Visible Evidence Dossier

24o VISIBLE EVIDENCE
Congreso Internacional de Cine Documental
Del 2 al 6 de agosto de 2017
Image result for visible evidence logo

INFORME GENERAL

 
TV
– Nota en Mshow, Magazine Ciudad.
RADIO
– Nota en “La tarde del Plata” con Analía Rivas, en AM del Plata.
– Nota en “Es la hora”, en Radio UBA.
– Nota en “Nadar de noche”, en AM 750, conducción Valeria Delgado.
https://radiocut.fm/audiocut/entrevista-a-pablo-piedras-visible- evidence-2017-buenos-aires-nadar-de-noche-valeria-delgado/
– Entrevista telefónica en “Ecos de Celuloide”, en BCN Radio.
– Nota en “Manivela” con Coco Blaustein, en Radio Nacional.
– Nota en “Escalando la Tarde”, en Radio de la Universidad Nacional de
Lanús.
– Nota con Adriana Schottlender, en Radio de la Universidad Nacional de
Avellaneda.
– Entrevista en piso en “Cinefilia”, con Luis Kramer, en Radio Zónica.
– Nota en “Mil cosas por decir”, en Al aire Radio Bar.
– Difusión en “La mañana de Victor Hugo”, en AM 750.

http://radiocut.fm/audiocut/victor-hugo-y-alan-longy-te-invitan-al- cine
– Nota en “Sin Contraseñas”, en Radio Telam.
http://www.telam.com.ar/multimedia/audios/25781-comienza-visible- evidence-el-congreso-internacional-de-cine-documental/


PORTALES
http://www.infobae.com/fotos/2017/07/31/las-10-fotos-del-dia-24/
http://www.otroscines.com/nota?idnota=12397
http://alucinema.infonews.com/nota/309432/cuba-allende-y-mas- cine-documental-en
http://web.ultracine.com/arranca-24o-visible-evidence-cine- documental/
http://leedor.com/2017/07/31/el-documentalista-jean-paul-fargier- en-buenos-aires/
http://www.funcinema.com.ar/2017/07/se-realizara-en-agosto-el- mayor-congreso-de-cine-documental/
https://elespectadorcompulsivo.wordpress.com/2017/08/02/cine- visible-evidence/
http://www.actualidadartistica.com.ar/2017/07/24-visible-evidence- congreso.html – http://leedor.com/2017/07/18/24-visible-evidence-congreso-
internacional-de-cine-documental/
http://www.girabsas.com/nota/2017-7-31-20-47-0-congreso-
internacional-de-cine-documental-visible-evidence-2017- documentalistas-del-mundo-se-reunen-en-buenos-aires
http://anoticiarte.com.ar/cine-documental-24-congreso-internacional- visible-evidence-del-2-al-6-de-agosto/
http://www.ramona.org.ar/node/63453
http://opinarg.com/24-visible-evidence-congreso-internacional-de- cine-documental/
http://www.actualidadartistica.com.ar/2017/07/cine-visible-evidence- 2-6-de-agosto.html – http://tacitabuenosaires.com.ar/cine/228-24-visible-evidence- congreso-internacional-de-cine-documental.html
http://www.arte-online.net/Portada/Novedades/24_VISIBLE_EVIDENCE
http://www.lavereda.com.ar/?p=4148
http://latecno.com.ar/noticias/el-visible-evidence-2017-se-realizara- por-primera-vez-en-nuestro-pais/
http://www.diariodecultura.com.ar/cine-y-artes- visuales/documentalistas-de-todo-el-mundo-se-reunen-en-buenos- aires/
http://www.eventarg.com/eventos-historia/7309/visible-evidence- xxiv-buenos-aires-2017
http://www.nueva-ciudad.com.ar/notas/201708/33709- documentalistas-de-todo-el-mundo-se-reunen-en-buenos-aires.html – http://www.radionacional.com.ar/tag/visible-evidence-xxiv/
http://registrodocumental.com.ar/el-congreso-internacional-del-cine- de-lo-real/
http://identidadbarrial.com.ar/congreso-internacional-cine- documental-audiovisual/

 

Medio: Agencia Telam
Sección: Espectáculos
Fecha: 31/07/2017

DOCUMENTALISTAS DE TODO EL MUNDO SE
REÚNEN EN BUENOS AIRES EN EL VISIBLE EVIDENCE

Más de 350 documentalistas y teóricos del cine de 19 países se darán cita en
Buenos Aires entre el 2 y el 6 agosto para tomar pare del Congreso
Internacional de Cine Documental Visible Evidence, que se realiza en forma
itinerante a lo largo del mundo una vez por año y en el marco del cual se podrá
asistir a clases maestras, seminarios, debates y proyecciones de filmes inéditos
en el país.
El Visible Evidence, se desarrollará en tres sedes simultáneas: el Centro
Cultural Borges, la Alianza Francesa y el Centro Cultural de la Memoria
Haroldo Conti, con una actividad de preapertura que tendrá lugar mañana a las
20 en el Auditorio de la Escuela Nacional de Cine y Experimentación
Cinematográfica (Enerc) con el estreno a nivel mundial de “The Sun Island”,
reciente filme de Thomas Elsaesser -uno de los teóricos e historiadores
centrales del cine y los medios de las últimas décadas-, seguida de un diálogo
abierto entre Elsaesser y Michael Renov.
La apertura oficial se llevará a cabo en el Teatro Margarita Xirgu (Chacabuco
875) el miércoles 2 a las 19 con una conferencia de la especialista española
María Luisa Ortega Gálvez.
Además de la intensa propuesta de mesas y paneles donde convergen la
crítica cinematográfica, realizadores y teóricos que estudian y producen análisis
sobre el cine documental, en esta edición habrá entre el miércoles 2 y el
domingo 6 de agosto un ciclo de proyecciones en el Auditorio de la Alianza
Francesa (Av. Córdoba 946) con filmes como “Jean-Daniel, parle moi encore!”,
“Play it again, Nam”y “Bill Viola : Expérience de l’infini”, los tres de Jean Paul

Fargier; “Como me da la gana II”, de Ignacio Agüero; “Todo comenzó por el
fin”, de Luis Ospina; y “Allende mi abuelo Allende”, de Marcia Tambutti Allende.
Para conocer los alcances del Visible Evidence, Télam habló con tres de los
organizadores del congreso en la Argentina, Kristi Wilson y Tomás Crowder-Taraborrelli
de la Soka University de California y Pablo Piedras investigador del
Conicet de la UBA.

Télam: Dado que Visible Evidence se realiza en distintas partes del mundo,
¿Cuáles creen ustedes que serían las particularidades “argentinas” de este
congreso?
Organizadores: La conferencia asume particularidades de acuerdo con el lugar
en el que se lleva a cabo, por un lado de tipo organizativas pero también la
conferencia adquiere su especificidad temática en línea con las problemáticas
sociales, políticas y culturales de cada región: por ejemplo, en la edición de la
India, varias de las ponencias abordaban las relaciones entre Pakistán y la
India expresadas en los documentales. En Montana, Estados Unidos, una
región que tiene tanto significado y simbolismo dentro del discurso de la
preservación del medio ambiente, las charlas exploraban temas como la
relación del cine documental con los proyectos de protección ambiental. Una de
las razones por la cuales queríamos organizar esta conferencia en Buenos
Aires es porque se trata de una ciudad muy ligada, históricamente, a la cultura
cinematográfica. Por último, nuestro país, y América Latina en general, han
sido espacios de fuerte contiendas políticas y sociales durante el siglo XX y el
XXI. Por lo tanto, cuestiones como las memorias y las historias sobre las
dictaduras, las representaciones de los movimientos revolucionarios y los
efectos de las cíclicas crisis económicas, políticas y sociales sin duda son ejes
que le dan identidad a esta edición de Visible Evidence.
Télam: ¿Podrían contarnos qué tipo de temas se discuten en un congreso de
documentalistas y cómo creen que esto puede influir luego en la práctica de los
documentalistas?

Organizadores: Los temas del congreso son muy variados, aunque, como
dijimos anteriormente, las particularidades del contexto latinoamericano suelen
pautar el contenido de varias de las charlas, talleres, conferencias y
proyecciones que tienen lugar en Visible Evidence. Sin embargo, hemos
notado que existen cuestiones que reaparecen en todos los espacios de
intercambio como por ejemplo: los nuevos usos (y los diversos alcances) de los
materiales de archivo fílmico; el impacto de las nuevas tecnologías para
documentar formas de activismo político, pero también, para expresar
problemas de subjetividad e identidad (sexuales, de géneros, políticas,
culturales y étnicas). Visible Evidence tiene la peculiaridad de ser un espacio
en el que naturalmente intervienen realizadores, productores, divulgadores,
críticos, académicos, estudiantes y docentes, por lo cual, la influencia sobre la
producción audiovisual de un evento de estas características tiende a ser
bastante alta y pregnante.
Télam: ¿Cuál creen que es el aporte de invitados como Thomas Elsaesser y
Jean-Paul Fargier?
Organizadores: Las presencias de Thomas Elsaesser y Jean-Paul Fargier son
particularmente esperadas para los participantes de Argentina y de América
Latina, dado que son dos figuras centrales de la cultura audiovisual que por
primera vez dictarán conferencias y mostrarán películas en nuestro país.
Elsaesser es quizá el más importante teórico e historiador del cine y los medios
de las últimas décadas. Su obra ha sido traducida a más de diez idiomas, sin
embargo, apenas existen publicaciones en castellano. Asimismo, en tanto
arqueólogo de la imagen ha desarrollado una extensa obra teórica que
reflexiona sobre cómo la cultura audiovisual condiciona la subjetividad de los
seres humanos. Fargier es otro autor muy poco conocido en nuestro país,
quien además ha producido una profusa obra cinematográfica documentando
los procesos creativos de diversos artistas contemporáneos como Nam June
Paik, Bill Viola, Jean-Daniel Pollet y Jean-Luc Godard, entre otros. Además, el

propio Fargier se ha dedicado a explorar el territorio del videoarte desde la
realización y también desde la crítica.
Télam: Aun a pesar de esta tendencia en la cual parecen irse diluyendo las
fronteras entre el documental y la ficción, ¿cuál creen que es la particularidad
irrenunciable, su rasgo definitorio, del documental?
Organizadores: A nuestro entender existen cuestiones como los pactos éticos
generados entre los cineastas y los sujetos representados así como los pactos
de veracidad entre los documentalistas y los espectadores que siguen siendo
un núcleo fuerte para pensar las diferencias entre el documental y la ficción.
Aun en las obras en las que la representación de la realidad es objeto de mofa
o de exploración lúdica, creemos que siempre hay una zona de tensión que
implica la responsabilidad que el documentalista tiene frente a la realidad que
traza una línea, ya sea difusa o tenue, entre documental y ficción.
Télam: ¿Cuáles son aquellas particularidades más relevantes del documental
actual?
Organizadores: El documental contemporáneo tiende cada vez más hacia las
formas del ensayo, del discurso autobiográfico y personal, pero también,
recupera las tradiciones del cine político de los sesenta y setenta y adquiere
formas de videoactivismo, con un sostenido retorno del cine directo, del cine
urgente. Las temáticas actuales son variadas, pero sin duda los documentales
tienden a mostrar las heridas que el capitalismo transnacionalizado y la
globalización provocan en el tejido social: las migraciones forzadas, genocidios,
las crisis sociales, políticas y económicas pero también las crisis respecto de
las identidades, cada vez más fluidas y nómades, los problemas asociados al
medioambiente y al impacto que las políticas neoliberales producen en los
sectores más desprotegidos de la sociedad.

Medio: Infobae (Telam)
Fecha: 31/07/2017

Luciana Zylberg 
Estrategia y Gestión en Prensa en Producción 

 

 

Inner Borderlines: Visions of America Through the Eyes of Alejandro Morales

Thursday, September 22nd, 2016
7:00- 8:30 p.m. Pauling 216

Q&A with Professor and protagonist of Inner Borderlines Alejandro Morales (University of California, Irvine).

 

 

INNER BORDERLINES: VISIONS OF AMERICA THROUGH THE EYES OF ALEJANDRO MORALES

 

(72 min, English and Spanish, dir. Luis Mancha)

 

Inner Borderlines follows Alejandro Morales around Southern California as he explores a variety of topics that concern the Chicano/Latino community including: history, immigration, race relations, ethnicity, family, labor, education, religion, memory, gender, power, border, borderlands, and the fantastic.

Recognized by many as a pioneer of Chicano literature and precursor of bilingualism-he writes in Spanish and English-, Morales presents a unique vision of America, different from the image that the United States projects abroad.

 

Morales has authored several historical biographies in which he tells the fictional story of a character’s life using historical personages and events, bringing together his love for both history and writing. His works are examples of Miguel de Unamuno’s idea of Intra History, writing about the significance of the lives of ordinary people; of Linda Hutcheon’s theory of Historiographic Metafiction, the practice of writing aware of theory, history and fiction as strategies to rethink and reevaluate the past; and Irving Stone’s practice of writing biographical novels.
He considers that the sites between epistemological discourses have coalesced and are continuously intersecting. In reference to any one of his books Morales says “If you read my books like works of history, you are reading fiction; if you read my books like works of fiction, you are reading history.” He believes that creative, imaginative works are equal in importance as empirical works, perhaps even more important as catalysts for inquiry and change.

Visible Evidence Conference


Damiana Kryygi

Visible Evidence XXIII – Bozeman, Montana, August 2016
Argentine Documentary Film: On National Identity Construction and the Politics of Representation
This panel reviews contemporary documentary Argentine practices that are located in-between filmmaking, ethnography, and the Arts. In so doing, it aims to examine key aspects of current Argentine documentaries — particularly productions that analyse and challenge collective memory and official history — which constitute primary concerns in the local public arena related to the aftermath of the last dictatorship (1976-1983) and the politics of memory under the Kirchnerist era (2003-2015). Accordingly, we are interested in how the role of archives, museums and the personal and the collective memories and identities are thought of and constructed in connection to national imaginaries and historical moments. We pay particular attention to the multimedia productions of the exESMA’s site of memory, Alejandro Fernández Mouján’s Damiana Kryygi (2015) and Javier Olivera’s La Sombra (2015).
Moreover, the panel intends to motivate, as well, general discussions of contemporary documentary filmmaking in Argentina, which we believe would be a perfect stepping-stone to introduce some key topics that will be further developed in Visible Evidence XXIV, to be held in Buenos Aires (Argentina), August 2017.
Panel Moderator:
·         Christopher D. Moore
Ph.D. Candidate, Indiana University
Documentary Filmmaker, Sol Productions
Research Fellow, Smithsonian Institution, Human Studies Film Archives
Christopher Moore is a documentary filmmaker and a Ph.D. candidate at Indiana University, Bloomington. In his dissertation, “Argentine Documentary Film and the Politics of Presence,” Chris seeks to further contextualize the relationship between documentary film and trans/national politics during Argentina’s tumultuous twentieth century. Currently, Chris serves as a research fellow with the Smithsonian Institution’s Human Studies Film Archives.
Presenters and paper-presentations proposals:
·         Kristi Wilson
Professor of Writing and Rhetoric
Soka University of America
Archiving Terror in 2015: Truth, Visuality, and use of film and video in the exESMA Center of Torture and Detention.
This paper looks at the use of documentary film, found footage, and video installation in one of the most famous of many museums and spaces of memory created in former centers of detention, torture and disappearance in Latin America. While the exESMA (former naval base) now houses a variety of institutions dedicated to memory and activism, the recently inaugurated (2015) “Officers Club” museum is arguably the most important as this large building once housed prisoners whose bodies were tortured and disappeared. The museum can be understood through the lens of a Benjaminian “pioneer” mode of collecting, as the only items on display are the empty spaces of terror and torture. The ‘objects’ collected are not objects or artefacts, but memories, preserved spaces and testimonies that acknowledge the identities of survivors and the disappeared. Multimedia strategies of representation fill the spaces. A sophisticated use of audio-visual materials makes an argument that the ongoing forensic work, testimonies, grassroots activism, and prosecutions of crimes against humanity form a new archive that temporarily stands in for information about lives that disappeared into the void of military secrecy. This paper explores the museal use of film and video toward a politics of truth in visuality that works against and reframes a history of silence through impunity, thus participating in an ongoing process of accountability taking place across Argentina.
Abridged Bibliography:
Andermann, Jens. 2007. The Optic of the State: Visuality and Power in Argentina and
Brasil. Pittsburgh, PA: University of Pittsburgh Press,
Avelar, Idelbar. 1999. The Untimely Present: Postdictatorial Latin American Fiction and the
Task of Mourning. Durham and London: Duke University Press.
Bilbija, Ksenija and Leigh A. Payne. 2011.  Accounting for Violence: Marketing Memory in
Latin America: The Cultures and Practice of Violence. Durham and London: Duke
University Press.
Dinges, John. 2005. The Condor Years: How Pinochet and his Allies Brought Terrorism to
Three Continents. New York: The New Press.
Druliolle, Vincent and Francesca Lessa. 2011. The Memory of State Terrorism in the
Southern Cone: Argentina, Chile, and Uruguay. New York: Palgrave Macmillan.
Kristi M. Wilson is an Associate Professor of Rhetoric and Humanities at Soka University of America. Her research and teaching interests include classics, film studies, gender studies, cultural studies and rhetoric. Dr. Wilson is the coeditor of Italian Neorealism and Global Cinema (2007), Film and Genocide (2011), and Political Documentary Cinema in Latin America (2014), and author of numerous publications in such journals as Screen, Yearbook of Comparative and General Literature, Signs, and Literature/Film Quarterly. She also serves on the editorial board and is a film review editor at Latin American Perspectives (SAGE Publications).
·         Tomás Crowder-Taraborrelli
Visiting Assistant Professor of Latin American Studies
Soka University of America (USA)
Unearthing cruelty: repatriation and burial of an Ache in Fernández Mouján’s Damiana Kryygi (2015)
This paper explores the role of forensic science in the appropriation of indigenous bodies, and turn-of-the-century identity construction in Alejandro Fernández Mouján’s documentary, Damiana Kryygi (2015). The film partially recreates the life of an Aché indigenous woman who was abducted by colonists after a massacre in Paraguay. She was then taken to the Museum of Natural Science of La Plata as an object of study. More than a century later, her remains were found in the Museum and repatriated to Aché territory as a result of the efforts of her community. Throughout the film, Mouján remains sensitive to the politics and ethics of Damiana’s representation; appearing on camera just enough to reassure audiences that he is committed to documenting her repatriation and unearthing the cruelty of her treatment, which included photographing her body without clothes and her institutionalization on the basis of an “alarming sex drive.”  This presentation will consider the role of documentary film as a critique of ethnographic practices as they are applied to 1) nation state building and 2) the appropriation of indigenous bodies. I will draw from the work of Hegel, Adorno, and Hyppolite to examine Moujan’s voice-over meditations on the failures of the photographic image.
Abridged Bibliography:
Arens, R. (1976). Genocide in Paraguay. Philadelphia: Temple University Press.
Hill, K., & Hurtado M. (1996). Ache Life History: The Ecology and Demography of a
Foraging People. New York: Aldine De Gruyter.
Prelorán, Jorge. (2006). El cine etnográfico. Buenos Aires: Catálogos, 2006.
Renov, Michael. (2004). The Subject of Documentary. Minneapolis: University of
Minnesota Press.
Taylor, L. (Ed.). (1994). Visualizing Theory: Selected Essays from V.A.R. 1990-1994. New
York: Routledge.

Tomás Crowder -Taraborrelli received his doctorate in Spanish and Portuguese at the University of Irvine, California. He is an associate producer for ITVS and POV, from the Public Broadcasting Service in the United States. He is on the editorial board of the journal Latin American Perspectives, of which he is co-editor of the film section. He is co-editor of Film and Genocide (University of Wisconsin Press, 2012) and El documental político en Argentina, Chile y Uruguay (LOM Ediciones, 2015).

·         Clara Garavelli
Lecturer in Latin American Studies
University of Leicester (UK)
Exploring Thyself In-Between Video Art and Documentary Film: The Case of Javier Olivera’s La Sombra [The Shadow] (2015)
When analysing the interconnections between Art and documentary, both Gail Pearce and Cahal McLaughlin (2007) have stated that, although artists using moving images to explore ‘documentary’ themes, and documentary makers experimenting with form, content and exhibition modes, have brought the two disciplines closer together, their respective worlds still remain quite hermetic. In context of such observations, the aim of this paper is to examine how dialogue between experimental video and documentary film informs explorations of the personal and the collective in Javier Olivera’s La Sombra (2015). In the film under review, Olivera erases those boundaries in an act of exorcism intended to release himself from his father’s influence. The director, son of the renowned cinema tycoon Héctor Olivera, haunted by his father cinematographic past, at first moved away from filmmaking and into the Art world. His experimentations with video art allowed him to find his own voice and brought him back to cinema with a renewed position. Now an established filmmaker, in La Sombrahe records in video the destruction of the suburban mansion that epitomised the success his father – regarded as one of the biggest Argentine film producers – and filmmakers – of the 1960s-1980s. Herein, long takes of cranes and rubble are interwoven with Super 8 sequences that take us back to the glorious past lived within those walls. Olivera thus faces his own demons as ‘the son of’, exploring his identity construction through a process of negotiation of different media and audio-visual traditions, in what becomes an exploration not only of a personal history, but also of the official history of Argentine film.
Abridged Bibliography:
          Lebow, Alisa (2012). The Cinema of Me. The Self and Subjectivity in First Person Documentary, London & New York: Wallflower Press.
          Macdonald, Scott (2015). Intersections of Documentary & Avant-Garde Cinema, Oxford & New York: Oxford University Press.
          Pearce, Gail & McLaughlin, Cahal (eds.) (2007). Truth or Dare: Art and Documentary, Bristol & Chicago: Intellect.
          Piedras, Pablo (2014). El cine documental en primera persona, Buenos Aires: Paidós.
          Torreiro, Casimiro & Cerdán, Josetxo (eds.) (2005). Documental y vanguardia, Madrid: Cátedra.

Clara Garavelli is Lecturer in Latin American Studies at the University of Leicester (UK); editorial board member of Secuencias. Revista de Historia del Cine; author of the book Video Experimental Argentino Contemporáneo (2014); co-editor of Poéticas del movimiento: Aproximaciones al cine y video experimental argentino (2015) and co-author of collective works such as The Cinema of the Swimming Pool (2014) and Directory of World Cinema: Argentina (2014). She worked as Jury member of the International Festival of Video Art (FIVA, Argentina) and curated several video and film exhibitions.

Presentacion del Documental Politico en Argentina, Chile, y Uruguay: De Los Anos Cincuenta a la Decada Dos Mil


http://www.lom.cl/v/b0fee28e-ae08-4cef-a74e-ab3e5fc3ecd2/Presentaci%C3%B3n-de-El-documental-pol%C3%ADtico-en-Argentina-Chile-y-Uruguay-de-los-a%C3%B1os-cincuenta-a-la-d%C3%A9cada-del-dos-mil.aspx

Este sábado 26 de septiembre, a las 16.15, en el contexto del Festival de Internacional de Documentales de Santiago (Fidocs) será presentado el libro El documental político en Argentina, Chile y Uruguay: de los años cincuenta a la década del dos mil. El texto editado por LOM reúne 14 artículos de investigadores de los respectivos países. Responsables de la selección de los mismos son los académicos Tomás Crowder-Taraborrelli y Antonio Traverso, quien estará presente en la actividad que se realizará en la torre B del Centro Cultural Gabriela Mistral (Alameda Lib. Bernardo O’Higgins 227).


Señalan Traverso y Crowder-Taraborrelli : “El cine documental en Argentina, Chile y Uruguay ha demostrado fuerza, sofisticación y deseos de ser tanto testigo de los eventos políticos como protagonista de los procesos sociales que han marcado a estos tres países desde la década de los cincuenta”. Agregan que al existir hoy un corpus de trabajo y un archivo audiovisual histórico sustancial, este se constituye en una fuente de gran potencial para investigar y teorizar “tanto las historias y experiencias de cambio social y cultural en América Latina como el mismo género documental”.

De esto dan cuenta los trabajos de Mariano Mestman, Moira Fradinger, Antonio Prado, María Belén Ciancio, Kristi Wilson, Jorge Ruffinelli, María Soledad Montañez, David Martin-Jones, Ana Ros; Javier Campo, Patrick Blaine, Walescka Pino-Ojeda, Tomás Crowder-Taraborrelli y Gloria Medina-Sancho.

En ellos examinan en detalle las estrategias utilizadas por documentalistas argentinos, chilenos y uruguayos, tanto para registrar e intervenir en eventos políticos específicos enmarcados dentro de procesos de cambio social más amplios, como para visualizar y reflexionar sobre el pasado y el futuro de estas tres naciones. Así, por ejemplo, en el caso argentino la mirada va desde el documental militante argentino de los sesenta hasta la más reciente producción, ejemplificada en Los rubios de Albertina Carri. De Chile son analizadas obras de Patricio Guzmán, una de las voces más potentes del cine documental a nivel internacional, Silvio Caiozzi y Carmen Luz Parot.

El libro cuenta con una introducción de Carlos Flores del Pino, director del Festival Internacional de Documentales de Santiago, quien señala: « Las turbulencias en las que se desplazan las notables reflexiones de este libro me han hecho recordar una lúcida afirmación de Godard: “el cine no es un arte, ni una industria, el cine es un misterio”. Por eso, creo yo, el cine difícilmente puede cambiar el mundo. El cine sólo puede cambiar el cine».

Sixth International Conference on the Image

Clark Kerr Conference Center
University of California, Berkeley
29-30 October, 2015



Student Militancy and Documentary Film in Argentina

Since the late 1950s Latin American political documentary film has been at the forefront of innovation. Argentine filmmaker, Fernando Birri, of the Santa Fé Documentary School, presided over his students as they carried on their fieldwork, photographing the living conditions of working class families in the slums. The Santa Fé School photographs became a visual script for the filming of the influential film Tire Dié (1958). Shortly after the popular revolt of 2001 in Argentina, documentary filmmakers returned to these collaborative models to document demonstrations in the country and the prosecution of perpetrators of genocide. In my presentation, I will analyze Ernesto Ardito and Virna Molina’s El futuro es nuestro [The future is ours] (2014), a documentary series that reclaims the history of the forced disappearances of high school students during the dictatorship. The second film under consideration is Eran de colores [They were made of colors] (2012), a video project directed by students of the Nicolás Avellaneda High School in Buenos Aires that exhumes the identity and life stories of members of the student union that were disappeared. This short film concludes with flagstones being installed in the sidewalk in front of the school made by students and volunteers from the community. The flagstones mark the birth, and disappearance of alumni. To conclude, I will discuss Carmen Guarini’s Calles de la memoria [Streets of memory] (2012), a film that delves into the social significance of the labyrinth of repression, torture, and disappearance that the flagstones represent, and the efforts of activists and the community to memorialize the lives of political activists.



Soka Education Conference

Workshop: Soka Education Today – Exploring Value Creation in Documentary Film
February 15th, 2015
Pauling 430
2:30 p.m.

Jennifer Hayashi (SUA Class of 2014) and Tomas Crowder-Taraborrelli (SUA Visiting Professor of Latin American Studies)


Workshop Summary

The purpose of this workshop is to understand and expand Soka Education in the field of video documentary. Today we use video just as much if not more than we do written text, making it necessarily to expand Soka Education and consider its meaning in relation to video. This workshop aims to address how Makiguchi´s notion of value creation and community studies relates to video, specifically documentary film.

In this workshop we will explore concepts and short video clips in order to better understand how we can understand Soka Education in this generation.

Jennifer Hayashi graduated with SUA’s class of 2014 this past May. While studying at SUA she was a part of SESRP and served as a study leader her junior year. She studied abroad in Ecuador and focused her senior capstone on documentary film and hip-hop, as a means of value creation and community transformation. Immediately after graduating she returned to Ecuador to continue pursuing her path as an independent filmmaker. She recently successfully funded a Kickstarter project and is currently working on the documentary, The Roots Awaken. It is about a modern gathering of ancestral wisdom with leaders from Canada to Patagonia that took place in Ecuador. Her research interests include Soka education, humanistic education, community cinema, transformative arts, and modern indigenous cultures.

Visible Evidence XXI, New Delhi, India


New Delhi, India, December 11th to 14

India International Centre 40, Max Mueller Marg. Conference is Co-hosted by Jawaharlal Nehru University and Jamia Millia Islamia.

DECEMBER, 13th, 2014
Seminar Room 3

Time :11.30am-1.00pm


 Documentary/Violence: Trauma, testimony, index, performance and memory

Communities and trauma in South American documentary films about political militancy and state terrorism

Dr Clara Garavelli, University of Leicester (UK)

Regarding the Pain of Others: Short Experimental Argentine Documentaries on
the Dictatorship and its Aftermaths



Since the end of the military dictatorship in Argentina at the beginning of the 1980s,
there has been a vast amount of cultural production devoted to raising awareness of
the human rights abuses that occurred during those dark years. Whereas many of
these productions have been widely studied, there are yet areas of study and works
still waiting to be analyzed and discussed. Such is the case of those productions
located at the interstices of art and cinema: short experimental videos that employ
documentary modes and do not recur to narrative structures. Their ways of dealing
with the representation of violence and the traumatic past are partly connected with the
proliferation of new technologies and with the growth of new ways of experiencing the
moving image beyond the traditional film theatre. Bearing this in mind, this paper aims
to briefly explore how the works of Graciela Taquini, Gabriela Golder, Julieta Hanono,
Andrés Denegri, Alejandro Gómez Tolosa, Carlos Trilnick and Gustavo Galuppo
explore new ways of dealing with memory and with the violence generated by the
repressive past whilst attempting to challenge the traditional documentary mode.


Tomás Crowder-Taraborrelli, Soka University of America

Community activism and documentary film in Argentina: documenting the disappearance of victims of state terrorism in street flagstones.

Since the late 1950s Latin American political documentary film has been at the forefront of innovation. Argentine filmmaker, Fernando Birri, of the Santa Fé Documentary School, presided over his students as they carried on their fieldwork, photographing the living conditions of working class families in the slums. The Santa Fé School photographs became a visual script for the filming of the influential film Tire Dié (1958). The nature of Birri’s collaboration with his students, informed the production strategies of other important film collectives that followed (such as Grupo Cine Liberacion and Cine de la Base). Shortly after the popular revolt of 2001 in Argentina, documentary filmmakers returned to these collaborative models to document demonstrations in the country and the prosecution of perpetrators of genocide. In my presentation, I will analyze Ernesto Ardito and Virna Molina’s El futuro es nuestro [The future is ours] (2014), a documentary series that reclaims the history of the forced disappearances of high school students during the dictatorship. The second film under consideration is Eran de colores [They were made of colors] (2012), a video project directed by students of the Nicolás Avellaneda High School in Buenos Aires that exhumes the identity and life stories of members of the student union that were
disappeared. This short film concludes with flagstones being installed in the sidewalk in front of the school made by students and volunteers from the community. The flagstones mark the birth, and disappearance of alumni. To conclude, I will discuss Carmen Guarini’s Calles de la memoria [Streets of memory] (2012), a film that delves into the social significance of the labyrinth of repression, torture, and disappearance that the flagstones represent, and the efforts of activists and the community to memorialize the lives of political activists.

Kristi M. Wilson, Soka University of America

Force and Meaning: Political Hauntings in three contemporary Brazilian films

According to Avery Gordon, sociological hauntings can take on a range of forms
from lost personal artifacts, to decaying archival material, to people who live in the
wake of deprivation and repression. This essay explores the idea of memory and hauntings from the political past in three 2012 Brazilian films Neighboring Sounds / O Som Ao Redor (directed by Kleber Mendonça Filho), Dino Cazzola: a filmography of Brasília (directed by Andrea Prates and Cleisson Vidal), and Elena (directed by Petra Costa). This trio of films represents collisions between the force of the past and its meaning in the present across a range of Brazilian chronoscapes. Dino Cazolla was the Dzviga Vertov of Brasilia; a man with a movie camera whose cinematic eye documented the rapid creation and life of the nation’s new capital, including the traumatic rupture from democracy to dictatorship. Dino Cazzola: a filmography of Brasilia documents his life addresses the problem of preserving the type of expansive memory embodied in his decaying film archive. Neighboring Sounds explores notions of past and present violence under the surface of the increasingly privatized and policed urban landscape of Recife, a Portuguese settlement with a painful history of slavery and sugar barons. Elena is a poetic documentary about loss, memory and exile (from home and self). Born in hiding at the tail end of the dictatorship to Marxist activists, Costa uses her own personal archive of diaries, home-videos and voice recordings to conjure the inconsolable memory of her sister’s suicide in New York. These films artfully explore ways in which the Brazilian homeland has become unfamiliar — through obsessive fears about “security” and class conflict in Recife; anxiety over a decaying film archive and the potential loss of Brasilia’s tumultuous history; or the inconsolable memory of a family that surfaces in exile.