II Foro de Analysis y Critica Cinematografica del FIC UABC 2013

PROGRAMA, Mexicali

Lunes 21 de octubre

6:30 pm – Inauguración

7:00 pm – Mesa 1 – Los retratos sociales en el cine.Modera Alma Delia Zamorano

1. El documental mexicano contemporáneo y su estudio desde la Teoría de las Representaciones Sociales.Autores:Mónica del Sagrario Medina Cuevas, Alejandro Jiménez Arrazquito, Andrea Carolina Castañeda Cruz.

2. Terremoto en México: Tabú en la cinematografía nacional. Autor: Alma Delia Zamorano Rojas

8:00 pm – Conferencia magistral. “Crítica y crimen: Redefiniendo un oficio en el siglo XXI”.

Conferencista Alfredo González Reynoso

Alfredo González Reynoso. Ensayista y crítico de cine, colaborador de revistas como Replicante, Espiral y Binomio 1+4. Obtuvo el Premio Estatal de Literatura 2012, en la categoría de Periodismo Cultural, por su libro pronto a publicarse Choques, rupturas, espectros: Avatares de la frontera en el arte tijuanense. Como académico ha presentado ponencias en el Distrito Federal, Morelia y Toluca entre otras instituciones, y ha impartido cursos de Antropología Sociocultural, Literatura, Apreciación Cinematográfica y Crítica de Cine. Actualmente cursa la maestría en Estudios Culturales en el Colegio de la Frontera Norte y el próximo año publica su libro La escena del crimen: Escritos sobre cine.

 

MUSEO UABC


Martes 22 Octubre


10:00 am – Mesa 2a – Signos y símbolos, fondo y forma, música y sonidos, técnicas y contenidos en la narrativa cinematográfica.
Modera Alejandro Peimpert

1. Metáfora del Mecanismo Roto: Hugo Cabret desde la retórica cinematográfica y el lenguaje audiovisual. Autor: Dra. Estela S. Solís Gutiérrez


2. Una mirada postmoderna al mundo infantil: Moonrise Kingdom (2012). Autor: Javier Tapia Sierra.


3. 2001: Kubrick, Photogénie y la Edición Armónica. Autor: Julián Bastidas Treviño.

4. Viajes y vacíos: desplazamientos por el paisaje intersticial de Wim Wenders. Autor: Alejandro J. Peimbert.

12:00 am – Mesa 2a – Signos y símbolos, fondo y forma, música y sonidos, técnicas y contenidos en la narrativa cinematográfica.
Modera Mario Bogarín 

1. Superhéroes y su adaptación cinematográfica. Autor: Rosa Herlinda Beltrán Pedrín



2. Aura en transición: Consideraciones sobre la imagen en movimiento desde la perspectiva de una estética “transicional”. Autor: Mtro. Alejandro Espinoza Galindo

3. La estética exotista en el cine: aproximaciones al mensaje etnocentrista radicado en las propuestas multiculturales del cine occidental. Autor: Mtro. Mario Bogarín

2:00 pm – COMIDA LIBRE

5:00 pm – Mesa 3 – Perspectivas de género en la cinematografía en la narrativa cinematográfica.
Modera Yolanda Mercader

1. La influencia de lo (nor)fronterizo en las lógicas de dominación femeninas. Autor: Juan Alberto Apodaca

2. Mujeres, frontera, y narcotráfico en el cine mexicano. Autor: Yolanda Mercader

6:00 pm – Mesa 4 – La No-Ficción y sus distintas expresiones.
Modera Paulina Sánchez


1. El cine etnográfico argentino: orígenes, practicas y estrategias de representación en la obra de Jorge Prelorán Autor:Javier Campo

2. ¿Hacia un nuevo sujeto nacional? Etnografías de comunidades marginales en el cine argentino contemporáneo. Autor: Tomás Crowder-Taraborrelli

3. Retratar a Los Panero- El desencanto (1976, Chávarri) y Después de tantos años (1994, Franco). Autor: Paulina Sánchez

8:00 pm – Clausura y Proyección al aire libre del Documental la Cigüeña Metálica del director Joan López Lloret, comentaristas Mtro. Marcos Ramírez y Mtra. Laura Figueroa.


Con Javier Campo en Mexicali

 

Latin American Studies Conference: Democracy & Memory (Chicago, IL)

LASA Abstract
Forensic anthropology and documentary film: genocide, material evidence and the work of the Argentine Forensic Anthropology Team (EAAF)

In the aftermath of the genocides in Argentina, Chile and Guatemala, filmmakers began documenting the work of forensic anthropologists, who were instrumental in the identification of remains often found in mass graves. The Argentine Forensic Anthropology Team (Equipo Argentino de Antropología Forense, EAAF), an organization that from its inception functioned independently from the national government, promptly became responsible for carrying out the exhumations ordered by judges, working closely with the families of the disappeared. In this presentation, I will analyze a number of films from these three countries that document the delicate work of forensic anthropologists and delineate the social and political repercussions of exhuming victims of human rights abuses. These films are also valuable as material evidence, inasmuch as they they reveal the particulars of genocidal crimes. A few of the films under consideration will be: Granito (Yates, 2011), ¿Fernando ha vuelto a desaparecer? (Caiozzi, 2006), El último confín (Ratto 2006), Organizaciones Horizontales (Quattrini, 2003), Fernando ha vuelto (Caiozzi, 1998), and Following Antigone: Forensic Anthropology and Human Rights Investigations (Doretti, Aho, 2005), a documentary produced by the EAAF.

LASA, Washington D.C., 2013

June 1, 2013. 10:30 a.m.–12:15 p.m.

LATIN AMERICAN STUDIES ASSOCIATION CONFERENCE

WASHINGTON, D.C.

Con C. Garavelli, A. Baquero-Pecino y L. Duno Gottberg

STATE INTERVENTIONS, COMMUNITY ENGAGEMENT AND AUDIOVISUAL REPRESENTATIONS OF A NEW SOCIAL CONTRACT


Chair: Clara Garavelli (Universidad Autónoma de Madrid)
Panelists: Tomás Crowder-Taraborrelli (Soka University), Álvaro Baquero-Pecino (University of Alabama), Clara Garavelli (Universidad Autónoma de Madrid)
Discussant: Luis Duno-Gottberg (Rice University)
With Robert Stam

Conference at the Bolivar House, Stanford University


POLITICAL DOCUMENTARY FILM AND VIDEO IN SOUTHERN CONE (1950s-2000s)

October 25, 2013
3:00 to 5:00 p.m.

CENTER FOR LATIN AMERICAN STUDIES
BOLIVAR HOUSE
582 Alvarado Road
Stanford, CA 94305

Documentary cinema in Argentina, Chile, and Uruguay has shown comparable degrees of vibrancy and sophistication since the 1950s, as well as a shared desire to be a key witness to unfolding political events and a protagonist in national and regional processes of social justice. As a result, Southern Cone political documentary cinema today constitutes a substantial body of work that possesses great potential as a source for understanding social change histories in Latin America. 

Gleyzer y Preloran

This event (drawn from the presenters’ recent research published in a special issue of Latin American Perspectives) looks closely at the strategies utilized by Argentine, Chilean, and Uruguayan political filmmakers to document and participate in social change events, as well as to imagine and reflect upon the past and the future of these three South American nations. The motivation to single out the political documentary of these three southernmost countries within the broader Latin American context responds, first, to the specific historical, social, and cultural bonds that connect these nations within the continent and, secondly, to the fact that their documentary traditions clearly reflect these convergences. 


Among key points of correlation one should consider especially these nations’ early industrialization in the second half of the nineteenth century and the attendant formation of a working class, their long, laborious histories of unionism and workers’ struggle, the continuing advancement of popular fronts, their strong socialist traditions and influential leftist organizations, and their histories of military dictatorship, infamously united and coordinated through Operation Condor in the 1970s. Argentine, Chilean, and Uruguayan filmmakers have collaborated and influenced each other at least since the middle of the twentieth century through their documentation of and participation in these closely related political histories. Dr. Crowder-Taraborrelli will present an overview of the topic followed by three short discussions by Drs. Jorge Ruffinelli, Kristi Wilson, and Javier Campo. We allow ample time for a questions following the discussions.

PANEL PRESENTATIONS

Tomas F. Crowder-Taraborrelli: “Overview and Introduction: Political Documentary Cinema in the Southern Cone”.


Jorge Ruffinelli:The Year of the Political Documentary”

The year 2008 was prolific in terms of documentary film production in Uruguay. This type of Uruguayan cinema, which dates to the 1960s, was interrupted by the military dictatorship (1973–1984), and on the return of democracy it was very slow to recover. In 2008, however, it showed great vitality as political expression and great diversity in the artistic forms it employed in observing and interpreting the reality of the recent past.

Kristi Wilson: The Split-Person Narrative: “Resisting Closure, Resistant Genre in Albertina Carri’s Los rubios”


The Argentine director Albertina Carri’s documentary/docudrama Los rubios confounds the binary between postmodern and neoconservative trends in recent Latin American cultural studies and popular media. It breaks the mold for ways in which the sons and daughters of the victims of political genocide can talk about their memories, inviting a pointedly feminist/postmodernist reading that plays with Baudrillard’s notion of seduction in its challenge to established order. Carri’s apparently postmodern rejection of the truth, facts, and master narratives expected from the politically involved descendants of disappeared activists opens up critical spaces for reflection about the discourse of meaning.

Javier Campo: “Documentary Film from the Southern Cone during Exile (1970–1980)”.

Soon after the establishment of the Southern Cone dictatorships many artists and intellectuals, mostly political activists, had to go into exile. The documentary filmmakers among them continued to work in their countries of exile producing testimonies, denunciations, and reflections with their countries of origin as a central focus. An analysis of the most important works of the period called “film from exile,” from 1973 (Augusto Pinochet’s coup against Salvador Allende in Chile) to the democratic transitions taking place in the subcontinent in the mid- and late 1980s, reveals a progression in themes from militancy through reflection on the condition of exile to the defense of human rights. The documentary films from exile recorded the diversity of resources used by the filmmakers to bear witness to the absent, a rich palette that combined staging, archival material, interviews, and reflection to produce the only traces of free cinema during this period.

Symposium Latin American Film-UCLA


SYMPOSIUM ON LATIN AMERICAN CINEMA STUDIES TODAY- THEORY AND PRACTICE

Raymundo Gleyzer en el rodaje de La revolución congelada

YOUNG RESEARCH LIBRARY CONFERENCE ROOM

Thursday, October 24th, 2013

2 p.m. to 4 p.m.

4:30 p.m. Screening (film title to be announced)


Latin American cinema studies have grown enormously in volume and quality the last few years. The field has produced conferences, essays and books, and specialized study groups dedicated to research in Latin American cinematographic representations. From comparative to national cinematography studies, from the studies of cinematographic to the gendered genres, from formal studies to historical ones, from theoretical studies to explorations of film distribution markets, among other areas of concentration, Latin American cinema is now debated widely around the world.

Possible questions for brief presentations and roundtable discussions at this symposium might include the following:

• Is it possible to think about common tools for the analysis of Latin American cinema?

• To what extent do documentary and fiction films compete for the film market and/or for attention in academic institutions and discourse?

• Do book publications and academic theses from the last few years reveal a surge of new modes of thinking about Latin American cinema? If so, how? If not, what do they reveal?

Organizers: Dr. Randall Johnson (UCLA), Dr. Tomas Crowder-Taraborrelli (Soka University of America), Dr. Kristi M. Wilson (Soka University of America), Dr. Javier Campo (CONICET, UNICEN, Argentina), Daniel Cooper (UCLA Department of Spanish and Portuguese).


For more information on this event please contact Daniel Cooper at: dcooper35@ucla.edu

University of California Santa Barbara Conference

FRIDAY, MAY 3rd, 2013

STATE STREET ROOM INTHE UNIVERSITY CENTER
11:15a.m. -12:30p.m.

Session 1: Film and Migration
Moderator: Unai Nafarrate, University of California, Santa Barbara

Tomás F. Crowder-Taraborrelli, Soka University of America.“Migration, Cultural Tradition and the Unease of International Glamour in Two Recent Latin American Documentary Films”

Pedro M. Escobar Uribe, University of California, Santa Barbara.“No Maps for These Territories. Desterritorialización en la era digital”

Ricardo Brites, Lecturer Camões IP / University of California, Santa Barbara: “Tabu ou uma máquina do tempo -para uma análise do filme de Miguel Gomes”.

Con Unai Nafarrate, Pedro Escobar Uribe y Ricardo Brites


Migration, Cultural Tradition and the Unease of International Glamour in Two Recent Latin American Documentary Films


In the last few years, film historians, magazine editors, producers, and filmmakers have pronounced the passing of film, as we once knew it, to whoever would listen. In Latin America, evidence of this passing can be seen in the closure and/or conversion of neighborhood theaters into evangelical churches with neon crosses. Most video rental stores have also disappeared and the ones that remain are either a testament to the passion of their owners for the seventh art or evidence of their poor business skills. And yet, in spite of such dire circumstances, a thriving community of documentary filmmakers is making hundreds of films (on video) every year about unusual topics for the Latin American film canon. Some of these recent films avoid making grandiose statements about the destiny of the region, but rather put their focus on exceptional individuals or social groups. 

La chica del sur

It doesn’t take a seasoned film historian to conclude that this burst of creativity is due to the simple fact that Latin Americans now have access to inexpensive digital equipment. And what could be cheaper than finding and filming the exceptional in the everyday? The approaches for choosing a theme and the ways to tell a story are, as we know abundant, and young filmmakers are borrowing from all kinds of artistic traditions- literature, pop music, oral traditions, plastic arts, home movies, etc. What makes this borrowing both more demanding and stimulating is that the Web offers plenty of examples to draw from. Further, digital production and online distribution is cultivating a new kinship between filmmakers, visual traditions and audiences across the world. Audiences are no longer bound by regional borders, but can be found potentially anywhere in the world. This is a daunting realization that the current crop of young filmmakers is trying to grapple with. 


Two recent documentaries from Mexico and Argentina, Drought/Cuates de Australia (2012) and The Girl from the South (2012), respectively, display contrasting approaches to storytelling and the experience of migration. During my presentation, I will examine the distressing journey of the protagonists of these two documentaries from the place they call home, and their bittersweet return. The filmic texts set out on a similar migration, from the contentment of their cultural traditions to the unease of international glamour.

Con Mario Bellatin en Santa Barbara
Con Mario Bellatin y Pedro Escobar Uribe

Cultural Studies Association Conference, UCSD

Seeing is Believing: Documentary Film, Art and the Materiality of Evidence 
4:00-5:45pm • Room: Solis 110

Revisiting memory: Touring Sites of Traumatic memory Kristi M. Wilson, Soka University of America

The 1985 Trials of the Argentine Juntas: Court Testimonies, Visual Documentation, and the Erasure of evidence Tomás F. Crowder-Taraborrelli, Soka University of America.

Documentary Film as Material Witness and Social Conscience in “The Stranger”. Jennifer Barker, East Tennessee State University.

Access to Evidence: Film and/as Archive Stephen Cooper, California State University, Long Beach.

Chair: Tomás F. Crowder-Taraborrelli, Soka University of America.