PCCLAS, California State University, Los Angeles

Pacific Coast Council Latin American Studies Conference
California State University, Los Angeles
Friday, October 28


Panels: 11:00 am-12:45 pm
Films and Media in Latin America

Panel 8: Social Movements, Human Rights, and Struggles for Justice across the Americas
SH C137

Chairs: Gabriela Fried-Amilivia, CSULA and Molly Talcott, CSULA
Discussant: Gabriela Fried, CSULA

Maria Teresa Borden (CSULA), “ Remembering and Forgetting Latin America.”


Tomás Crowder-Taraborrelli, (Soka University), “The 1985 Trials of the Juntas: censoring testimonies” 

Wilson, Kristi M. (Soka University), “Memory complex: public, private and judicial spaces of traumatic memory.”

Alicia Partnoy (Loyola Marymount University) “Faith and Religion in Recent Argentine Prison Writings”

Nancy Caro Hollander (CSUDH) “Neoliberal Subjectivities and Social Trauma”

BorDocs/Organizadores e Invitados






El primer fin de semana de Septiembre estaré cubriendo BorDocs, el foro internacional de cine documental de Tijuana, para la revista argentina Cine Documental. En esta ocasión entrevistaré a Bill Nichols (sábado a las 11 am, UABC). Para leer el último numero de Cine Documental visitar la página de la revista: http://www.cinedocumental.com.ar/sitio/


Friday, September 2nd


Taller de Producción y Desitribución Independiente

Impartido por: Daniela Alatorre.
Horario: 3:00 – 5:00 p.m.
Lugar: Multiforo del Instituto de Cultura de Baja California
Leer descripción

 Seminario “La Imagen-Interfaz: Imagen Audiovisual y Conocimiento en la Era de la Complejidad”
Impartido por: Josep María Català
Del Lunes 5 al miércoles 7 de Septiembre
Horario: 6:00 p.m.
Lugar: UABC, Facultad de Humanidades.
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Proyección inaugural: El General
Con la presencia de su productora: Daniela Alatorre.
Horario: 7:30 p.m.
Lugar: Multiforo del Instituto de Cultura de Baja California
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Coctel de Bienvenida.
Horario: 9:00 p.m.
Lugar: Multiforo Instituto de Cultura de Baja California


Saturday, September 3rd

Taller de Producción y Desitribución Independiente
Impartido por: Daniela Alatorre.
Horario: 3:00 – 5:00 p.m.
Lugar: Multiforo del Instituto de Cultura de Baja California
Leer descripción

Master Class
When Filmmakers Shoot Real People: Some Ethical Considerations
(Cuando los cineastan filman personas reales: algunas consideraciones éticas)
Impartido por: Bill Nichols
Horario: 12:00 – 2:00 p.m.
Lugar: UABC, Facultad de Humanidades
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El Field
Docs@Night
Proyección con la presencia del director: Daniel Rosas
Horario: 8:00 p.m. – 12:00 a.m.
Lugar: Multiforo Instituto de Cultura de Baja California
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Invitados
Programa

IHUM: Alumni Colloquium


IHUM: Introduction to the Humanities Program
Stanford University

Alumni Colloquium

September 15th-16th, 2011

To celebrate the community of more than 200 fellows who have completed the IHUM Post-doctoral Fellowship program, our alumni are cordially invited to a reunion celebration and colloquium, September 15 –16, 2011 at Stanford. The program will highlight “Teaching Humanities for the 21st Century” and will promote conversation based on our common experiences that contributes to the national discussion of the future of humanities in higher education and society.  
Thursday, September 15, 2011
IHUM POST-DOCTORAL FELLOWSHIP ALUMNI REUNION CELEBRATION
Reception at 5:30 PM
Welcome by
Harry J. Elam Jr.
Freeman-Thornton Vice Provost for Undergraduate Education
Olive H. Palmer Professor in Humanities
Director of IHUM 1997 – 2002

Friday, September 16, 2011
IHUM POST-DOCTORAL FELLOWSHIP ALUMNI REUNION COLLOQUIUM
“CONTINUING THE CONVERSATION: TEACHING HUMANITIES FOR THE 21ST CENTURY”

8:30 AM TO 6 PM
Mackenzie Room, 300 Huang Engineering Center, 475 Via Ortega, Stanford, CA
Campus Map

Continuing the Conversation: Teaching the Humanities for the 21st Century
Open to the public

Continental Breakfast will be available beginning at  8:30 am.Lunch will be served from noon to 1 pm


9 am to noon
Politics of Pedagogy: Public perceptions and support for humanities education: Magdalena Barrera (2005-08) and Andrew Jenks (2002-03)



Teaching in a Core Curriculum: the lessons of IHUM: Jennifer Barker (2005-08)
It’s All about Learning: An update on IHUM: Mariatte Denman (1997 – 2000) Ellen Woods (2005 – 2011) 


1:30 pm to 4 pm

Eric Cline, Mark Graham and Alice Petty

How we write?  Collaborative scholarship and the IHUM experience: Eric Cline (1997-98) and Mark Graham (2001-03), interviewed by Alice Petty (2006-09)     


Interdisciplinarity in concept and practice: Andrew Mitchell (2004-07), Victoria Szabo (1999 – 2006), Kristi Wilson (1999-03) and Tomas Crowder-Taraborrelli (2005-08) 


Many alumni fellows have demonstrated a continuing commitment to the spirit of interdisciplinary scholarship and teaching embodied in the IHUM curriculum.  This session explores philosophical reflections on interdisciplinarity, the experiences of teaching an interdisciplinary humanities and arts agenda in a traditional research university, and the challenges to tradition created by a university wholly organized around an interdisciplinary educational philosophy.  The conversation raises questions about the adaptability of institutions in response to new approaches to scholarship and teaching.

Andrew Mitchell (IHUM 2004 – 2007) approaches the topic of interdisciplinarity in terms of the spatial metaphors we use to talk about it. In reflecting on the notion of the ‘space between’ disciplines, he interrogates the hidden pre-suppositions in language. Is this a neutral space? How do we gain entry? What does this mean for humanities scholarship and teaching? How might interdisciplinary work challenge the organization of higher education institutions?
V. Szabo, A. Mitchell and K.Wilson


As a member of the department of art, art history and visual studies at Duke, as well as an affiliate of several other departments and programs, Victoria Szabo (IHUM 1999 – 2006) inhabits an institutional ‘space’ where digital humanities and new media intersect with art, history, cultural studies, literature, and computer science.  She shares her experiences in devising new courses, curricula, projects, interdisciplinary “labs,” and a master’s degree program, all of which benefit from the administrative flexibility of being housed in non-discipline-based structures.

Kristi Wilson (1999-03) and Tomas Crowder-Taraborrelli (2005-08) bring to this conversation their experiences at Soka University where a distinctive interdisciplinary educational philosophy underlies the fundamental mission of the institution. How do faculty trained in established disciplines respond to this commitment to a student-centric, progressive approach in an environment that encourages student activism and full participation in shaping the curriculum? Kristi and Tomas discuss the tensions inherent in this unique place. 




4 – 6 pm Reception
Closing Remarks: Russell A. Berman, Walter A. Haas Professor in the Humanities, Director of IHUM 2005 – present

With Jennifer Barker

www.stanfordterraceinn.com
531 Stanford Avenue
Palo Alto, CA 94306-1194
(650) 857-0333

Schwab Residential Center
http://www.gsb.stanford.edu/schwab/
680 Serra Street
Stanford, CA 94305-6090
(650) 725-6880

9th Biannual Conference of the International Association of Genocide Scholars (IAGS) Buenos Aires, July 19-22, 2011

Truth, Memory, Justice, and Recovery

9th Biennial Conference of the
International Association of Genocide Scholars
July 19- 22, 2011
Center for Genocide Studies
Universidad Nacional de Tres Febrero
Buenos Aires, Argentina

Over the last two decades, the field of genocide studies has rapidly proliferated. To date, however, the field has not fully addressed the aftermaths of genocide, including the ways in which post-conflict societies negotiate issues of truth, memory, justice, and recovery.

This focus is particularly appropriate given the venue, Argentina, and the fact that this will be the first IAGS conference ever held in Latin America. During 1980s and 1990s, the phrase “truth, memory, and justice” became a key watchword of resistance and resilience. Despite periodic attempts to focus on one of these issues alone (for example, seeking truth instead of justice), many people in Latin America have and continue to insist that only the three pillars together enable individual and social recovery from collective terror. Truth, Memory, and Justice, then, are preconditions for the fourth pillar, Recovery.

Panel presentation title: FILM AND GENOCIDE
Editors and contributors to Film and Genocide, forthcoming in 2011 from the University of Wisconsin Press.


Panel chair and presenter:
Tomás Crowder-Taraborrelli, Soka University of America. “Film and
Genocide: An introduction.”

Presenters and respondent:

Kristi M. Wilson, Soka University of America.
Tomas Crowder-Taraborrelli, Soka University of America
Stephen Cooper, California State University, Long Beach.
Donna-Lee Frieze, Deakin University, Australia (respondent)

Film and genocide: An introduction
Tomás Crowder-Taraborrelli 
Soka University of America

Film critics have long been dissatisfied with the ability of commercial films to convey the suffering of victims of genocide and the political and social conditions that lead to it. Night and Fog, Alain Resnais’ 1955 documentary film remains, to this day, the most critically acclaimed film of the genre. It seems that little progress has been made, in terms of formal innovations in the medium, toward being able to tell these extreme stories and recreate the sociopolitical contexts that fueled the events. Critics are still waiting for a film that marries the storytelling of horrific events to their sociopolitical context; one that has the ancillary persuasive ability to politicize audiences to the extent that genocide-prevention becomes a high priority for them. This panel is concerned with the discursive effectiveness of genocide films to help “muster the imagination,” or as Lynn Hunt calls it, develop imagined empathy.


This panel will explore filmic representation and documentation of genocides motivated by such factors as colonialism and decolonization, religious and ethnic difference, totalitarianism, and political difference. We will also look at the potential of documentary and fiction film to help in understanding the legacy of genocide that continues to haunt contemporary life and popular culture. We have opted for a generally inclusive and comparatist approach to definitions of genocide, because we feel that it best represents the type of dialogue and debate that already exists in many films and theoretical discussions about genocide. A short list of topics we will address includes: aesthetic realism versus fiction in giving voice to genocide; the challenge to depict atrocities in a manner that is palatable to spectators; questions of genre and formulaic approaches to genocide; the Holocaust film as a model for other films about genocide; the role of new technologies in the distribution of films about genocide.

The Specter of Genocide in Errol Morris’s The Fog of War: Eleven Lessons From the Life of Robert S. McNamara
Kristi M. Wilson
Soka University of America

On any given day, with the click of the remote, one can revisit the glories of World War II on The History Channel. Featured show like Patton 360, Battle 360, Hero Ships, Dog Fights, Lost Worlds, and Hitler’s Eagles Nest Retreat, offer a never-ending celebration of American bravery during the ‘good war,’: “our all-American war in which we fought the bad guys to a standstill because they forced us to do it” (Basinger and Arnold, The World War Two Combat Film: Anatomy of a Genre, xii). The near ubiquitous range of World War II program offerings, website forums, video games and gift shop items available on The History Channel’s companion website attests to Andreas Huyssen’s concern that the act of preserving memory at all costs, has usurped the act of envisioning the future in Western societies.
Nowhere is the United States’ problematic relationship to history better exemplified than in its atomic bombing of Hiroshima and Nagasaki and firebombing of Japanese cities at the end of World War II. In Errol Morris’s film The Fog of War: Eleven Lessons from the Life of Robert S. McNamara (2003) Robert S. McNamara’s recollections of his political and military career intersect with a powerful visual argument about air wars.


The Fog of War posits a connection between US military imperialism, capitalist expansionism, a Bush era continuity of aggressive Cold War nuclear age politics and an overall rupture of the US’s rhetoric of World War II heroism in favor of a repositioning of this identity as a nation with an ongoing, complex relationship to the concepts of history and genocide. McNamara’s confessions about his actions during WWII in Japan fall under the rubric of what Leo Kuper has called “white collar genocide” and Morris’s creative use of aerial photography and historical re-enactment through archival State department footage provide a radical break with the tradition of silence around such a politically taboo topic, or what Samantha Power would call “a problem from hell.” Thus, The Fog of War is as much a critique of the present packaging of memory for U.S. consumers as it is about American’s dark past in Japan.


The impulse of film towards death: the open society archives in Budapest
Stephen Cooper
California State University, Long Beach

For millennia the ancient dream of capturing life-as-it-is tantalized artists, poets and philosophers. When film was discovered, first as photography, then as cinema, the dream had finally come true … just in
time to begin recording the nightmare of contemporary genocide. What do we see when we view a photograph or a film, whether celluloid, videotape or digitization? What do we do when we see it? André Bazin, Roland Barthes and Johanna Drucker have pondered the ontology of these media, often linking the impulse toward film with death: Bazin on art as embalming; Barthes’ “flat death”; Drucker’s terror before the image of a nocturnal field of snow as “digital purity manifest in its full sterile wholeness.” 


 Siegfried Kracauer contends that film is specifically attracted to “phenomena overwhelming consciousness,” including atrocities of war, acts of violence and death. Recently, Susan Sontag has charged that as viewers we incur certain responsibilities face-to-face with the evidence staring back from images of the victims of wars and genocides. “Let the atrocious images haunt us,” she exhorts. My essay will consider the intersection of these theories as they impinge on the intersection of film and genocide, in the context of a research visit to the Open Society Archives in Budapest. The OSA houses one of the world’s most important collections of audiovisual documentation regarding human rights and war crimes, including genocide. I plan to spend two weeks in Budapest early this summer investigating the archive’s holdings with the assistance of head film archivist Zsuzsa Zadori.


For a copy of the conference program go to the following link:
http://www.catedras.fsoc.uba.ar/feierstein/Programa.doc

For more information about the conference visit IAGS website:


FACINE


CInstituto de Cultura de Baja California (ICBC)
FACINE
Primer Foro de Análisis Cinematográfico: Tijuana: Perspectivas de la ciudad en el cine
Viernes 30 de septiembre y sabado 01 de octubre de 2011

Panel: Cine Documental
Viernes 30 de Septiembre, 15:00 horas



Mesa 3. Cine documental



Que suene la calle: Video documental en Tijuana- “Mexamérica” Tomás F. Crowder- Taraborrelli, Soka University of America.

Tijuana en el cine independiente documental de John Sheedy. Fernando Arturo Mancillas Treviño,Universidad de Sonora



Tijuana documentada.Verona Chang.
Artileria: Cine y video. Modera: Concepción Baxin, UABC


 “Que suene la calle: video documental en Tijuana-“Mexamérica”

Tijuana, como espacio sociopolítico y cultural, ejerce sobre organizaciones culturales como BorDocs una presión inusual. El nombre mismo del festival hace referencia a ese espacio discursivo contestatario que es el border, la frontera. El desafío de BorDocs es poder celebrar un encuentro de documentalistas de la región, con invitados internacionales, y por sobre todo, reflexionar sobre las transformaciones, aceleradísimas por cierto, que atraviesa Tijuana-San Diego.

En 1995, Kirwin Cox realizó una encuesta entre documentalistas y les pidió que hagan una lista de los diez documentales que a su consideración habían cambiado al mundo. Los encuestados llegaron a la conclusión que sólo unos pocos habían logrado tener influencia en su comunidad. La encuesta los alentó a afirmar que es sólo a través de movimientos a los que los realizadores se ven asociados, que una película puede contribuir a un cambio social. Es por eso que un foro, como estrategia organizativa y discursiva, puede establecer procesos de intercambio mucho más profundos y sofisticados que un simple festival. Los directores de BorDocs invierten parte de su presupuesto y tiempo para organizar talleres que sirven para el desarrollo técnico y teórico de estudiantes y profesionales abocados al desarrollo del cine documental en su región. En regiones de contienda social como Tijuana la producción de documentales pasa a tener una importancia suprema.

En este trabajo analizaré una experiencia de cine vivo sobre la vida cotidiana en en Tijuana-San Diego y un documental que registra la vida de adolescentes que viven en la calle. La experiencia de cine vivo, Antropotrip: Sinfonía Urbana en Directo (J. L. Martín, 2010), formó parte de la tercera versión de BorDocs, un foro sobre cine y video documental en Tijuana y San Diego (2009). El documental Que suene la calle (2003), fue dirigido por Itzel Martínez del Cañizo, que junto a Adriana Trujillo, es una de las directoras artísticas de BorDocs.

Con C. Baxin, F. Mancillas Treviño y
V.Chang

Las políticas inmigratorias de Estados Unidos continúan corroyendo las relaciones familiares en la región de la frontera.  Si tenemos en consideración la destructiva presencia de los carteles y las fuerzas de seguridad,  la situación de estas familias se hace cada vez más crítica. Este estado de emergencia demanda todo tipo de intervenciones por parte de los documentalistas. Como señala el crítico de David Walsh “cuando uno describe a la presencia del mundo en el arte, nos referimos a su verdadera presencia, que incluye principalmente sus dimensiones históricas y sociales…un esfuerzo creativo no es sólo una simple descripción, pero una interpretación de la vida” (2010: 1). 


El desafío de foros como BorDocs y experiencias de cine vivo como Antropotrip, aspiraran a enmendar los lazos culturales, como aquel enredo de cables mal aislados que aparecen en Que suene la calle. Parte de esta tarea, como sugiere Jean Amery, es ayudar a las comunidades a concebir un hogar que pueden llevar a cuestas.


Para más información visitar la página de FACINE: