Media, Politics, and Democratization in Latin America

Media, Politics, and Democratization in Latin America
Edited by: Javier Campo and Tomás Crowder-Taraborrelli
Issue 220 | Volume 45 | Number 3 | May 2018
Table of Contents

This special issue of Latin American Perspectives investigates a matter that has undergone critical transformations in recent years. From the period of progressive governments to the current neoliberal restoration, the media went from being thought of as a public service to a private business. This issue features articles on Ecuador, Brazil, Bolivia, Chile, Mexico and Argentina and covers a broad disciplinary spectrum of studies: from the laws of communication put into practice or projected, to the deregulation of the most advanced legislations of Latin America, to communication rights, audiovisual analysis, memory studies and historiographies of the Latin American left.

The editors were committed to organizing a special issue about the favorable democratization of the media, but in the process, the media landscape was transformed into a reactionary onslaught of the monopolies of information and communication; a process that ended in the electoral victories of right-wing corporatists.

 

 

 

 

Microphone
Alexander Scott, Outreach Coordinator for Latin American Perspectives, interviews special guest editors Javier Campo and Tomás Crowder-Taraborrelli on the subject of the May 2018 issue: “Media, Politics, and Democratization in Latin America.”
 CLICK HERE to listen to the podcast!
Podcast is also available in SPANISH!  Listen here. 
 
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Feria del Libro de Tijuana

Martes | 3 de junio 2014

Presentación del libro:
Doncella roja
Autora: Eve Gil
En esta última entrega de la trilogía de Sho-shan, las aventuras de las hermanas Cho y Murasaki llegan a su punto culminante. Al lado de Kunikida sama, su mentor y mangaka más famoso del mundo, viajan clandestinamente a China. Su objetivo es desentrañar la serie de misterios acerca de la vida de su madre, quien fue acusada de ser una espía y quedó en estado de coma durante los trágicos sucesos de la plaza Tiananmen, cuando los jóvenes que salieron a protestar públicamente fueron reprimidos brutalmente por el ejército chino.
Presenta: Elizabeth Cazessús.
Sala de lectura, 3:00 pm.
Editorial: Santillana.
Coordina: IMAC.

Presentación del libro:
El 27 y El topo
Autor: Enrique Saint Martin.
Dos obras de teatro con algo en común: el sobreponerse a la adversidad para lograr tus objetivos. “El 27” evoca a la memoria, tanto a la individual como a la colectiva, evocando la frase “no olvidaremos”. “El Topo” narra la historia de un muchacho con retraso mental y deformidades físicas que no son un obstáculo para lograr su objetivo.
Presenta: Juan Carlos Rea.
Sala de lectura, 4:00 pm.
Editorial: ICBC.
Coordina: IMAC | ICBC.

Con Juan Alberto Apodaca y Adriana Trujillo

Presentación del libro:
Vencedores en la derrota
Autora: Alice Hentzen.
Basada en una historia de la vida real, Vencedores en la derrota narra una historia de amor, en el que dos personajes provenientes de situaciones distintas, buscan mantener un amor, durante una época tan dolorosa como lo fue la segunda guerra mundial.
Presenta: Rocío Galván.
Sala de video, 4:00 pm.
Editorial: Ilcsa.
Coordina: IMAC.

Presentación del libro:
Artes plásticas y visuales Frontera y arte, acercamiento discursivo a obras producidas por artistas mexicalenses
Autora: Karla Paulina Sánchez.
Este libro invita a reflexionar, a través de algunas piezas de artistas mexicalenses en la característica fronteriza, sabiendo que desde el arte se pueden encontrar otros discursos y formas de comprender la realidad.
Presenta: Juan Alberto Apodaca.
Sala de lectura. 5:00 pm.
Editorial: ICBC.
Coordina: IMAC/ICBC.

Presentación del libro:
Orfeo en el Caribe
Autora:Teresa Dovalpage.
Orfeo Vázquez, mulato bien plantado, toca la tumbadora en un grupo de salsa pero sueña con dedicarse a la música clásica. Se enamora de Eury, chica peso completo y lectora de Charlotte Brontë. Las cosas se complican cuando la hermana de Eury, pelirroja de sensualidad agresiva, se empeña en llevarse a la cama al músico.
Presenta: Vianett Medina.
Sala de video, 5:00 pm.
Editorial: Atmósfera Literaria.
Coordina: IMAC.

Presentación del libro:
Zetaz
Autor: Carlos Altamirano
La historia aborda la problemática de los periodistas al ejercer su profesión. La historia se entrelaza con la vida de un niño sicario que crece hasta adulto al servicio del mejor postor. Narra la situación actual de la libertad de expresión, el poder político, el dinero y sus medios por conseguirlo sin importar la vida del otro para lograrlo.
Presenta: Carlos Fabián Sarabia.
Lobby Vestíbulo Sala Carlos Monsiváis, 5:00 pm.
Coordina: IMAC.

Proyección del Documental:
Días Terrenales. Testimonio de José Revueltas
Realizador: Julio Pliego.
Repaso biográfico de Revueltas, desde su temprana militancia de izquierda hasta su muerte. Se brinda particular atención a su presencia en el movimiento de 1968 y la literatura de compromiso. Una serie de entrevistas aportan información acerca de la disidencia del Partido Comunista, en la llamada Liga Espartaco.
Sala Carlos Monsiváis/Cineteca Tijuana, 6:00 pm.
Coordina: IMAC | TV UNAM.

Presentación del libro:
Bordocs y fronteras: Cine Documental en el Norte de México
El cine filmado en la frontera o que tiene a la frontera como escenario, es un vasto capítulo cultural de nuestra realidad. En este contexto, la producción de documentales tiene una importancia significativa. Bordocs ha sido a través de los años un festival de documentales que presenta una visión integral de las tendencias, corrientes y expresiones de lo más novedoso en este ámbito.
Participan: Adriana Trujillo, Juan Alberto Apodaca, Tomas Crowder.
Sala de video, 6:00 pm.
Coordina: IMAC.

Ver Programación Completa de la Feria del Libro de Tijuana:

Media, Politics and Democratization in Latin America

CALL FOR MANUSCRIPTS


Latin American Perspectives

Issue editors: Tomás Crowder-Taraborrelli and Javier Campo

This issue will focus on the critical intersections of media, democratization, and social struggles in recent Latin American political experience. It seeks to analyze the media as key political-economic institutions, as the public sphere or contested political-cultural arenas within which political and social struggles are waged. The media will also be understood as the object of political struggles over legislation or regulations that shape its functioning. We are particularly interested in the theoretical and empirical questions about media raised by attempts to theorize and construct new political, economic, social and cultural systems that are more participatory and egalitarian and by the centrality of the need to communicate for the development of movements for social change. We are interested in work that examines the full range of media from national and transnational conglomerates to participatory grassroots and social media, and considers media’s role in the political and social struggles of the democratic process.

In the last decades, the governments of Venezuela, Brazil, Bolivia, Ecuador, Uruguay and Argentina have sought, through media reform, more participation in the production and distribution of media in principle to assure a plurality of voices. This political undertaking, which supporters of these elected governments see as an instrumental part of the process of re-democratization, is at the center of a controversial endeavor to overcome inequality in Latin America. For instance, the governments of Brazil, Venezuela and Argentina, have advanced new regulations through their respective congresses that are believed to be instrumental in the democratization of mass media. In examining media issues in the more progressive countries, we invite submissions that address the broad theoretical issues of media democratization and examine actual practice. Our focus is on analyzing how different types of media (corporate, state/public, party, community, social, etc.) play a role in current struggles and on how particular types of media restructuring reshape power relations at all levels.

In other parts of Latin America governed by center and right wing governments, such sweeping media democratization projects are not underway, however, the wide range of social struggles in progress have generated innovative media forms and communication strategies, such as those linking the Zapatistas to international solidarity networks. We also invite submissions that reveal the structural inequalities in the region and address the critical role of media in building social movements and in advancing their demands. Submissions could analyze a single country or social movement or several countries comparatively. They could also examine transnational dimensions of media and politics from the role of transnational conglomerates to regional and international social movement networks.

The following are some questions we would like to consider in this collection: What is the role of the State in the production and distribution of media in the past few decades of neoliberal economics, post-dictatorship democratization processes, and increasing popular resistance to inequaltiy? Have new digital technologies helped to undermine the monopoly of media conglomerates (Rede Globo, Grupo Televisa, Grupo Clarín)? How have the mass media served as “ideological organizers” of the right (as El Mercurio did in Chile under Allende) in the struggles against the radical governments of the region? How does mass media influence social movements and electoral campaigns? What measures are Latin American governments implementing to bridge the so called “digital divide”? What are some of the theoretical and ideological debates centered on the role of the media in the consolidation of democracy and the pursuit of social justice? How do social movements use and/or create their own media? What are some of the contributions of grassroots organizations and groups such as the Coalition for Democratic Broadcasting (Argentina)?

Essays submitted for this special issue may also address the following or any other relevant topics:

* Distribution of subsidies to independent production companies, community radio stations and grassroots organizations as a guarantee of political diversity (and as an alternative to corporate media)

* Media laws and freedom of information regulations (e.g. Ley Resorte-Venezuela, Law for Community Broadcasting-Uruguay, Organic Communication Law-Ecuador, Bolivian Constitution of 2009)

* New media technologies (online broadcasting platforms, social networks, mobile networks, cable and satellite TV, etc.)

* Internet (broadband) and computer access and social inequality (State sponsored programs such as Programa Brasileiro de Inclusion Social and Programa Una Computadora para cada alumno (Argentina)

* History of media conglomerates and the promotion of policies to undermine their monopoly (license renewal and non-renewal)

* Public TV, audiovisual politics, and the distribution of cultural programming (fiction films and documentary films)

* Journalism, online publishing (bloggers)

* Electoral campaigns, TV/Radio coverage, and online social networks

SUBMITTING MANUSCRIPTS
To avoid duplication of content, please contact the issue editors to let them know of your interest in submitting and your proposed topic. We encourage submission as soon as possible but this call will remain open as long as it is posted on the LAP web site.

Manuscripts should be no longer than 8,000 words of double-spaced 12 point text, including notes and references, and should be paginated. The manuscript should include an abstract of no more than 100 words and 5 key words. Include a separate cover sheet with author identification, basic biographical and contact information, including e-mail and postal addresses. Please follow the LAP style guide which is available at www.latinamericanperspectives.com under the “Submissions” tab. Please use the “About” tab for the LAP Mission Statement and details about the manuscript review process.

Manuscripts may be submitted in English, Spanish, or Portuguese. If submitting in Spanish or Portuguese, please indicate if you will have difficulty reading correspondence from the LAP office in English. LAP will translate accepted manuscripts submitted in Spanish and Portuguese. If you do not write in English with near native fluency, please submit in your first language.

All manuscripts should be original work that has not been published in English and that is not being submitted to or considered for publication in English elsewhere in identical or similar form.

Please feel free to contact the Issue Editors with questions pertaining to the issue but be sure that manuscripts are sent to the LAP office by e-mail to:

laps@ucr.edu with the subject line – “Your name – MS for Media issue”

In addition to electronic submission (e-mail, or CD-R or floppy disk if unable to send by e-mail) if possible submit two print copies including a cover sheet and basic biographical and contact information to:

Managing Editor, Latin American Perspectives¸ P.O. Box 5703, Riverside, California 92517-5703.

Editor contact information:

Tomas Crowder-Taraborrelli: tcrowdertaraborrelli@soka.edu

Javier Campo: javier.campo@cinedocumental.com.ar



EN ESPAÑOL:

Medios de comunicación, políticas y democratización en América Latina 

Convocatoria de artículos 

Latin American Perspectives 

Editores del número: Tomás Crowder-Taraborrelli y Javier Campo

Este número focalizará en las intersecciones críticas entre medios de comunicación, democratización y luchas sociales en las experiencias políticas latinoamericanas recientes y contemporáneas. Se busca analizar a los medios de comunicación como instituciones político-económicas de poder y como la esfera pública o terreno politico-cultural donde se disputan luchas politicas y sociales. Los medios de comunicación serán entendidos dentro de un espacio de disputas políticas sobre legislación y regulaciones que inciden sobre su funcionamiento. Estamos particularmente interesados en cuestiones teóricas y prácticas sobre las políticas de los medios que permitan pensar, y construir, nuevos órdenes políticos, económicos, culturales y sociales más participativos e igualitarios en los que los movimientos sociales adquieren una centralidad inédita. Estamos interesados en trabajos que examinen el arco de medios nacionales y conglomerados transnacionales, los medios locales y comunitarios, y que consideren el rol de los medios de comunicación en las luchas políticas en los procesos democráticos.

En las últimas décadas los gobiernos de Venezuela, Brasil, Bolivia, Ecuador, Uruguay y Argentina promovieron, a través de reformas de sus sistemas de medios, mayor participación en la producción y distribución de los contenidos con el fin de asegurar que una pluralidad de voces sea escuchada. Estas políticas son una parte importante en la redemocratización promovida por estos nuevos gobiernos electos, y también una parte controversial en el frente interno en el esfuerzo de reducir la desigualdad. Los gobiernos de Brasil, Venezuela y la Argentina avanzaron con nuevas regulaciones en sus respectivos congresos con el interés de que estos proyectos de reforma se conviertan en elementos para la democratización de los medios de comunicación. Para examinar cuestiones problemáticas sobre estos procesos dados en los países más progresistas de la región invitamos al envío de trabajos que investiguen teóricamente estos temas en esta u otras líneas. Nuestro interés es analizar cómo diferentes tipos de medios (corporativos, públicos, partidarios, comunitarios, etc.) juegan un rol en las disputas y luchas actuales y cómo estos tipos particulares de medios reestructuran las relaciones de poder en todos los niveles.

En otros lugares de América Latina, gobernados por la derecha o el centro, tales proyectos de democratización de los medios no están siendo discutidos, pero de cualquier manera los movimientos sociales generan formas y estrategias de comunicación alternativas, como las producidas por los Zapatistas con sus redes de solidaridad internacionales. Por ello también invitamos al envío de trabajos que revisen las desigualdades estructurales de la región y su vinculación con el rol crítico de los medios para permitir el crecimiento de los movimientos sociales y hacer conocer sus demandas. Los artículos pueden analizar lo que sucede en un solo país o varios países de forma comparativa. Es posible también analizar la dimensión transnacional de los medios y las políticas públicas, el rol de los conglomerados transnacionales y/o las redes internacionales de movimientos sociales.

Los que siguen son algunos problemas que consideraremos en este número: ¿Cual es el rol del Estado en la producción y distribución de los medios en las décadas recientes de economías neoliberales en el que se produjeron fuertes resistencias populares a las políticas de desigualdad? ¿Hay nuevas tecnologías digitales que ayuden a restringir el monopolio informativo de los grandes conglomerados (Rede Globo, Grupo Televisa, Grupo Clarín)? ¿Como sirven los medios masivos como “organizadores ideológicos” de la derecha (como El Mercurio funcionó en Chile bajo el gobierno de Salvador Allende) en la lucha contra los gobiernos progresistas de la región? ¿Cómo influyen los medios masivos en las campañas electorales o los movimientos sociales? ¿Cuáles son las politicas nacionales para eliminar la llamada “brecha digital?” ¿Cuales son los debates teóricos e ideológicos centrados en el rol de los medios en la consolidación de la democracia y la consecución de la justicia social? ¿Como usan o crean nuevos medios los movimientos sociales? ¿Cuales son las contribuciones de las organizaciones de base para la democratización de los medios (en la Coalición por una Radiodifusión Democrática, Argentina, por ejemplo)?

Los trabajos para este número especial podrán considerar los siguientes tópicos u otros temas relevantes:

* Distribución de subsidios a productoras independientes, radios comunitarias y organizaciones de base para garantizar la diversidad (y como una alternativa a los medios masivos)

* Leyes de medios y regulaciones a la libertad de información (por ejemplo: Ley Resorte,Venezuela, Ley Sobre Medios Comunitarios -Uruguay, Ley Orgánica de Comunicación -Ecuador, Constitución de Bolivia de 2009)

* Nuevas tecnologías de medios (plataformas de difusión online, redes sociales, cable y televisión satelital, etc.)

* Informatización, acceso a Internet y desigualdad social (Programas estatales como Programa Brasileiro de Inclusion Social y Programa Una Computadora para cada alumno – Argentina).

* Historia de los conglomerados de medios y la promoción de políticas para delimitar esos monopolios (renovación o rechazo de renovación de licencias)

* Televisión pública, políticas audiovisuales y la distribución de contenidos culturales (films documentales y de ficción)

* Periodismo online (bloggers)

* Campañas electorales, cobertura de TV, radio y redes sociales

ENVÍO DE TRABAJOS

Para evitar la duplicación de contenidos contacte a los editores para hacerles saber su interés de someter su trabajo y comentarles sus principales líneas de trabajo. Sugerimos enviar manuscritos lo antes posible, pero esta convocatoria seguirá abierta mientras aparezca en el sitio de LAP.

Los manuscritos no podrán exceder las 8000 palabras en espaciado doble y fuente 12, incluyendo notas y referencias. El texto deberá estar paginado. Tendrá que incluir un resumen de no más de 100 palabras y cinco palabras clave. En un archivo separado se incluirán los datos del autor, una biografía básica e información de contacto y dirección postal. Por favor siga la guia de estilo de LAP: www.latinamericanperspectives.com bajo la entrada “Submissions”. Asimismo se recomienda usar la entrada “About” para conocer detalles sobre el proceso de revisión de los artículos.

Los manuscritos pueden ser escritos en inglés, español o portugués. Si envía su manuscrito en español o portugués, favor de avisar si tendrá dificultades en leer correspondencia de la oficina de LAP en inglés. LAP traducirá del español o portugués manuscritos que hayan sido aceptados. Sino escribe en inglés con la fluidez de un nativo, por favor envíe su trabajo en su primera lengua.

Los manuscritos deben ser trabajos originales que no hayan sido publicados en inglés, ni que hayan sido presentados o estén a consideración para su publicación en forma idéntica o similar por otros medios.

Para preguntas relacionadas con este número, puede comunicarse con los editores pero el manuscrito (junto con un archivo aparte con los datos biográficos del autor o autores y las direcciones electrónicas y postales) debe ser enviado a la oficina de LAP por correo electrónico en formato Word o rtf a la dirección:

laps@ucr.edu con la línea de asunto – “Su nombre – MS for Media issue”

Además del envío electrónico (e-mail, CD-R o floppy disk caso no puedan enviar por e-mail), si posible, deben enviar dos copias impresas con una carátula con información biográfica básica y su contacto a:

Managing Editor, Latin American Perspectives¸ P.O. Box 5703, Riverside, California 92517-5703.

Información de contacto de los editores:

Tomás Crowder-Taraborrelli: tcrowdertaraborrelli@soka.edu

Javier Campo: javier.campo@cinedocumental.com.ar

Film Review LAP

Film Review
Latin American Perspectives, July 2013 40: 136-139

http://lap.sagepub.com/content/current


Homo artis, Homo laborans, and Homo politicus: The Pursuit of Redemption in Three Recent Argentine Films


Armando Bo El último Elvis. Argentina, 2012

Pablo Giorgelli Las acacias. Argentina, 2011

Santiago Mitre El estudiante. Argentina, 2011

One cannot be short of themes while there is still plenty of reality. Any hour of the day, any place, any person, is a subject for narrative if the narrator is capable of observing and illuminating all these collective elements by exploring their interior value.

—Cesare Zavattini

Armando Bo’s feature film debut The Last Elvis (El último Elvis) is a refreshing addition to recent Argentine releases. Bo is the grandson of Armando Bo Senior, the director of the soft-porn pulp classics of Isabel “La Coca” Sarli (Fiebre, 1972, and Carne, 1968). He appears to share his grandfather’s fascination with the malcontent antiheroes that are ever present in our bustling Latin American cities. The Last Elvis follows the misadventures of Carlos Gutiérrez (John McInerny) over a period of a few days. Carlos makes his living impersonating Elvis Presley, singing at private parties and neighborhood fairs.

During the day Carlos (who insists on being called “Elvis,” as if the name were a title of nobility) works in an appliance factory. It is unclear whether he and his fellow workers on the line are assembling new appliances or refurbishing outmoded ones. His factory job speaks volumes about his own path as an artist. During a particularly reflective scene, he leaves the assembly line and walks through a maze of discarded stoves, presumably to take one of his breaks. It’s a stunning shot for its artistic qualities and narrative effect. Carlos lounges on a discarded sofa, feet propped up, listening to “the King” on his Sony Walkman Sport. Just like the rusted refrigerator lying on a heap of other appliances in the background, he is physically exhausted. As he moves into his forties, one wonders whether he is destined for refurbishing or for the dump.

The opening scene is equally provocative. A traveling shot leads the viewer up a set of marble stairs lined with brass railings as Richard Strauss’s Also Sprach Zarathustra builds in intensity. It is impossible for a director to use this music in a film without evoking Stanley Kubrick’s 2001: A Space Odyssey. The tone in Bo’s film is set for yet another cosmic encounter, but this time it is with the transformative energy of rock ‘n’ roll. Strauss’s composition turns out to be Carlos’s entrance music, which he follows with a delightful rendition of Elvis’s classic “See, See, Rider”. In the film as in Carlos’s performance, the execution is part of a plan. The impersonator copies the opening of Presley’s legendary concert Elvis Aloha from Hawaii, a television broadcast that was watched by millions in 1973. Elvis’s famous lyrics “Well, I’m going away, baby/And I won’t be back ‘til fall” form a central motif that sets the film’s plot in motion.

Without McInerny’s superb performance, The Last Elvis would be just another tragicomedy about a loser pretending to be a star. McInerny is especially memorable in this role because he is a real-life Elvis impersonator by night (an architect by day). Initially hired by Bo to coach the lead actor, McInerny turned out to be too good to pass up, and the director decided to replace the trained actor with the real deal.


Carlos doesn’t have many friends. He strikes the pose of a lonely artist seeking redemption. He is estranged from his wife, Alejandra (Griselda Siciliani), and his daughter, Lisa Marie (played by Margarita Lopez with great naturalness). He resents it when Alejandra doesn’t respond to the name “Priscilla” and scoffs at his daughter for not liking “the King’s” favorite sandwich—peanut butter and banana on white bread. His only visitor is a prostitute. While this could be construed as trite, the film positions this character as a kindred spirit; Carlos also prostitutes himself by assuming the persona of another artist for hire. When his ex-wife has a near-fatal car accident, Carlos is put in the position of having to assume fatherly duties, a role he has thus far managed to avoid.

A sense of doom saturates this film. Carlos is at odds not only with the times and his age but also with the Kafkaesque impersonators’ association that reimburses him for his gigs. This association is a celebrities’ purgatory. A rock connoisseur could surely identify in the crowd of familiar faces a Mick Jagger, an Iggy Pop, and a Charly García, to name a few.

Out of the meager salary he receives, Carlos is saving to travel to Graceland. His pilgrimage toward the end is the film’s memorable payoff. Bo and Nicolás Giacobone (credited for the screenplay) recognize that in popular culture, great art is mostly imitation, particularly in an age of digital reproduction. Carlos’s Elvis is as much a version of Elvis as Elvis himself, and this is what makes McInerny’s performance so disquieting; in a song we can ascertain the materialization, rise, and eventual downfall of two great performers.

There is a similar tone to Pablo Giorgelli’s Las acacias. The film is also a story of a marginal character, a single-minded truck driver whose judgment is stuck to the road ahead, but it has no references to pop culture, stardom, or cultural colonialism. Las acacias tells a simple tale and does so with confidence and weariness.

Little is said during the first 20 minutes or so. In the opening scene we witness an acacia tree being cut down with a chain saw. Latin American viewers, quick to pick up on regional languages and accents, will situate themselves at the border between Paraguay and Argentina, a region that has been devastated by indiscriminate logging for decades. Rubén (Germán de Silva) transports logs on a faded Scania truck; its purring engine provides the soundtrack for the first quarter of the film.

On this trip, Rubén is annoyed because he has been ordered to drive from the border to Buenos Aires (a long journey) with Jacinta (Hebe Duarte) and her 5-month-old baby girl, Anahí (Nayra Calle Mamani) (Figure 2). Not much is said between the two adults, but there is no need for conversation. In contrast to many contemporary directors, Giorgelli clearly understands that relationships are built mostly on gestures rather than words.

In the beginning, Rubén is purposely rude to Jacinta. He drinks without offering, lights a cigarette in front of the baby, and doses off at the wheel (something that he later tries to deny). During these first tense scenes, the camera is mostly confined to the truck’s cabin, and we begin to crave the rare opportunity to peek at the passing landscape out of a window or in the dusty rear-view mirror. The outside world is only fleetingly reflected, and we begin to question Rubén’s ability to imagine life beyond these narrow frames.

The eyes of baby Anahí are interposed between Rubén’s callousness and Jacinta’s dignity. In Guaraní “Anahí” means the flower of the ceibo (Argentina’s national tree), esteemed for its beauty, and Anahí is beautiful. Both Rubén and Jacinta have turbulent pasts. As Jacinta firmly states, the baby has no father. Rubén met his son when he was four and hasn’t seen him since. He carries a picture of him in his glove compartment, perhaps to remind him of his missteps as a father. The road pushes the characters forward, and their relationship warms up. Viewers are left to evaluate what each character requires from the other and whether emptiness might be filled by their companionship. This is an antiquated tale, but the care with which it is handled by Giorgelli and Salvador Roselli (who collaborated on the screenplay) gives the film a distinguished glow.


El estudiante (2011)
On its screening at the esteemed Buenos Aires Festival Internacional de Cine Independiente, Santiago Mitre’s film The Student (El estudiante) was heralded as the beginning of a new era in Argentine independent film. The film is shot in digital HD, but the screenplay rests on the principles of classical filmmaking—an agreeable combination of the old and the new. Mitre coauthored Pablo Trapero’s Leonera (2008) and Carancho (2010), darlings of the international circuit, and his maturity is well displayed in The Student. What makes this new film a promising departure for him is that he manages to bring us even closer than usual to the social milieu of its protagonists.

Roque Espinosa (Esteban Lamothe), a slightly lazy college student, moves to Buenos Aires to attend the tumultuous University of Buenos Aires. He soon discovers (the passage of time in the film is marked by the girls he sleeps with) that he would much rather meander through the poster-covered hallways and student centers spinning out political conspiracies than attend class. The film marks Roque as a hunter. The Argentine rockers Los Natas provide untamed rhythms and distortions to anticipate or accompany the moments when he is mulling over his next move up the university’s barbed ladder. Roque favors, protects, enlists, and seduces colleagues and comrades with an ease that, from time to time, surprises even himself. Mitre must be thanked for not weighing the scenes down with expository dialogue. This is in fact one of the best qualities of his film—his ability to detach himself from the world he is exploring in order to reveal, humorously, its contradictions. The moralizing is left for those who find it necessary to expiate their political sins. Roque prefers action and expediency—he is a political beast.

The cinematography owes much to the documentary (shot on location, uneven camera work, natural lighting, real time). It moves swiftly among the students’ sit-ins and assemblies, often searching for a resting place from which to observe the conspiratorial carnage. Mitre uses some of the formal elements of social realism that we see in the other films reviewed here, but the acting, at times delicately stilted, gives the reality he depicts melodramatic overtones. He relies on the protagonist’s predatory stare to build tension and supplies the prey with a few redeeming features. Paula (Romina Paula), a well-intentioned teaching fellow, supplies several damning stare-downs that chip away at our loyalty to the unsung hero. An omniscient voice comments rather sarcastically on the species that inhabit the social system under scrutiny.

For viewers outside of Argentina, the academic world depicted in The Student, especially the ins and outs of the appointment of professors and deans, may remain mystifying, but the core of the conflict—the rise of a young political leader, closely monitored by his shifty mentor Alberto Acevedo (deftly played by Roque Felix)—is a popular theme in movies about drug pushers, human traffickers, and corrupt cops. For most of the film it remains unclear whether Roque will be able to find the principles and values that will give moral authority to his machinations. One can only hope that those would-be leaders will be driven not by personal ambition but by the yearnings of their communities. Wishful thinking, perhaps, but, as Roque reminds us in The Student, the ritual of casting ballots partially rests on our willingness to delegate rather than govern.

Articulo sobre "Presunto Culpable"

Milenio Online


Tras la sentencia que se emitió la semana pasada, en la que se indica que el documental Presunto culpable saliera de circulación, Marina Stavenhagen, titular del Instituto Mexicano de Cinematografía (Imcine), reconoció que “ignoro el detalle de cómo salió esta sentencia, habría que conocerla a fondo. De entrada, a nosotros nos parece terrible que se enlate, que se retire de la circulación”.


La historia de Antonio Zuñiga de nueva cuenta vuelve a crear polémica. Foto: Archivo

“Definitivamente hay una reflexión necesaria que tenemos todos pendiente, que es una reflexión sobre el papel del documental, los límites de lo público, lo privado, la ética, la estética y todo aquello que va a aparejado al ejercicio de la creación”, destacó al ser entrevistada en el encuentro de cine y video documental pendiente Contra el silencio todas las voces.

Vive su auge el documental

En medio del crecimiento de la producción cinematográfica nacional, se revela el auge que el género documental vive no sólo en México, sino a nivel mundial.


Para leer el resto del articulo ir al siguiente link:

Chile hace el cine mas interesante de Latinoamerica

RIO – Uma obra suave, rica de observações sensíveis’, definiu o júri do Festival de Roterdã, no início de fevereiro, para justificar a entrega de um de seus três troféus Tigres, os principais da mostra holandesa, para “De jueves a domingo”, o longa-metragem de estreia da chilena Dominga Sotomayor. Tratava-se de um prêmio importante para uma jovem cineasta de 26 anos, mas também de uma confirmação: vem do Chile o cinema mais interessante feito na América Latina hoje.

Roterdã repetiu os indícios que vêm sendo dados por festivais como Sundance, Cannes, Berlim ou Veneza, cujas seleções vêm abrindo cada vez mais espaço para a produção de uma nova geração chilena. É uma situação semelhante ao que ocorreu há uma década com os filmes pós-crise financeira do cinema argentino ou com os favela movies do cinema brasileiro. A maior diferença é que, no Chile atual, os filmes não surgem de problemas econômicos ou sociais. São originados de um cinema suave, rico de observações sensíveis.

Leia mais sobre esse assunto em http://oglobo.globo.com/cultura/chile-faz-cinema-mais-interessante-da-america-latina-4319040#ixzz1pIYJgCY7
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