latinoamericano, otoño 2015 – 16
Appendix c
The Research Esaay
Timeline:
Preliminary Bibliography and Topic Idea due electronically via Digital Dropbox on
Tuesday, October 27th at 11:59PM
Final Essay due electronically via Digital Dropbox on Wednesday, November 25th at
11:59PM (worth 40%)
Final Presentation at Final Exam date December 10th at 5:30PM (worth 5%)
The prompt for the longer paper is very simple: I ask you to consider tropes and issues concerning any aspect of your choice on
contemporary Latin American cinema. You must examine at least one film that we are screening for class, and you must use at
least one secondary source from the articles that we are reading; from there, however, you have free range as to the number of
films you may examine, and you can also go outside the boundaries of this class to develop your paper topic. The specific
argument is entirely up to you. (Yes, your paper should have an argument. Make it clear and effective. This should go without
saying, but I’ll say it anyway…)
Since this is a research paper, secondary sources are a necessity. All papers must contain at least four secondary sources; for those
taking this course as SPAN-656 or LIT-646, you must have double that number.
Papers should be roughly 6-10 pages in length, but that is only a guideline as to how complex I think your argument should be.
(For those taking LIT-646 or for Honors credit, your paper might be a little longer, but I am looking more for quality than
quantity. I expect that your argument will be sufficiently complex; you should expect to be held to a higher standard than the
rest of the class.)
THE PRELIMINARY BIBLIOGRAPHY AND TOPIC
�Cine contemporáneo latinoamericano, otoño 2015 – 17
After spring break, you should have a clearer idea of what your television series is about, and perhaps what you would like to
write about. Please see me during office hours after spring break so that I can help you hone your ideas.
By 11:59PM on Tuesday, October 27th, you should be ready to submit a preliminary topic idea, as well as a preliminary
bibliography of outside sources for your project. Note the following:
Your bibliography should consist of at least ten sources. Please arrange the entries alphabetically by author’s last
name, as you would for a regular bibliography. For full credit, these entries should be submitted in MLA style. Please
note that at least seven of these sources should be scholarly. (Exceptions might be made here for more obscure
topics; please see me more for information about this before you start research if you think this applies to you.) Also
note that neither Wikipedia nor IMDB are ever a proper source, at least not in this class.
Each entry should also contain 1-2 sentences maximum about what you hope to learn from this source. You do not
have to have already read any of these sources, but you should have an idea as to why you are looking at it in the first
place.
The bibliography should be accompanied by a paragraph detailing your ideas for this essay. This does not need to be
your final argument, but you should articulate it as best as you can with the research you have done thus far. I will
help you refine the argument and perhaps offer advice for further avenues of research or inquiry to pursue.
This assignment does not count toward your grade – but will help toward your research project, so take advantage of
it!
GENERAL GUIDELINES FOR THE ESSAY ITSELF
Essays should be roughly 10-15 double-spaced pages in length, though that is only meant as a guideline as to how complex I
think your argument should be. I prefer a shorter paper to one that adds “filler” to pad a paper to the page limit; then
again, if your paper is significantly shorter – say, seven pages – you may wish to consider whether you have developed a
strong enough argument. Remember that a paper of this length means that you should not try to encompass everything
about your topic; rather, by necessity, you will only be able to go into depth about certain aspects of it.
MLA style please, both in considering in-text parenthetical citations and the accompanying bibliography.
Papers should be written entirely in Spanish. Do not translate sources originally written in English (or French, for that
matter); leave such citations in the original language.
Don’t be scarce. I am here to help. If you start with a general idea, please feel free to come in and I’d be more than happy
to help you out with finding sources, narrowing your topic, helping with an argument. You know when the office hours
are, so make me work.
Please realize that there is absolutely no way you can get all of this done the night before each assignment is due. You
must pace yourself accordingly just to do the legwork in getting all of the materials.
Use the library as a resource. They can help you with many aspects of this process, so please take advantage of them.
Use support to develop your argument. This means that you will be citing passages from secondary sources in addition to
extensive description of shots and sequences from the films (which is how you cite a visual source). This can only help
your argument – think about textual support as a foundation upon which you can build a strong paper.
The final project may not be revised. Hence, take advantage of all the time beforehand to seek out help from me, the
Writing Center, the Library and any and all other options.
THE FINAL PRESENTATION
During the final exam period on December 10th, you will briefly present to the class what you have discovered about your
aspect of national cinema over the course of your study. You will have only 7-8 minutes to present, but no more than that.
Please be prepared, and try to offer us something quick and visual (which may not be a clip, given time constraints). If you
need something taken out of the library ahead of time, please give me at least 12 hours notice so that I can prepare
accordingly.
�Cine contemporáneo latinoamericano, otoño 2015 – 18
This portion of your grade consists of 5 points, broken down as follows:
4 points for content – the information you present, the relevance of your presentation to the course, the strength of
your argument, the clarity of your position, etc.
1 point for presentation – the manner in which you present, staying within the time constraints, entertainment
value/ability to keep class awake and/or interested, etc. (Please note that going more than two minutes over the time
limit will forfeit any points for this section, including technological snafus.)
One more thing: have fun with this! And good luck!
�Cine contemporáneo latinoamericano, otoño 2015 – 19
Apéndice D
Películas para una historia
de cine Latinoamericano
Hay muchas cosas que tenemos que hacer este semestre, y una de las cosas que no tenemos tiempo de hacer es hacer un reencuentro con la gran historia del cine latinoamericano. Es grande y múltiple, y si tuviéramos una semestre entera para la
historia del cine latinoamericano, no sería suficiente. (He tratado de enseñar una clase así hace varios años, y hay demasiados
películas ahora. Era un fracaso total y completo.)
Les doy abajo unas sugerencias si quieren explorar un poco de la historia del cine latinoamericano. Todas estas películas son
opcionales. Tenemos todas por DVD en la biblioteca – pero igual la mayor parte también puede encontrar por YouTube y
Vimeo, e incluyo dónde se puede ubicar por el Internet aquí.
También hay dos libros que les puedo recomendar que les darán un buen resúmen:
Magical Reels: A History of Cinema in Latin America, escrito por John King. PN 1993.5.L3 K45 2000.
24 Frames: The Cinema of Latin America, editado por Alberto Elena y Marina Díaz López. PN 1993.5.L3 C56 2003.
10 películas claves de la historia del cine latinoamericano
María Candelaria, de Emilio “El Indio” Fernández, México, 1943. Hay varias películas de la “época de oro” de cine
mexicano, establecida durante la Segunda Guerra Mundial cuando había poco celuloide en el mundo y los Estados
Unidos favoreció México para cuidar su industria cinematográfica. Ésta es una de las primeras con la actriz Dolores
del Rio y el cinematógrafo Gabriel Figueroa. Con esta melodrama y Flor silvestre del mismo año, ellos establecieron un
estilo que sería copiado e imitado por todo México. Otras melodramas merecidas de este periodo incluyen Doña
Bárbara (con la otra reina del cine mexicano, María Félix) y Aventurera (una “cabaretera,” un género bien mexicana con
la bailarina cubana Ninón Sevilla). DVD 1467, YouTube.
Deus e o Diabo na Terra do sol (Dios y el Diablo en la Tierra del Sol), de Glauber Rocha, Brazil, 1964. Película clave del
“Cinema Nôvo,” un movimiento de cine brasileño inspirada por el cine neo-realisto italiano. Extrañisimo, pero
también muestra un ejemplo de lo que Rocha llamó “la estética del hambre.” DVD 1474, YouTube.
Los Olvidados, de Luis Buñuel, México, 1950. Buñuel nació en España, pero se exilió al Nuevo Mundo cuando entró
Franco y dejó a Hollywood cuando se enteraron que era comunista. Hizo varias melodramas típicas de la Época de
Oro cuando por fin juntó suficiente plata para hacer Los Olvidados, también con el gran cinematógrafo Figueroa. Esa
película brutal y seria (con rasgos del surrealismo) sobre la pobreza histórica en la Ciudad de México inspiró un gran
parte del Nuevo Cine Latinoamericano. La carrera mexicana de Buñuel resulta en sus películas más interesantes, como
Él, Viridiana y El ángel extrminador. DVD 7008, Vimeo.
Muerte de un burócrata de Tomás Gutiérrez Alea, Cuba, 1962. El primer largometraje que sale del ICAIC (el Instituto
Cubano de Artes e Industrias Cinematográficas) es una verdadera comedia que mezcla cine política de Italia con el
entretenimiento de Hollywood. DVD 9559, Vimeo.
La hora de los hornos de Grupo Liberación/Fernando Solánas y Octavio Getino, Argentina, 1974. Solanas y Getino, los
dos hombres grandes del Grupo Liberación, publicaron un manifiesto llamado “Hacia un tercer cine” que intentó unir
�Cine contemporáneo latinoamericano, otoño 2015 – 20
cines de todo el mundo, y mostró la necesidad de un cine militante para combatir el “primer cine” neocolonial de
Hollywood y Europa. La hora de los hornos es la muestra de cómo hacer este cine, entre documental y ficción y con una
estética realmente combatiente. La versión entera dura 4 ½ horas en tres partes; basta solamente ver la primera parte.
DVD 3118, YouTube.
La batalla de Chile: La lucha de un pueblo sin armas (Parte 1) de Patricio Guzmán, Chile/Francia, 1975. Cuando Guzmán y
los miembros de ChileFilms (también, como ICAIC, parte del gobierno del Salvador Allende) comenzaron hacer su
película, intentaron hacer un documental sobre un paro. Terminaron filmando el golpe de estado de Pinochet, y lo que
inmediatamente pasó después. En 1997, Guzmán hizo Chile, la memoria obstinada sobre qué pasó cuando regresó
clandestinamente a Chile con una copia de la película y la mostró a una generación que nunca ha escuchado esta
historia. AU Streaming Video.
Memorias del subdesarrollo de Tomás Gutiérrez Alea, Cuba, 1968. El décimo aniversario de la Revolución Cubana de
1958 resultó en una variedad de largometrajes impresionantes del ICAIC, como Lucía de Humberto Solás, pero
Memorias es la joya de ese periódo y regularmente es considerado como la mejor película latinoamericana de todos
tiempos. Entre documental y ficción, la película examina las respuestas posibles al pregunta, “¿Qué puede hacer el
intelectual por la Revolución?” DVD 429, YouTube.
Santo y Blue Demon contra Drácula y el Hombre Lobo de Miguel Delgado, México, 1973. Quizás una selección polémica
para esta lista, pero creo que es importante considerar el cine popular, y no hay nada más popular que las películas de
“explotación” con el famoso Santo, el rey de la lucha libre. Puede escoger a cualquier de esas películas realmente
ridículas de los años 70 (una época baja de producción mexicana), pero aquí Santo y su mejor amigo Blue Demon
trata de resolver el misterio de Drácula y el Hombre Lobo (usando chompa con cuello alto) en una forma medioScooby Doo. Se va a reír a carcajadas. DVD 3538.
La historia oficial de Luis Puenzo, Argentina, 1985. Ganador del Oscar por película extranjera, esta es una de las
primeras películas argentinas que hizo el esfuerzo de discutir algo sobre la Guerra Sucia. DVD 44, YouTube.
Danzón de María Novaro, México, 1991. La historia del cine latinoamericano es dominado, como la mayor parte de
Latinoamérica, por hombres. En los años 90, hay varias mujeres (como María Luisa Bemberg en Argentina o Fina
Torres en Venezuela) que están saliendo con buenas películas en la región. Ésta es una de las mejores, siguiendo una
mujer que viaja hasta Veracruz para encontrar su pareja…de baile. DVD 5797, YouTube.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Syllabus
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
Cine contemporáneo latinoamericano
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
Using methods that both embrace and critique the study of national cinemas, this course provides a survey of cinema from across the Latin American region, concentrating on the changing tropes of contemporary cinema and including screenings as part of the AFI Latin American Film Festival.
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Argentina
Bolivia
Brazil / Brasil
Chile
Colombia
Cuba
Mexico / México
Peru / Perú
Region / Región
The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso.
Latin America / Latinoamérica
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Films taught / Películas
<a href="https://cinegogia.omeka.net/items/show/25"><em>Amores perros</em></a><br /><a href="https://cinegogia.omeka.net/items/show/186"><em>¡Asu Mare!</em></a><br /><a href="https://cinegogia.omeka.net/items/show/178"><em>Las caras de la luna</em></a><br /><a href="https://cinegogia.omeka.net/items/show/280"><em>Club Sándwich</em></a><br /><a href="https://cinegogia.omeka.net/items/show/75"><em>Contracorriente</em></a><br /><a href="https://cinegogia.omeka.net/items/show/180"><em>Crónicas</em></a><br /><a href="https://cinegogia.omeka.net/items/show/174"><em>Diarios de motocicleta</em></a><br /><a href="https://cinegogia.omeka.net/items/show/185"><em>Don Gato y su pandilla</em></a><br /><a href="https://cinegogia.omeka.net/items/show/191"><em>Gloria</em></a><br /><a href="https://cinegogia.omeka.net/items/show/189"><em>Madame Satã</em></a><br /><a href="https://cinegogia.omeka.net/items/show/203"><em>Miss Bala</em></a><br /><a href="https://cinegogia.omeka.net/items/show/187"><em>La niña santa</em></a><br /><a href="https://cinegogia.omeka.net/items/show/192"><em>No se aceptan devoluciones</em></a><br /><a href="https://cinegogia.omeka.net/items/show/177"><em>Novia que te vea</em></a><br /><a href="https://cinegogia.omeka.net/items/show/190"><em>Post Mortem</em></a><br /><a href="https://cinegogia.omeka.net/items/show/179"><em>¿Quién mató a la llamita blanca?</em></a><br /><a href="https://cinegogia.omeka.net/items/show/175"><em>Revolución</em></a><br /><a href="https://cinegogia.omeka.net/items/show/193"><em>Relatos salvajes</em></a><br /><a href="https://cinegogia.omeka.net/items/show/188"><em>El secreto de sus ojos</em></a><br /><a href="https://cinegogia.omeka.net/items/show/103"><em>Suite Habana</em></a><br /><a href="https://cinegogia.omeka.net/items/show/184"><em>Temporada de patos</em></a><br /><a href="https://cinegogia.omeka.net/items/show/183"><em>La teta asustada</em></a><br /><a href="https://cinegogia.omeka.net/items/show/84"><em>Tropa de Élite</em></a><br /><a href="https://cinegogia.omeka.net/items/show/182"><em>XXY</em></a><br /><a href="https://cinegogia.omeka.net/items/show/176"><em>Y tu mamá también</em></a><br /><a href="https://cinegogia.omeka.net/items/show/181"><em>La Yuma</em></a>
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Jeffrey Middents, American University
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Attribution - NonCommercial
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cine contemporáneo latinoamericano
Description
An account of the resource
Using methods that both embrace and critique the study of national cinemas, this course provides a survey of cinema from across the Latin American region, concentrating on the changing tropes of contemporary cinema and including screenings as part of the AFI Latin American Film Festival.
-
https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/dc8801bde19d617c3cfb4bac71fc5af5.pdf?Expires=1712793600&Signature=R0SWRYOEOC4wyAAl2aT%7EAi8gdkuBdsNgjU1WcX9sgIzM1jT%7Eej%7EVayfHJkN0v8-Ut7%7EAIj5TwPEPlSqkf1xg6dy72iICjwtzAA2ppIHMINp6Tjwcw%7EEdnotxKJZZLtEdWBsUZxVaoztkvRr7OKwhYy2In51xkveOPjS9Ne%7ECqIm4pNgDHv9b4i%7EelHMox-1iIYnfSftCuGSeW1ay6pRWVOAW2zGafVpC5YK-J6qRqtvBza29INeU4iEp080Cb%7EQqV11Eg85Sw00kQoZ04U81Xy9L1reJuPgZHqLPfx0pA0KpOLc08YIqxGfDmSJg9%7ENilDhmpi1dpWWoOjQ-Lv1Rvw__&Key-Pair-Id=K6UGZS9ZTDSZM
fc07ad889107b6931f90349a11ab8bb3
PDF Text
Text
Contributed by Manuel Medina, University of Louisville
Syllabus: Después del cine latinoamericano: tradición y renovacióm
Inicio
Syllabus
Calendario
Presentaciones
Recursos
E-mail Dr. Medina
Read the English version
Después del "Nuevo Cine Latinoamericano": tradición y renovación
Español 554
(Class number: 8859)
Otoño 2014
Lunes 5:30 p.m.-8:15 p.m.
202 Humanities
Dr. Manuel F. Medina
Pre-requisitos: Español 401,402, 403, or 404 o con autorización del profesor.
Horas crédito: 3
Oficina y teléfono y correo electrónico:
Humanities Building, Tercer Piso, 329-B
Teléfono: 852-0501 (Oficina)
Fax: 502-852-8885
E-mail: medina502 at gmail.comor manuel.medina@louisville.edu
Class URL: medina502/classes/lafilm_2014/
Esta página provee mucha información sobre temas relacionados con nuestra clase
Horas de consulta:
Lunes 3:30 -4:20 p.m., jueves: 1:30 -2:20 p.m. o con cita previa
Estas son mis horas de consulta “oficiales,” pero la puerta de mi oficina está siempre abierta. Disfruto el enseñar y disfruto del hablar con mis estudiantes,
así que si tiene alguna pregunta que no contesté completamente en clase o si quiere explorar alguna idea, pase por mi oficina. Si lo prefiere, puede dejarme
un mensaje de correo electrónico [medina502 at gmail.com] o con la secretaria del departamento [852-6686].
Descripción de la clase:
Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea..
Objetivos del curso:
1. Analizar el desarrollo del cine latinoamericano de fines del siglo XX y comienzos del XXI al estudiar temas y estrategias cinemáticas de películas
representativas de corrientes dominantes en este género.
2. Estudiar cómo el momento socio-histórico-político influencia, nutre o se refleja en la producción cultural.
3. Para dar coherencia al estudio de los textos, consideraremos también algunos aspectos de la teoría del estudio del cine.
4. Mejorar el dominio del español por medio de la lectura, la participación en conferencias y discusiones, y la presentación de exámenes.
Metas de la clase:
Formular una idea personal sobre el desarrollo de las técnicas cinemáticas y temas sobresalientes del cine latinoamericano contemporáneo.
http://medina502.com/classes/lafilm_2014/syllabus.php
�Syllabus: Después del cine latinoamericano: tradición y renovacióm
Textos obligatorios:
Giannetti, Louis. Understanding Movies 11th ed. Upper Saddle River, New Jersey: Prentice Hall, 2008. Se puede usar cualquier edición a partir de la novena.
Lecturas suplementarias: disponibles a través del website de la clase. (PDF, Blackboard)
Texto sugerido:
Corrigan, Timothy. A Short Guide to Writing about Film. 7th. ed. New York: Longman, 2006.
Notas del curso: criterio y distribución:
Preparación, participación en discusiones, pruebas y tareas asignadas
10%
Informes sobre las películas.
10%
Presentaciones orales
10%
Dos exámenes
a. uno de medio semestre . . . . . . . . . . . . . . . . . . . . .20%
b. un examen final . . . . . . . . . . . . . . . . . . . . . . . . . . 20%
Un trabajo final
40%
30%
Escala de calificaciones:
95.5%-100% A+
92.5%-95.4% A
89.5%-92.4% A85.5%-89.4% B+
82.5%-85.4% B
79.5%-82.4% B75.5%-79.4% C+
72.5%-75.4% C
69.5%-72.4% C65.5%-69.4% D+
62.5%-65.4% D
59.5%-62.4% D0%-59.4% F
Asistencia:
Recomiendo que no se falte a ninguna de las clases.
No se puede recibir crédito por tarea asignada para ese día. Asimismo deduciré puntos por participación en clase
He instituido la siguiente política para casos de extrema urgencia en los que faltar a la clase representa la única opción disponible a los alumnos.
Dado que la clase se reúne una vez por semana, el no asistir a una clase representa el equivalente de perder una sesión entera. Por lo tanto, he instituido la
siguiente política sobre la asistencia:
Se permite una falta no justificada
Dos faltas reducen la nota final de la clase por un 5% (e.g. un 90% se convertirá en un 85%)
Tres faltas equivalen a la deducción de una nota entera (e.g de B a C)
Con cuatro faltas o más se sacará una nota de F.
Nota: Por favor, comuníquense conmigo para discutir ausencias justificadas tales como emergencias médicas, servicio como jurado en la corte, u otras que
podrían incluirse en esta lista.
http://medina502.com/classes/lafilm_2014/syllabus.php
�Syllabus: Después del cine latinoamericano: tradición y renovacióm
Participación:
SE DEBE VER LA PELíCULA ANTES DE LLEGAR A CLASE.
Leer y criticar, pensar y analizar, cuestionar, interrogar, dialogar y escribir representan componentes esenciales de esta clase. Debe de llegar a clase
habiendo visto la película y habiendo leído el material previamente asignado y preparado para discutir, argumentar y pensar los asuntos que se presentan
en clase. Se espera que cada estudiante asista a todas las clases y participe activamente en todas las discusiones y presentaciones. El profesor tomará
pruebas sorpresas (pop quizzes) que midan la preparación del estudiante.
Exámenes:
Los exámenes miden su habilidad para pensar clara y analíticamente sobre los textos estudiados en clase. Sus respuestas deben incorporar las ideas
comentadas en clase y sus propios puntos de vista. Se tomaran dos exámenes uno a medio semestre y otro al final del mismo. Ambos contarán como 40% de
la nota. Se basarán en las lecturas, discusiones en clase, conferencias. Las preguntas se podrán contestar por medio de ensayos breves y largos, se pedirá
que compare y contraste temas discutidos en clase.
Trabajos escritos (ensayo):
Se entregarán detalles al respecto la segunda semana de clases.
Presentaciones orales:
Se entregarán detalles al respecto la segunda semana de clases
Student Academic Rights and Responsibilities:
Every student is expected to be thoroughly familiar with the University's Code of Student Rights and Responsibilities and Student Conduct which can be
found in the General Information section of the Undergraduate Catalog.
Along with preparing for and attending class, each student has the responsibility of promoting high academic standards. Students are expected to
cooperate in all classes with instructor to achieve an optimal learning environment. The College of Arts and Sciences does not tolerate cheating,
fabrication, falsification, multiple submission, plagiarism, or complicity in academic dishonesty. The College of Arts and Sciences has a statement of
academic discipline for action against students who cheat or plagiarize.
University Policy on Discrimination and Sexual Harassment:
The University of Louisville strives to maintain the campus free of all forms of illegal discrimination as a place of work and study for faculty, staff, and
students.
Sexual harassment is unacceptable and unlawful conduct and will not be tolerated in the workplace and the educational environment.
If an individual is shown to have violated the sexual harassment policy, the individual will be subject, depending upon the seriousness of the violation, to
disciplinary action up to and including termination of employment or expulsion from the University.
Policy on Instructional Modifications or accommodations:
I encourage students who have a disability or other educational, physical or mental limitations or conditions which may impair their ability to complete
assignments or otherwise satisfy course criteria to meet with me to identify, discuss and document any feasible instructional modifications or
accommodations. Please notify me no later than the end of the second week of the semester or no later that the end of the second week after you get
diagnosed with a disability or condition, whichever occurs first. You may contact the Disabilities Resource Center for information and auxiliary aid.
The University of Louisville is committed to providing access to programs and services for qualified students with disabilities. If you are a student with a
disability and require accommodation to participate in and complete requirements for this class, contact the Disability Resource Center (Tobbins A Hall
852-6938) for verification of eligibility and determination of specific accommodations.
Note:
Policy on Mobile devices:
You cannot text, e-mail, im, connect to a social network or browse the internet in class. On a first offense, you will receive a warning. Second incidents will
merit further consequences that will include confiscating devices and conflict resolutions sessions with the Dept. chair. I will also deduct points (up to 80%)
of your overall class participation grade.
The instructor reserves the right to make changes in the syllabus when necessary to meet learning objectives, to compensate for missed classes, or for
similar reasons.
http://medina502.com/classes/lafilm_2014/syllabus.php
�Calendario de lecturas: Después del cine latinoamericano: tradición y renovacióm
Inicio
Syllabus
Calendario
Agosto / 25 | | presentations/Latin_American_Film |
El cine latinoamericano del siglo XX
Compresión narrativa del cine
Términos para el estudio del cine
Septiembre / 1 |
No hay clases.
Septiembre / 8 | | Tarea para entregar | | Ficha técnica |
Película: Central do Brasil (Walter Salles, Brasil, 1999)
Understanding Movies Chapter 1 "Photography" (PDF, Blackboard)
Rocha, Glauber, "Estética del hambre" (pdf)
Septiembre / 15 | | Tarea para entregar | | Ficha técnica | | Mise en scène |
Película: Los colores de la montaña (Carlos César Arbeláez, Colombia, 2010)
Understanding Movies Chapter 2 "Mise en scéne" (PDF, Blackboard)
Rocha, Glauber, "Estética de la violencia" (pdf)
Septiembre / 22 | | Tarea para entregar | | Ficha técnica | | |
Película: Abril Despededaçado (Walter Salles, Brasil, 2001)
Understanding Movies Chapter 3 "Movement" (PDF, Blackboard)
Oral Presentations:
1
17
Septiembre / 29 | | Tarea para entregar | | Ficha técnica |
Película: El Chacotero Sentimental (Cristián Galaz, Chile, 1999)
Understanding Movies Chapter 4 "Editing"
http://medina502.com/classes/lafilm_2014/calendar.php
Presentaciones
Recursos
E-mail Dr. Medina
�Calendario de lecturas: Después del cine latinoamericano: tradición y renovacióm
Oral Presentations:
2
16
Octubre / 6 |
No hay clases.
Octubre / 13 | | Tarea para entregar | | Ficha técnica |
Película: Whisky (Juan Pablo Rebella & Pablo Stoll, Uruguay, 2004).
Entregar propuesta del trabajo final
Understanding Movies Chapter 8 "Story"
Octubre / 20 | | Tarea para entregar | | Ficha técnica |
Guía del examen de mitad de curso
Octubre / 27 | | Tarea para entregar | | Ficha técnica | | |
Película: Rosario Tijeras (Emilio Maillé, Colombia, 2005)
Understanding Movies Chapter 5 "Sound"
Anuncios telenovela y música
Oral Presentations:
3
15
Noviembre / 4 | | Tarea para entregar | | Ficha técnica | | |
Película: El hijo de la novia (Juan José Campanella , Argentina, 2001)
Understanding Movies Chapter 6 "Acting"
Oral Presentations:
4
14
Noviembre / 10 | | Tarea para entregar | | Ficha técnica |
Película: Alicia en el pueblo de maravillas (Daniel Díaz Torres;, Cuba, 1990)
Understanding Movies Chapter 9: Writing
Oral Presentations:
5
13
Noviembre / 17 | | Tarea para entregar | | Ficha técnica | | |
Película: La mujer de Benjamín (Carlos Carrera, México, 1991)
http://medina502.com/classes/lafilm_2014/calendar.php
�Calendario de lecturas: Después del cine latinoamericano: tradición y renovacióm
Entregar borrador del trabajo final
Understanding Movies Chapter 10 "Ideology"
Discutiremos secciones de "Hacia un tercer cine" y "Hacia un cine imperfecto"
Chapter 10: Ideology
Review questions on pages 493 (10th ed. 470-71).
Answer two of the following questions:
1. What is ideology? How does this concept relate to the study of film?
2. Explain the left-center-right model for differentiating political ideologies and point out the strengths and weaknesses of using it to analyze
films.
3. What elements must one consider when exploring the relationship among culture, religion, ethnicity, and cinema?
4. Explain the complex variety of roles women have played in the Hollywood studio system, including the success of such genres as screwball
comedies and the women?s picture. How did factors such as ethnicity and race add to the complexity?
Oral Presentations:
6
12
Noviembre / 24 | | Tarea para entregar | | Ficha técnica | | |
Película: Contracorriente (Javier Fuentes-León, Perú, 2010)
Understanding Movies Chapter 11 "Critique"
Chapter 11: Critique
Review questions on pages 533-543 (10th ed. 470-71).
No hay que entregar respuestas a preguntas sobre el capítulo 11
Oral Presentations:
7
11
Diciembre / 1 | | Tarea para entregar | | Ficha técnica |
Película: Prometeo Deportado (Fernando Mieles, Ecuador, 2012)
Película: Prometeo Deportado
Oral Presentations:
8
10
Diciembre / 8 | | Tarea para entregar | | Ficha técnica | | |
Película: Amores perros (Alejandro González Iñárritu, México, 2000)
Entregar trabajo final
Oral Presentations:
9
Diciembre / 15 | | Tarea para entregar |
Examen Final: (5:30 p.m. - 8:00 p.m)
Last Update: Monday June 27, 2016
Site design: ©2007-2014, Manuel F. Medina medina502 (@) gmail.com
All rights reserved.
http://medina502.com/classes/lafilm_2014/calendar.php
�
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.
Después del cine latinoamericano: Tradición y renovación
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea.
Region / Región
The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso.
Latin America / Latinoamérica
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Films taught / Películas
<a href="https://cinegogia.omeka.net/items/show/234"><em>Abril despedaçado </em></a><br /><em><a href="https://cinegogia.omeka.net/items/show/73">Alicia en el pueblo de maravillas</a><br /><a href="https://cinegogia.omeka.net/items/show/25">Amores perros </a></em><br /><a href="https://cinegogia.omeka.net/items/show/28"><em>Central do Brasil </em></a><br /><a href="https://cinegogia.omeka.net/items/show/29"><em>El chacotero sentimental </em></a><br /><em><a href="https://cinegogia.omeka.net/items/show/74">Los colores de la montaña</a><br /><a href="https://cinegogia.omeka.net/items/show/75">Contracorriente </a></em><br /><a href="https://cinegogia.omeka.net/items/show/76"><em>El hijo de la novia </em></a><br /><a href="https://cinegogia.omeka.net/items/show/49"><em>La mujer de Benjamin </em></a><br /><a href="https://cinegogia.omeka.net/items/show/82"><em>Prometeo deportado </em></a><br /><a href="https://cinegogia.omeka.net/items/show/56"><em>Rosario Tijeras </em></a><br /><a href="https://cinegogia.omeka.net/items/show/85"><em>Whisky</em></a>
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Manuel Medina, University of Louisville
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Open Educational Resources (OER)
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Argentina
Brazil / Brasil
Chile
Colombia
Cuba
Ecuador
Mexico / México
Peru / Perú
Uruguay
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
Después del cine latinoamericano: Tradición y renovación
Description
An account of the resource
Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea.
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https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/69802d898e853524a591a14894b7609b.pdf?Expires=1712793600&Signature=bdSeNmAwzN8sj4E8R3MdaenlE4RSz7FsO5DhRtOEbqycCiiy0PbIM0wcILeu5S-8c%7EkMSo%7EWbVy1PH-br0VymO6wxvcUq31ta82-j1OW5cf13kTZR4BBM9EgXsNAcpn%7EqPoQ-6TrmIfJwMLcfhXgA7yyxgDVhaOk0%7E8kj9qkAQc14MXXTd8WCVV9500COo3x8xqQiIbOkMRn%7EPhaxuGz-5Th82T%7ErvzyjnvirXnuA1N3H7y0MnKeIy-7C5EdWjmWXSzcGBFqwlXXkmSdxUzoHzB5xlVXURO20SVcSCtBzCoCjaMr%7EtZUWVY4aA45PlujyJ9rI-G2vZc5HyljSPHi%7Eg__&Key-Pair-Id=K6UGZS9ZTDSZM
e95d3ee815467abf3b023f6b48b21069
PDF Text
Text
Contributed by Manuel Medina, University of Louisville
Syllabus: Contemporary Latin American Film
Home
Syllabus
Calendar
Presentations
Resources
E-mail Dr. Medina
Contemporary Latin American Film
Dr. Manuel F. Medina
Fall 2015
Hum 326 Studies in Film and Culture. Class number 4974
E-mail: manuel.medina@louisville.edu
Phone number: 502-852-0501
Time: MW 2:00 - 3:15 pm. Hum 117
Office Hours: M 1:00 - 1:50 p.m. and Th 1:00 - 1:50 p.m. and by appointment
Class website: http://medina502.com/classes/hum326_2015
Prerequisite: Sophomore standing.
Description
A study of a specific group of Latin American films in relation to their specific cultural and historical contexts.
Goals:
The class will study Latin American film and within their social, economical and political contexts..
The students will examine selected readings (secondary sources) to familiarize themselves with the main historical topics and contexts
explored in the films study in class.
The discussions will address and examine how the social-economical-political conditions affect cultural production.
The students will learn film theory and learn an understanding of vocabulary, concepts, materials, techniques, and methods of intellectual
inquiry within the analysis of films.
The students will analyze and synthesize films, recognizing the diversity of Latin American culture with its and historical contexts
The course will emphasize student collaboration, in-class discussion and lectures.
Objectives
Upon successful completion, the students will be able to accomplish the following tasks:
Discuss, synthesize and analyze key point associated with Latin American film within the contents of the Latin American social, political and
economical settings in which they were produced.
Analyze a film using cultural studies and film theory demonstrating an understanding of vocabulary, concepts, materials, techniques, and
methods of intellectual inquiry within the analysis of films.
Explain the relationship between form and content and to discuss them within the context in which the directors produced the films.
Describe and evaluate films using primary and secondary sources.
Required textbooks and films
Textbooks:
Gianetti, Louis. Understanding Movies. 11th Ed. New York: Prentice Hall, 2007
You must order the book yourself from amazon or a similar site. Prices range from $7.00 to $30.00.
Link to amazon listing
http://medina502.com/classes/hum326_2015/syllabus.php
�Syllabus: Contemporary Latin American Film
Films:
Film: Central Station (Walter Salles, Brasil, 1990)
Video Call Number: DVD PN1997 .C4337 1999
Streaming video available from YouTube & DVD available from Netflix (DVD)
Film: The Colors of the Mountain, (Carlos CŽsar Arbel‡ez, Colombia, 2010)
Video Call Number: DVD PN1997.2 .C6416 2011
Streaming video available from YouTube Netflix
Film: Behind the Sun (Walter Salles, Brasil, 2001)
Video Call Number: DVD PN1997.2 .A264 2002
Streaming video available from Netflix
Film: Strawberry and Chocolate/Fresa y chocolate (Tom‡s GutiŽrrez Alea, Cuba, 1993)
Video Call Number:
Streaming video available from & DVD available from Netflix (DVD
Film: Undertow/Contracorriente (Javier Fuentes-Le—n, Peru, 2009)
Video Call Number: DVD PN1997.2 .C667 2011
Streaming video available from YouTube Netflix
Film: In this tricky Life/En la puta vida (Beatriz Flores Silva, Uruguay, 2001.)
Video Call Number: DVD PN1997.2 .E65 2004
Streaming video available from YouTube & DVD available from Netflix (DVD
Film: Soccer Stories/Historia de fœtbol (AndrŽs Wood, Chile, 1997)
Video Call Number: DVD PN1997.2 .H578 2006
Streaming video available from YouTube & DVD available from Netflix (DVD
Film: madeinusa (Claudia Llosa, Peru, 2006)
Video Call Number: DVD PN1997.2 .M337 2007
Streaming video available from YouTube & DVD available from Netflix (DVD
Film: The Year my Parents Went on Vacation/O Ano que Meus Pais Sairam de Ferias (Cao Hamburguer, Brasil, 2006)
Video Call Number: DVD PN1997.2 .A476 2008
Streaming video available from YouTube & DVD available from Netflix (DVD
Film: Amores perros/Love's a Bitch (Alejandro Gonz‡lez I–‡rritu, MŽxico, 2000)
Video Call Number: DVD PN1997 .A34365 2002
Streaming video available from YouTube & DVD available from Netflix (DVD
Additional materials:
And additional materials made available via website and Blackboard.
Grading Policy and Distribution
Grades are final and not negotiable
Class participation, quizzes, attendance and assignments 20%
Oral Presentation 15%
Handout and visuals for the presentation 5%
Term Paper20%
Midterm Exam20%
Second Exam20%
Letter Grade Definitions
100 to 90A, Exceptional
http://medina502.com/classes/hum326_2015/syllabus.php
�Syllabus: Contemporary Latin American Film
Student strongly exceeds all requirements as provided by the instructor. The work product not only meets the requirements of the project but
also goes above and beyond the scope of work.
89 to 80=B, Above Average
Student completes all requirements as provided by the instructor. Student is well prepared for every class, with daily assignments as requested
by the instructor and participates in class discussions. Written work demonstrates good craft with acceptable attention to detail.
79 to 70=C, Average
Student completes all requirements as provided by the instructor. The work products reflect basic comprehension of class objectives and work
is completed to meet requirements only. Student is prepared for most class sessions with assignments as requested by the instructor.
69 to 60 =D, Poor
Student does not complete all requirements as provided by the instructor. The work products fail to reflect basic class principles and
demonstrate lack of comprehension of course material. Student is often ill-prepared for class sessions. Written work and assignments are
incomplete, poorly crafted and show a lack of attention to detail.
59 to 0F, Failing
Student completes a small portion of requirements as provided by the instructor. The work products fail to reflect basic class principles and
demonstrate lack of comprehension of course material. Student is generally ill-prepared for class sessions. Written work and assignments are
incomplete, poorly crafted and show a lack of attention to detail.
Student Academic Rights and Responsibilities:
Every student is expected to be thoroughly familiar with the University's Code of Student Rights and Responsibilities and Student Conduct
which can be found in the General Information section of the Undergraduate Catalog.
Along with preparing for and attending class, each student has the responsibility of promoting high academic standards. Students are expected
to cooperate in all classes with the instructor to achieve an optimal learning environment. The College of Arts and Sciences does not tolerate
cheating, fabrication, falsification, multiple submission, plagiarism, or complicity in academic dishonesty. The College of Arts and Sciences has a
statement of academic discipline for action against students who cheat or plagiarize.
University Policy on Discrimination and Sexual Harassment:
Title IX/Clery Act Notification
Sexual misconduct (including sexual harassment, sexual assault, and any other nonconsensual behavior of a sexual nature) and sex
discrimination violate University policies. Students experiencing such behavior may obtain confidential support from the PEACC Program
(852-2663), Counseling Center (852-6585), and Campus Health Services (852-6479). To report sexual misconduct or sex discrimination,
contact the Dean of Students (852-5787) or University of Louisville Police (852-6111).
Disclosure to University faculty or instructors of sexual misconduct, domestic violence, dating violence, or sex discrimination occurring on
campus, in a University-sponsored program, or involving a campus visitor or University student or employee (whether current or former) is not
confidential under Title IX. Faculty and instructors must forward such reports, including names and circumstances, to the UniversityÕs Title IX
officer.
For more information, see the Sexual Misconduct Resource Guide
(http://louisville.edu/hr/employeerelations/sexual-misconduct-brochure).
Policy on Instructional Modifications or accommodations:
I encourage students who have a disability or other educational, physical or mental limitations or conditions which may impair their ability to
complete assignments or otherwise satisfy course criteria to meet with me to identify, discuss and document any feasible instructional
modifications or accommodations. Please notify me no later than the end of the second week of the semester or no later that the end of the
second week after you get diagnosed with a disability or condition, whichever occurs first. You may contact the Disabilities Resource Center for
information and auxiliary aid.
The University of Louisville is committed to providing access to programs and services for qualified students with disabilities. If you are a
http://medina502.com/classes/hum326_2015/syllabus.php
�Syllabus: Contemporary Latin American Film
student with a disability and require accommodation to participate in and complete requirements for this class, contact the Disability Resource
Center (852-6938) for verification of eligibility and determination of specific accommodations.
Note: The instructor reserves the right to make changes in the syllabus when necessary to meet learning objectives, to compensate for missed
classes, or for similar reasons.
Reading and Assignment Schedule
Last Update: Monday June 27, 2016
Site design: ©2007-2015, Manuel F. Medina medina502 (@) gmail.com
All rights reserved.
http://medina502.com/classes/hum326_2015/syllabus.php
�Reading and Assignment Calendar: Contemporary Latin American Film
Home
Syllabus
Calendar
Presentations
Week 1: Introduction
Monday, August / 24 |
Introduction
Wednesday, August / 26 |
Latin American Film: A Survey
Week 2: Photography/After cinema novo (the new cinema)
Monday, August / 31 | | Homework to submit |
Understanding Movies Chapter 1 "Photography" (PDF, Blackboard)
Wednesday, September / 2 |
Film: Central Station Walter Salles, Brasil, 1990
Film analysis questions
Available from the Ekstrom Library Reserve Desk:
Video Call Number: DVD PN1997 .C4337 1999 (more info)
Streaming video available from YouTube
DVD available from Netflix (DVD)
Week 3:
Monday, September / 7 |
Labor Day
Wednesday, September / 9 | | Homework to submit | | Mise en scène |
Understanding Movies Chapter 2 "Mise en scéne" (PDF, Blackboard)
Week 4: Colombia/Movement
Monday, September / 14 |
http://medina502.com/classes/hum326_2015/calendar.php
Resources
E-mail Dr. Medina
�Reading and Assignment Calendar: Contemporary Latin American Film
Film: Los colores de la montaña Carlos César Arbeláez, Colombia, 2010
Film analysis questions
Available from the Ekstrom Library Reserve Desk:
Video Call Number: DVD PN1997.2 .C6416 2011 (more info)
Streaming video available from YouTube Netflix
Wednesday, September / 16 | | Homework to submit |
Last day to apply for a degree
State of the University Address. No class
Chapter 3: Movement
Week 5: Brazilian Film at the Turn of the Century/Editing
Monday, September / 21 | | Homework to submit |
Film: Behind the Sun/Abril Despedaçado Walter Salles, Brasil, 2001
Film analysis questions
Available from the Ekstrom Library Reserve Desk:
Video Call Number: DVD PN1997.2 .A264 2002 (more info)
Streaming video available from Netflix
Wednesday, September / 23 |
Understanding Movies Chapter 4 "Editing"
Week 6: Cuba/Sound
Monday, September / 28 |
Film: Strawberry and Chocolate/Fresa y chocolate Tomás Gutiérrez Alea, Cuba, 1993
Film analysis questions
Available from the Ekstrom Library Reserve Desk:
Video Call Number: (more info)
Streaming video available from
DVD available from Netflix (DVD)
Wednesday, September / 30 |
Understanding Movies Chapter 5 "Sound"
Week 7: Undertow/LBGT FIlms
Monday, October / 5 |
Fall Break
Wednesday, October / 7 |
http://medina502.com/classes/hum326_2015/calendar.php
�Reading and Assignment Calendar: Contemporary Latin American Film
Film: Undertow/Contracorriente Javier Fuentes-León, Peru, 2009
Film analysis questions
Available from the Ekstrom Library Reserve Desk:
Video Call Number: DVD PN1997.2 .C667 2011 (more info)
Streaming video available from YouTube Netflix
Week 8: Midterm
Monday, October / 12 |
Midterm exam
Wednesday, October / 14 |
Research project
Week 9: Acting/Uruguayan Film
Monday, October / 19 |
Understanding Movies Chapter 6 "Acting"
Wednesday, October / 21 |
Film: In this tricky Life/En la puta vida Beatriz Flores Silva, Uruguay, 2001.
Film analysis questions
Available from the Ekstrom Library Reserve Desk:
Video Call Number: DVD PN1997.2 .E65 2004 (more info)
Streaming video available from
DVD available from Netflix (DVD)
Week 10: The Culture of Soccer/Chile/Story
Monday, October / 26 |
Last Day to withdraw
Understanding Movies Chapter 7 "Drama"
Wednesday, October / 28 |
Film: Soccer Stories/Historia de fútbol Andrés Wood, Chile, 1997
Film analysis questions
Available from the Ekstrom Library Reserve Desk:
Video Call Number: DVD PN1997.2 .H578 2006 (more info)
Streaming video available from
DVD available from Netflix (DVD)
http://medina502.com/classes/hum326_2015/calendar.php
�Reading and Assignment Calendar: Contemporary Latin American Film
Week 11: Peruvian Film/Urban & Rural/Writing
Monday, November / 2 |
Understanding Movies Chapter 8 "Story"
Wednesday, November / 4 |
Film: madeinusa Claudia Llosa, Peru, 2006
Film analysis questions
Available from the Ekstrom Library Reserve Desk:
Video Call Number: DVD PN1997.2 .M337 2007 (more info)
Streaming video available from
DVD available from Netflix (DVD)
Week 12: Brazil and the Dictatorship/The Year my Parents Went on Vacaction
Monday, November / 9 |
Understanding Movies Chapter 9 "Writing"
Wednesday, November / 11 |
Film: The Year my Parents Went on Vacation/O Ano que Meus Pais Sairam de Ferias Cao Hamburguer, Brasil, 2006
Film analysis questions
Available from the Ekstrom Library Reserve Desk:
Video Call Number: DVD PN1997.2 .A476 2008 (more info)
Streaming video available from YouTube
DVD available from Netflix (DVD)
Week 13: Contemporary Latin American Film/Ideology
Monday, November / 16 |
Understanding Movies Chapter 10 "Ideology"
Wednesday, November / 18 |
Film: Amores perros/Love's a Bitch Alejandro González Iñárritu, México, 2000
Film analysis questions
Available from the Ekstrom Library Reserve Desk:
Video Call Number: DVD PN1997 .A34365 2002 (more info)
Streaming video available from YouTube
DVD available from Netflix (DVD)
Week 14:
http://medina502.com/classes/hum326_2015/calendar.php
�Reading and Assignment Calendar: Contemporary Latin American Film
Monday, November / 23 |
Oral Presentations
Meet with your group for final presentations details.
First draft due
Email, Dr. Medina if you have questions.
Wednesday, November / 25 |
Thanksgiving Break
Week 15:
Monday, November / 30 |
Oral Presentations (1,2 & 3)
Wednesday, December / 2 |
Oral Presentations (4-5)
Week 16:
Monday, December / 7 |
Second Exam
Study guide and handouts for the exam
Term Paper
Term paper (revised version due). No extensions.
Email, Dr. Medina if you have questions.
Last Update: Monday June 27, 2016
Site design: ©2007-2015, Manuel F. Medina medina502 (@) gmail.com
All rights reserved.
http://medina502.com/classes/hum326_2015/calendar.php
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Syllabi
Syllabus
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
Contemporary Latin American Film
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
A study of a specific group of Latin American films in relation to their specific cultural and historical contexts.
Region / Región
The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso.
Latin America / Latinoamérica
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Films taught / Películas
<a href="https://cinegogia.omeka.net/items/show/234"><em>Abril despedaçado</em></a><br /><a href="https://cinegogia.omeka.net/items/show/28"><em>Central do Brasil</em></a><br /><a href="https://cinegogia.omeka.net/items/show/74"><em>Los colores de la montaña</em></a><br /><a href="https://cinegogia.omeka.net/items/show/75"><em>Contracorriente</em></a><br /><a href="https://cinegogia.omeka.net/items/show/78"><em>En la puta vida</em></a><br /><a href="https://cinegogia.omeka.net/items/show/79"><em>Fresa y chocolate</em></a><br /><a href="https://cinegogia.omeka.net/items/show/80"><em>Historias de fútbol</em></a><br /><a href="https://cinegogia.omeka.net/items/show/81"><em>Madeinusa</em></a><br /><a href="https://cinegogia.omeka.net/items/show/55"><em>O Ano que Meus Pais Sairam de Feria</em></a>
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Manuel Medina, University of Louisville
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Open Educational Resources (OER)
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.
Brazil / Brasil
Chile
Colombia
Mexico / México
Peru / Perú
Uruguay
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contemporary Latin American Film
Description
An account of the resource
A study of a specific group of Latin American films in relation to their specific cultural and historical contexts.
-
https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/6ea178ee7bc71a65c9f774284be4da31.pdf?Expires=1712793600&Signature=qkUpBubqkLa2Q8Z3VCenBv5D%7EhdhPt5dHwJIQh869Sc6mehCaPnW7DVu2D9debZU7l6A7sjV0VoM0krapaEgnSTvT4txwJkvCB8hxqCU7yLKdfhlwcBr6ipxoGrA%7EMiYiW76XobB8nVJJYPeq12x7H6tDOLk6cwUcC1PCHm89ls11bKL%7EouVYQXrrSRtsFEIKcSGm3gKgOvtGTTPfOfcf%7EeklYViH2Wirx3YO9oueTp9PYzV7nUGYaot5poTXcOg8zUkAvbJZDKuxZ3M4vlf%7EUs9%7Egd7Ka%7ETnwkO1IJ-iGbK9sG6xZFIN2xAsrDmGsNOEHYS02kh3GN3FdN3qPuTZA__&Key-Pair-Id=K6UGZS9ZTDSZM
795baceef1b125d4f1c2685a920e3359
PDF Text
Text
Contributed by Manuel Medina, University of Louisville
Syllabus: El cine latinoamericano: redefiniendo identidades a comienzos del siglo XXI
Inicio
Syllabus
Calendario de lecturas
Presentaciones orales
Resources
Email
CINE LATINOAMERICANO: RE-DEFINIENDO IDENTIDADES EN EL SIGLO XXI
Español 554
(Class number: 6298)
Primavera 2013
Miércoles 5:30 p.m.-8:15 p.m.
202 Humanities
Dr. Manuel F. Medina
Pre-requisitos: Español 401,402, 403, or 404 o con autorización del profesor.
Horas crédito: 3
Oficina y teléfono y correo electrónico:
Humanities Building, Tercer Piso, 329-B
Teléfono: 852-0501 (Oficina)
Fax: 502-852-8885
E-mail: medina502 at gmail.comor manuel.medina@louisville.edu
Class URL: medina502/classes/lafilm_2010/
Esta página provee mucha información sobre temas relacionados con nuestra clase
Horas de consulta:
Martes 3:30 -4:20 p.m., miércoles: 4:00 -5:00 p.m. o con cita previa
Estas son mis horas de consulta “oficiales,” pero la puerta de mi oficina está siempre abierta. Disfruto el enseñar y disfruto del hablar con mis estudiantes,
así que si tiene alguna pregunta que no contesté completamente en clase o si quiere explorar alguna idea, pase por mi oficina. Si lo prefiere, puede dejarme
un mensaje de correo electrónico [medina502 at gmail.com] o con la secretaria del departamento [852-6686].
Descripción de la clase:
Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea..
Objetivos del curso:
1. Analizar el desarrollo del cine latinoamericano de fines del siglo XX y comienzos del XXI al estudiar temas y estrategias cinemáticas de películas
representativas de corrientes dominantes en este género.
2. Estudiar cómo el momento socio-histórico-político influencia, nutre o se refleja en la producción cultural.
3. Para dar coherencia al estudio de los textos, consideraremos también algunos aspectos de la teoría del estudio del cine.
4. Mejorar el dominio del español por medio de la lectura, la participación en conferencias y discusiones, y la presentación de exámenes.
http://medina502.com/classes/lafilm_2013/syllabus.php
�Syllabus: El cine latinoamericano: redefiniendo identidades a comienzos del siglo XXI
5. Emplear métodos de investigación propios de las humanidades en la preparación de un trabajo escrito.
Metas de la clase:
Formular una idea personal sobre el desarrollo de las técnicas cinemáticas y temas sobresalientes del cine latinoamericano contemporáneo.
Textos obligatorios:
Giannetti, Louis. Understanding Movies 11th ed. Upper Saddle River, New Jersey: Prentice Hall, 2008. Se puede usar cualquier edición a partir de la novena.
Lecturas suplementarias: disponibles a través del website de la clase.
Texto sugerido:
Corrigan, Timothy. A Short Guide to Writing about Film. 7th. ed. New York: Longman, 2006.
Notas del curso: criterio y distribución:
Preparación, participación en discusiones, pruebas y tareas asignadas
10%
Informes sobre las películas.
10%
Presentaciones orales
10%
Dos exámenes
a. uno de medio semestre . . . . . . . . . . . . . . . . . . . . .20%
b. un examen final . . . . . . . . . . . . . . . . . . . . . . . . . . 20%
Un trabajo final
40%
30%
Escala de calificaciones:
95.5%-100% A+
92.5%-95.4% A
89.5%-92.4% A85.5%-89.4% B+
82.5%-85.4% B
79.5%-82.4% B75.5%-79.4% C+
72.5%-75.4% C
69.5%-72.4% C65.5%-69.4% D+
62.5%-65.4% D
59.5%-62.4% D0%-59.4% F
Asistencia:
Recomiendo que no se falte a ninguna de las clases.
No se puede recibir crédito por tarea asignada para ese día. Asimismo deduciré puntos por participación en clase
He instituido la siguiente política para casos de extrema urgencia en los que faltar a la clase representa la única opción disponible a los alumnos.
Dado que la clase se reúne una vez por semana, el no asistir a una clase representa el equivalente de perder una sesión entera. Por lo tanto, he instituido la
siguiente política sobre la asistencia:
Se permite una falta no justificada
Dos faltas reducen la nota final de la clase por un 5% (e.g. un 90% se convertirá en un 85%)
Tres faltas equivalen a la deducción de una nota entera (e.g de B a C)
http://medina502.com/classes/lafilm_2013/syllabus.php
�Syllabus: El cine latinoamericano: redefiniendo identidades a comienzos del siglo XXI
Con cuatro faltas o más se sacará una nota de F.
Nota: Por favor, comuníquense conmigo para discutir ausencias justificadas tales como emergencias médicas, servicio como jurado en la corte, u otras que
podrían incluirse en esta lista.
Participación:
SE DEBE VER LA PELíCULA ANTES DE LLEGAR A CLASE.
Leer y criticar, pensar y analizar, cuestionar, interrogar, dialogar y escribir representan componentes esenciales de esta clase. Debe de llegar a clase
habiendo visto la película y habiendo leído el material previamente asignado y preparado para discutir, argumentar y pensar los asuntos que se presentan
en clase. Se espera que cada estudiante asista a todas las clases y participe activamente en todas las discusiones y presentaciones. El profesor tomará
pruebas sorpresas (pop quizzes) que midan la preparación del estudiante.
Exámenes:
Los exámenes miden su habilidad para pensar clara y analíticamente sobre los textos estudiados en clase. Sus respuestas deben incorporar las ideas
comentadas en clase y sus propios puntos de vista. Se tomaran dos exámenes uno a medio semestre y otro al final del mismo. Ambos contarán como 40%
de la nota. Se basarán en las lecturas, discusiones en clase, conferencias. Las preguntas se podrán contestar por medio de ensayos breves y largos, se
pedirá que compare y contraste temas discutidos en clase.
Trabajos escritos (ensayo):
Se entregarán detalles al respecto la segunda semana de clases.
Presentaciones orales:
Se entregarán detalles al respecto la segunda semana de clases
Student Academic Rights and Responsibilities:
Every student is expected to be thoroughly familiar with the University's Code of Student Rights and Responsibilities and Student Conduct which can be
found in the General Information section of the Undergraduate Catalog.
Along with preparing for and attending class, each student has the responsibility of promoting high academic standards. Students are expected to cooperate
in all classes with instructor to achieve an optimal learning environment. The College of Arts and Sciences does not tolerate cheating, fabrication,
falsification, multiple submission, plagiarism, or complicity in academic dishonesty. The College of Arts and Sciences has a statement of academic discipline
for action against students who cheat or plagiarize.
University Policy on Discrimination and Sexual Harassment:
The University of Louisville strives to maintain the campus free of all forms of illegal discrimination as a place of work and study for faculty, staff, and
students.
Sexual harassment is unacceptable and unlawful conduct and will not be tolerated in the workplace and the educational environment.
If an individual is shown to have violated the sexual harassment policy, the individual will be subject, depending upon the seriousness of the violation, to
disciplinary action up to and including termination of employment or expulsion from the University.
Policy on Instructional Modifications or accommodations:
I encourage students who have a disability or other educational, physical or mental limitations or conditions which may impair their ability to complete
assignments or otherwise satisfy course criteria to meet with me to identify, discuss and document any feasible instructional modifications or
accommodations. Please notify me no later than the end of the second week of the semester or no later that the end of the second week after you get
diagnosed with a disability or condition, whichever occurs first. You may contact the Disabilities Resource Center for information and auxiliary aid.
The University of Louisville is committed to providing access to programs and services for qualified students with disabilities. If you are a student with a
disability and require accommodation to participate in and complete requirements for this class, contact the Disability Resource Center (Tobbins A Hall 8526938) for verification of eligibility and determination of specific accommodations.
Note:
Policy on Mobile devices:
You cannot text, e-mail, im, connect to a social network or browse the internet in class. On a first offense, you will receive a warning. Second incidents will
merit further consequences that will include confiscating devices and conflict resolutions sessions with the Dept. chair. I will also deduct points (up to 80%)
of your overall class participation grade.
The instructor reserves the right to make changes in the syllabus when necessary to meet learning objectives, to compensate for missed classes, or for
similar reasons.
http://medina502.com/classes/lafilm_2013/syllabus.php
�Calendario de lecturas: El cine latinoamericano: redefiniendo identidades a comienzos del siglo XXI
Inicio
Syllabus
Calendario de lecturas
Presentaciones orales
Enero / 9 | | presentations/Latin_American_Film |
Introducción/conferencia
El cine latinoamericano del siglo XX
Compresión narrativa del cine
Términos para el estudio del cine
Enero / 16 | | Tarea para entregar | | Ficha técnica |
Después del Cinema novo
Película: Central do Brasil [Central Station] (Walter Salles, Brasil, 1999)
Understanding Movies Chapter 1 " Photography"
Enero / 23 | | Tarea para entregar | | Ficha técnica | | Mise en scène |
El cine contemporanéo de la violencia
Película: Los colores de la montaña (Carlos César Arbeláez, Colombia, 2010)
Understanding Movies Chapter 2 "Mise en scéne"
Enero / 30 | | Tarea para entregar | | Ficha técnica | | |
El cine brasileño a comienzos de siglo
Película: Abril Despedaçado (Walter Salles, Brasil, 2001)
Understanding Movies Chapter 3 "Movement"
Febrero / 6 | | Tarea para entregar | | Ficha técnica |
El Chile de/después de Pinochet & El nuevo cine chileno
Película: El Chacotero Sentimental (Cristián Galaz, Chile, 1999)
Understanding Movies Chapter 4 "Editing"
Febrero / 13 | | Tarea para entregar | | Ficha técnica | | |
Entregar propuesta del trabajo final
Colombia: sexo, drogas y vallenato para sobrevivir
Película: Rosario Tijeras(Emilio Maillé, Colombia, 2005) )
http://medina502.com/classes/lafilm_2013/calendar.php
Resources
Email
�Calendario de lecturas: El cine latinoamericano: redefiniendo identidades a comienzos del siglo XXI
Understanding Movies Chapter 5 "Sound"
Anuncios telenovela y m?sica
Oral Presentations:
1
8
Febrero / 20 | | Tarea para entregar | | Ficha técnica | | |
Alrededor de la crisis argentina
Película: El hijo de la novia, (Juan José Campanella , Argentina, 2001).
Understanding Movies Chapter 6 "Acting"
Oral Presentations:
2
Febrero / 27 | | Tarea para entregar | | Ficha técnica |
NOTA: Última oportunidad para dejar la clase
La revolución rectificada.
Película: Alicia en el pueblo de maravillas (Daniel Díaz Torres;, Cuba, 1990)
Understanding Movies Chapter 9: Writing
Oral Presentations:
3
9
Marzo / 6 | | Tarea para entregar | | Ficha técnica |
EXAMEN DE MITAD DE CURSO
Marzo / 13 |
Receso de primavera;. No hay clases
Marzo / 20 | | Tarea para entregar | | Ficha técnica |
El cine uruguayo reciente
Película: Whisky (Juan Pablo Rebella & Pablo Stoll, Uruguay, 2004).
Understanding Movies Chapter 8 "Story"
Oral Presentations:
4
10
Marzo / 27 | | Tarea para entregar | | Ficha técnica | | |
Entregar borrador del trabajo final
El nuevo cine mexicano
Película: Solo con tu pareja (Alfonso Cuarón, México, 1991)
Understanding Movies Chapter 10 "Ideology"
Oral Presentations:
5
11
http://medina502.com/classes/lafilm_2013/calendar.php
�Calendario de lecturas: El cine latinoamericano: redefiniendo identidades a comienzos del siglo XXI
Abril / 3 | | Tarea para entregar | | Ficha técnica | | |
El cine gay/lesbiano
El nuevo cine peruano
Película: Contracorriente (Javier Fuentes-León, Perú, 2010)
Understanding Movies Chapter 11 "Critique"
Oral Presentations:
6
12
Abril / 10 | | Tarea para entregar | | Ficha técnica |
Parodia y renovación de las tradiciones
Película: Blak Mama (Miguel Alvear y Patricio Andrade, Ecuador, 2009)
Oral Presentations:
7
Abril / 17 | | Tarea para entregar | | Ficha técnica | | |
Entregar trabajo final
El cine contemporáneo a fines de siglo y comienzos del nuevo
Película: Amores perros (Alejandro González Iñárritu, México, 2000)
Abril / 24 | | Tarea para entregar |
Examen Final: (5:30 p.m. - 8:00 p.m)
Last Update: Monday June 27, 2016
Site design: ©2007-2013, Manuel F. Medina
All rights reserved.
http://medina502.com/classes/lafilm_2013/calendar.php
medina502 (@) gmail.com
�
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 latinoamericano: re-definiendo identidades siglo XXI
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea.
Region / Región
The broad geographic region covered in the resource. La región geográfica general cubierta en el recurso.
Latin America / Latinoamérica
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Films taught / Películas
<a href="https://cinegogia.omeka.net/items/show/234"><em>Abril despedaçado </em></a><br /><a href="https://cinegogia.omeka.net/items/show/73"><em>Alicia en el pueblo de maravillas</em></a><br /><a href="https://cinegogia.omeka.net/items/show/25"><em> Amores perros </em></a><br /><a href="https://cinegogia.omeka.net/items/show/237"><em>Blak mama </em></a><br /><a href="https://cinegogia.omeka.net/items/show/29"><em>El chacotero sentimental </em></a><br /><a href="https://cinegogia.omeka.net/items/show/74"><em>Los colores de la montaña</em></a><br /><a href="https://cinegogia.omeka.net/items/show/75"><em> Contracorriente </em></a><br /><a href="https://cinegogia.omeka.net/items/show/76"><em>El hijo de la novia </em></a><br /><a href="https://cinegogia.omeka.net/items/show/56"><em>Rosario Tijeras </em></a><br /><a href="https://cinegogia.omeka.net/items/show/83"><em>Sólo con tu pareja </em></a><br /><a href="https://cinegogia.omeka.net/items/show/85"><em>Whisky</em></a>
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Manuel Medina, University of Louisville
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Open Educational Resources (OER)
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.
Brazil / Brasil
Mexico / México
Chile
Argentina
Colombia
Cuba
Uruguay
Peru / Perú
Ecuador
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 latinoamericano: re-definiendo identidades siglo XXI
Description
An account of the resource
Un estudio del cine latinoamericano y su desarrollo temático y técnico con un énfasis en la producción contemporánea.
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dde25a22464a96c348be68a70b694579
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.
Madeinusa
Director
The director of the film. El/La director/a de la película.
Claudia Llosa
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2006
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Oberon Cinematográfica
Vela Producciones
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
Madeinusa is a girl aged 14 with a sweet Indian face who lives in an isolated village in the Cordillera Blanca Mountain range of Peru. This strange place is characterized by its religious fervor. From Good Friday at three o'clock in the afternoon (the time of day when Christ died on the cross) to Easter Sunday, the whole village can do whatever it feels like. During the two holy days sin does not exist: God is dead and can't see what is happening. Everything is accepted and allowed, without remorse. Year after year, Madeinusa and her sister Chale, and her father Don Cayo, the Mayor and local big shot, maintain this tradition without questioning it. However, everything changes with the arrival in the village of Salvador, a young geologist from Lima, who will unknowingly change the destiny of the girl. (<a href="http://www.imdb.com/" target="_blank" rel="noreferrer noopener">IMDB</a>)
<em>Madeinusa es una chica de 14 años con una dulce cara india que vive en un pueblo aislado en la cordillera Blanca Sierra del Perú. Este extraño lugar se caracteriza por su fervor religioso. Desde el Viernes Santo a las tres de la tarde (la hora del día en que Cristo murió en la cruz) hasta el Domingo de Pascua, todo el pueblo puede hacer lo que quiere. Durante los dos días santos el pecado no existe: Dios está muerto y no puede ver lo que está sucediendo. Todo es aceptado y permitido, sin remordimientos. Año tras año, Madeinusa y su hermana Chale, y su padre Don Cayo, el Alcalde y gran brigadista local, mantienen esta tradición sin cuestionarla. Sin embargo, todo cambia con la llegada de Salvador, un joven geólogo de Lima, que sin saberlo cambiará el destino de la niña. (Translation by Jessica Batista)</em>
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.
Popular Culture / Cultura popular
Religion & Spirituality / Religión & Espiritualidad
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Film Guide / Guía de película
Add link to related film guide
<a href="https://cinegogia.omeka.net/items/show/71">https://cinegogia.omeka.net/items/show/71</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
Madeinusa
Description
An account of the resource
Madeinusa is a girl aged 14 with a sweet Indian face who lives in an isolated village in the Cordillera Blanca Mountain range of Peru. This strange place is characterized by its religious fervor. From Good Friday at three o'clock in the afternoon (the time of day when Christ died on the cross) to Easter Sunday, the whole village can do whatever it feels like. During the two holy days sin does not exist: God is dead and can't see what is happening. Everything is accepted and allowed, without remorse. Year after year, Madeinusa and her sister Chale, and her father Don Cayo, the Mayor and local big shot, maintain this tradition without questioning it. However, everything changes with the arrival in the village of Salvador, a young geologist from Lima, who will unknowingly change the destiny of the girl. (IMDB)
Quechua
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cab6c3f5fb71b9907b5d8741f377680e
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.
Contracorriente
Director
The director of the film. El/La director/a de la película.
Javier Fuentes-León
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2009
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Elcalvo Films
Dynamo Producciones
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
An unusual ghost story set on the Peruvian seaside; a married fisherman struggles to reconcile his devotion to his male lover within his town's rigid traditions. (<a href="http://www.imdb.com/">IMDB</a>)
Category / Categoría
A broad category or mode of cinematographic production.
Fiction Films / Cine de ficción
Genre / Género
A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.
Drama
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Relationships / Relaciones
Gender identity / Identidad de género
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Film Guide / Guía de película
Add link to related film guide
<a href="https://cinegogia.omeka.net/items/show/61">https://cinegogia.omeka.net/items/show/61</a>
Title
Undertow
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
Contracorriente
Description
An account of the resource
An unusual ghost story set on the Peruvian seaside; a married fisherman struggles to reconcile his devotion to his male lover within his town's rigid traditions. (IMDB)
-
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733d6d80cb72c626d794dc2bb33b6115
PDF Text
Text
Contributed by Manuel Medina, University of Louisville
Madeinusa
Perú, Claudia Llosa, 2006
Director: Claudia Llosa
Original Title: madeinusa
Cast: Magaly Solier ...Madeinusa
Yiliana Chong ...Chale
Carlos J. de la Torre ...Salvador
Juan Ubaldo Huamán ...Cayo
Length: 100 min
Sound: Dólby
Country: Perú
Producer: Claudia Llosa
Language Español
Color:Color
Script: Claudia Lllosa
Photograpy: Raúl Pérez Ureta
Editing: Ernest Blasi
Questions of analysis:
1. What is this movie about?
2. Explain the role that religion plays in the film.
3. How does the narrative embody mythical concepts or universal human traits?
4. How does the film present sexual desire, religion and morality?
5. Whose gaze leads the telling of the story?
6. What spaces does the film use to develop the story?
7. Whose story is it?
8. What does the movie say about the social context and period that it was made in?
9. What is the meaning of the first scene?
10. Comment on the cinematographic achievements of the film.
11. Elaborate about the mise en scène and its relationship with the message (or the theme). What is the relationship between
form and content?
12. What is the film social and political commentary?
13. What is the director's ideology?
14. What is the basic conflict? Are there metaphors of such conflict?
15. How does the final scene close the story? Elaborate on your answer.
16. What is the film's purpose?
�
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 Guides
Film Guide
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
Madeinusa
Director
The director of the film. El/La director/a de la película.
Claudia Llosa
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.
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.
Peru / Perú
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.
Madeinusa is a girl aged 14 who lives in an isolated village in the Cordillera Blanca Mountain range of Peru. This strange place is characterized by its religious fervor. From Good Friday at three o'clock in the afternoon (the time of day when Christ died on the cross) to Easter Sunday, the whole village can do whatever it feels like. During the two holy days sin does not exist: God is dead and can't see what is happening. Everything is accepted and allowed, without remorse. Year after year, Madeinusa and her sister Chale, and her father Don Cayo, the Mayor and local big shot, maintain this tradition without questioning it. However, everything changes with the arrival in the village of Salvador, a young geologist from Lima, who will unknowingly change the destiny of the girl. (<a href="imdb.com">IMDB</a>)
Category / Categoría
A broad category or mode of cinematographic production.
Fiction Films / Cine de ficción
Genre / Género
A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.
Drama
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Popular Culture / Cultura popular
Religion & Spirituality / Religión & Espiritualidad
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Manuel Medina, University of Louisville
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Open Educational Resources (OER)
More information in Film Database
add link to corresponding entry in film database
<a href="https://cinegogia.omeka.net/items/show/81">https://cinegogia.omeka.net/items/show/81</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
Madeinusa
Description
An account of the resource
Madeinusa is a girl aged 14 who lives in an isolated village in the Cordillera Blanca Mountain range of Peru. This strange place is characterized by its religious fervor. From Good Friday at three o'clock in the afternoon (the time of day when Christ died on the cross) to Easter Sunday, the whole village can do whatever it feels like. During the two holy days sin does not exist: God is dead and can't see what is happening. Everything is accepted and allowed, without remorse. Year after year, Madeinusa and her sister Chale, and her father Don Cayo, the Mayor and local big shot, maintain this tradition without questioning it. However, everything changes with the arrival in the village of Salvador, a young geologist from Lima, who will unknowingly change the destiny of the girl. (IMDB)
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f9e9c70193eb34833e930e62ca3af149
PDF Text
Text
Contributed by Manuel Medina, University of Louisville
Contracorriente
(Javier Fuentes-León, Perú, 2009)
Elenco: Cristian Mercado … Miguel
Tatiana Astengo
...
Mariela
Manolo Cardona … Santiago
Attilia Boschetti
...
Sra La Rosa
José Chacaltana
...
Héctor
Maria Edelmira Palomino .Doña Flor
Julio Humberto Cavero ...
Padre Juan
Haydeé Cáceres
...
Trinidad
Emilram Cossío
...
Pato
Cindy Díaz ...
Isaura
Juan Pablo Olivos
...
Tano
Christian Fernandez ...
Jacinto
Monica Rossi ...
Ana
Directores: Javier Fuentes-León
Guión: Javier Fuentes-León
Fotografía: Mauricio Vidal
Montaje: Mauricio Vidal
Música: Selma Mutal Vermeulen
Duración: 95 min
Año: 2009
Sonido: Dólby
País: Colombia
Idioma: Español
Color: Color
Sonido: Dólby
Preguntas de análisis:
1) ¿De qué trata la película?
2) ¿Por qué se llama Contracorriente?
3) ¿De quién es la historia?
4) ¿Cúal es el conflicto básico?
5) Elabore sobre el mise en scène.
6) ¿Se coloca la película como un proyecto nacionalista o anti-nacionalista? Defienda su
respuesta.
7) Elabore sobre el proyecto subversivo del texto. ¿En que se basa?
8) ¿Hay relaciones especiales entre la obra y su contexto (tiempo/espacio) que le causan
problemas al espectador?
9) ¿Qué valores culturales o socio-políticos presenta, propone, enfatiza o crítica la película?
10)¿Qué técnicas cinematográficas sobresalen en Contracorriente?
11)¿Cómo se definen los roles sexuales?
12)Explique cómo las escenas iniciales y finales ayudan a crear el enigma y a cerrarlo
respectivamente.
13)Compare la película a Solo con tu pareja.
�
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 Guides
Film Guide
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
Contracorriente
Director
The director of the film. El/La director/a de la película.
Javier Fuentes-Leoón
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2009
Language / Idioma
The language(s) that are spoken in the film or the language of the text. El idioma(s) de la película o del texto.
Spanish / Español
Country / País
The spatial characteristics of the intellectual content of the resource, not necessarily the place of publication. Refers to the location(s) (the country) where the film takes place. El país donde la película toms lugar.
Peru / Perú
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.
An unusual ghost story set on the Peruvian seaside; a married fisherman struggles to reconcile his devotion to his male lover within his town's rigid traditions. (<a href="imdb.com">IMDB</a>)
Category / Categoría
A broad category or mode of cinematographic production.
Fiction Films / Cine de ficción
Genre / Género
A category of artistic composition, characterized by similarities in form, style, or subject matter. Una categoría de composición artística, caracterizada por semejanzas de forma, estilo, o tema.
Drama
Subject Coverage / Tema
The topic of the resource. Typically, the subject will be represented using keywords, key phrases. El tema del recurso. Típicamente el tema se representará con palabras o frases claves.
Relationships / Relaciones
Gender identity / Identidad de género
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Manuel Medina, University of Louisville
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Open Educational Resources (OER)
Title
Undertow
More information in Film Database
add link to corresponding entry in film database
<a href="https://cinegogia.omeka.net/items/show/75">https://cinegogia.omeka.net/items/show/75</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
Contracorriente
Description
An account of the resource
An unusual ghost story set on the Peruvian seaside; a married fisherman struggles to reconcile his devotion to his male lover within his town's rigid traditions. (IMDB)
-
https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/41e91b05d017d2e2875a8ab561ac5d52.jpg?Expires=1712793600&Signature=LtQR5txyxJK6qYO-OfJQmv8XrMc7ceMxgKXIUy6icincysu-Z9ogtgzvmDKdfzIYtDj%7EUEcSomAlY0k56T5QpQlKmKoT9vY0%7EDMDj6Uj4EZWBnSOItLY-zK%7EQoZIY0XRz66atEhsdtO%7E0zJzMFDwnlesF72FRCzFZPDkg7Fq57f1EN8pSSI3UkaiJiXxSlp7oGGcpTdQuqzx14l9wDzmgzOZ1rqDA60ZaJIvPkU4HKnq0F2vCC61f5B7v57KQoSR-cFt9JeBpPvSX4mUBasb0yaXgNVc%7Ea7tS9ZcadVMZ4frBVjTysCRs5ifmdVuuNyymLeO30oHdDTFrVBybIdpXA__&Key-Pair-Id=K6UGZS9ZTDSZM
b840ca03e45903efa24abb2b962928d5
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.
Días de Santiago
Director
The director of the film. El/La director/a de la película.
Josué Méndez
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2004
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.
Peru / Perú
Production Company / Compañía de Producción
The entity or entities that appear as producers for the film. La entidad o entidades que aparecen como productores de la película.
Chullachaki Producciones
Description / Descripción
An account of the resource. Description may include but is not limited to: an abstract, synopsis of film, a table of contents, or a free-text account of the resource. Una sinopsis del recurso. La descripción puede incluir: un resumen o sinopsis de la película, un índice, o una narrativa abierta del recurso.
Santiago, a retired soldier who fought for his country, Peru, find it hard to adjust back to society while dealing with PTSD and family problems. (<a href="http://www.imdb.com" target="_blank" rel="noreferrer noopener">IMDB</a>)
<em>Santiago, un soldado jubilado que luchó por su país, Perú, le resulta difícil adaptarse a la sociedad mientras tiene que lidiar PTSD y problemas familiares. (Translation by Jessica Batista)</em>
Category / Categoría
A broad category or mode of cinematographic production.
Fiction Films / Cine de ficción
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
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.
Political violence / Violencia política
Title
Days of Santiago
Film Guide / Guía de película
Add link to related film guide
<a href="https://cinegogia.omeka.net/items/show/22">https://cinegogia.omeka.net/items/show/22</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
Días de Santiago
Description
An account of the resource
Santiago, a retired soldier who fought for his country, Peru, find it hard to adjust back to society while dealing with PTSD and family problems. (IMDB)
-
https://d1y502jg6fpugt.cloudfront.net/24865/archive/files/a8f6b45904e0e2b164692d6a6fcdeea8.pdf?Expires=1712793600&Signature=JvV-XI2a4W%7E5uA1rNEoKF8%7Es6KbD%7EPDI7J9phzZQZcL-E4SMGQKdi81yLGus85WXJZt7iBVtl5gmVyeozDM1KtWoGW5reV5qBaoCcQo9QQVB4b%7E5CtdSQkZTZevnSbPnb5E4h86zrDCS4VPolVsb8GHC484nwPNyaWkFVW3AUEbuQ9aSwAkWyr4HI0t8lu3z5tmKKAwSqSxmef47q4I8ofwUHMPHVPrcBxoDPRmwc%7ErVFnlHfTrlh9REhRQ-u-zreexlUp-EXCkoLqMv7FEjnxLUweO51nyTrlNfTf%7EqlOU9f2cru7W0KMVpPmUXo0cZ8iGdn35iRaPMwDor6Tk7lA__&Key-Pair-Id=K6UGZS9ZTDSZM
a2e925ab1939d0c035350be97e227cd9
PDF Text
Text
Contributed by Manuel Medina, University of Louisville
Días de Santiago, (Perú, Josue Mendez, 2004)
Reparto:
Pietro Sibille
...
M ilagros Vidal ...
M arisela Puicon
Ricardo M ejía ...
Lili Urbina
...
Alheli Castillo ...
Ivy La Noire
...
Erick Garcia
...
Giselle Bedon ...
Ana M aría Roca-Rey
Sandra Vergara ...
Juan Durán
...
M ario M artinez ...
Sandro Calderón
Igor M oreno
...
Santiago Roman
Andrea
...
Elisa
Papa
M ama
M ari
Ines
Coco
Rita
...
Jimena
Sandra
Loco taxi
M ario
...
Sandro Castro
Igor M erino
Director: Josué M éndez
Duración: 83
Sonido: Dóby digital
País: Perú
Productor: Josue M endez
Idioma: Español
Color:Color & blanco y negro
Sonido: Dóby digital
Guión: Josué M éndez
Fotografía: Juan Durán
M ontaje: Roberto Benavides , Roberto
Benavides Espino
M úsica: M anuel Larroche, M ogambo
Productora: Chullachaki Producciones
Preguntas:
1.
Comente sobre la ideología de la película.
2.
¿Existe una ideología subtextual? Defienda su respuesta.
3.
¿Cómo afecta la narración de Santiago al inicio de la película nuestra percepción de la historia?
4.
Explique los códigos culturales propuestos por Días de Santiago.
5.
Elabore sobre el significado del título de la película.
6.
Desarrolle sobre las logros técnicos de la película.
7.
¿Cuál representa el mensaje coherente de la película?
8.
Describa los escenarios y/o espacios de la película.
9.
Encuentre mise en scènes recurrentes y comente al respecto.
10.
¿Por qué empieza la película de la manera que lo hace?
11.
¿Cuál es la relación entre el sonido y la imagen? De ejemplos de escenas o secuencias específicas.
�12.
13.
14.
15.
16.
17.
¿Cuál es la importancia o relevancia del diálogo de la película? De ejemplos.
En alguna escena, ¿es el sonido más importante que la imagen? De ejemplos.
¿Cuáles tres secuencias considera las más importantes?
Si tuviera que escoger tres sonidos relevantes de la película, ¿cuáles serían? ¿por qué los
seleccionó el director?
¿Qué significado especial tienen los objetos o accesorios, naturales o artificiales, y su arreglo en el
escenario en la presentación de la historia o la caracterización de los personajes?
Comente sobre la escena final.
�
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 Guides
Film Guide
Title / Título (Original)
A name given to the resources. El nombre original del recurso.
Días de Santiago
Director
The director of the film. El/La director/a de la película.
Josué Méndez
Release Date / Fecha de estreno
The date of the film’s release (year only). La fecha de estreno (año solamente).
2004
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.
Peru / Perú
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.
Santiago, a retired soldier who fought for his country, Peru, find it hard to adjust back to society while dealing with PTSD and family problems. (<a href="http://www.imdb.com/title/tt0397405/?ref_=ttmd_md_nm">IMDB</a>)
Category / Categoría
A broad category or mode of cinematographic production.
Fiction Films / Cine de ficción
Cinematic Period / Periodo cinematográfico
The broad cinematic period to which a film belongs. El periodo cinematográfico general de la película.
Contemporary / Contemporáneo
Creator / Creador(a)
The individual who created and contributed the resource. La persona que creó o publicó el recurso.
Manuel Medina, University of Louisville
Copyright / Derechos de propiedad
Information about rights held in and over the resource. Información acerca de los derechos de propiedad del recurso.
Open Educational Resources (OER)
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.
Political violence / Violencia política
More information in Film Database
add link to corresponding entry in film database
<a href="https://cinegogia.omeka.net/items/show/31">https://cinegogia.omeka.net/items/show/31</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
Días de Santiago
Description
An account of the resource
Santiago, a retired soldier who fought for his country, Peru, find it hard to adjust back to society while dealing with PTSD and family problems. (IMDB)