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:

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:


2011 Latin American Studies Conference, California State University San Bernardino


FRIDAY 22, California State University, San Bernardino

Coffee and Registration 9:00 Upper Commons
Welcome 9:15 Upper Commons
Eri Yasuhara, Dean of College of Arts and Letters

Session 1 9:20 – 10:20 Pine Room
Graduate Student Roundtable—-CSULA
Chair: Angela Vergara, Department of History, CSULA
Desire for Oppression: Semiotics Behind Argentina’s Dirty War, Patrcick Benjamin
_ e Aesthetic Praxis of Liberation, Jimmy Centeno
Panama’s US educated Elite and the maintanence of a dual allegiance power structure,
Maria Samaniego

Session 1B 9:20 – 10:20 Panorama Room
Graduate Student Roundtable—-CSULA
Chair: Michal Kohout, Geography, CSUSB
Radical Activism through Theater: Teatro Jornalero sin fronteras, Xochitl Quintero
Origins and Continuance of women’s participation in Mariachi and the Cultural and
Transnational implications: California, Cindy Reifl er Flores
Los mensajeros de narco tráfi co, Carla Villanueva

Keynote 10:40 – 11:50 SMSU Th eater
Introduction: Paul Amaya, Director of Center for International Studies and Programs
“MADRE: PERILOUS JOURNEY WITH A SPANISH NOUN”
Liza Bakewell, Brown University

Session 2 12:00 – 1:00 Pine Room
Graduate Student Roundtable—–Soka University
Labor and Migration in the San Diego/Tijuana Border
Chair: Tomas Crowder Taraborrelli, Soka University
Taeko Iwamoto, Heather Hallahan, Maiko Miura, María Valdovinos, Martha Valle

Session 2B 1 2:00 – 1:00 Panorama Room
Graduate Student Roundtable—–California State University, Fullerton
Chair: Michal Kohout, Geography, CSUSB
Ana Rosa Ramírez, “The Changing Structure of Cuban Agriculture”
Juan Antonio Tavárez, “Sor Juana: El vuelo del águila”

Lunch 1:00 – 2:00 Obershaw Dining Room
Introductions: Antonieta Gallegos-Ruiz, World Languages and Literatures, CSUSB
Ballet Folklorico de CSUSB with Janette Peña, María Paredez, Ana Rosa González,
Veronica Resendez, Cristina Ruiz, Rocío Ruiz, and Edgar Astorga

Session 3 2:00 – 3:00 Pine Room
Indigenous Cultures—–CSUSB
Chair: Nena Torrez, Language Literacy and Culture, CSUSB
Universidad Intercultural: Seven years later, Robin Larsen, Professor Emeritus and
Antonieta Gallegos-Ruiz, World Languages and Literatures

Sponsored by
College of Arts and Letters
Center for International Studies and Programs
International Institute
NEH Humanities Institutional Grant
World Languages and Literatures

Article in the newspaper El (The) Chicano Weekly about the Conference and our presentation:

SLAS (Society For Latin American Studies Conference), University of Saint Andrews, Scotland, April 2011

Challenging Genre and Traditional Visual Categories in the Southern Cone



The Advancement of New Technologies in the Arts, Cinema and the Media. In the past thirty years, together with the reinstatement of democracy in most of the countries of the Southern Cone, there has been an upsurge of cultural productions that blur the distinction between artistic and political engagement. In addition, the growth in the region of new technologies, which have often allowed most of these productions to come to be, has gradually changed how the spectator experiences those works and how the works themselves are institutionally apprehended. By altering aesthetics, defying predetermined structures, straddling the boundaries of genre and reconceptualising socio-political intervention, these visual products have managed to use this new media to confront power relations, not only embedded within the recent history of each country of origin, but also embedded within the cultural institutions that regulate and legitimate the artistic productions, and the theoretical categories that have been traditionally used to describe them. This panel aims to explore how the arts, cinema and the media have been changing in the past decades due to the growth of new technologies, and to what extent this change has been institutionalized.

Session 1: Sunday, 0900-10:30 (Buch. 216) (Chair: Georgiana Dragota)
Javier Campo, Universidad de Buenos Aires, Argentina
<javier.campo@cinedocumental.com.ar>
Video usage on documentary in the Southern Cone: aesthetic and productive transformations.
Video technology has had a decisive (though late) influence in documentary film production in the Southern Cone. The introduction of this technological device in the film medium was delayed by the military dictatorships which suspended the technical and cultural innovation in the subcontinent. Thus the exiled filmmakers were those who started experimenting with video, like the Argentine Fernando Solanas in Los hijos de Fierro (1984) and Chileans Marilú Mallet and Patricio Guzmán Diario inconcluso (1982) and En nombre de Dios (1986) respectively. Video usage in documentary film-making had a large increase during the 90s. Production and aesthetic changes were decisive for the creation and diffusion of new methods of carrying out documentary, in line with global changes in documentary that had been taking place in previous years. In this sense the objective of this work is to investigate those formal and production changes that led to the increase of documentary films in the Southern Cone, while addressing local and international reference literature.

Tomás F. Crowder-Taraborrelli, Soka University of America, USA
<tfcrowder@gmail.com>
Nicolás Prividera’s M: the documentary filmmaker as a detective seeking out untruthful memories. Nicolás Prividera’s documentary film M is a film about an investigation. Prividera himself appears in his film wearing a wrinkled trench coat reminiscent of Humphrey Bogart noir PICs. In M, the investigator is personally involved. The missing person is his own mother, Marta Sierra, a political activist and educator that went missing during the Argentine military dictatorship. Everyone seems to be hiding something, and in M, the inquisitive presence of the video camera does not guarantee any earnest revelations. In fact, the camera mirrors Prividera’s distrustful demeanour; its presence does nothing to evaporate the fog of the mystery. By contrast, it deepens, revealing a complicity of silences and gestures. 

In my presentation, I will analyse the role that video, family photos and 8mm movies play in assisting Prividera in the representation of a memory satiated with absences. Although he appears to give himself completely over to the investigation of the disappearance of his mother, he seems discontent about the form of the documentation of this process. M exposes the inadequacy of personal video projects -projects that don’t have the support of powerful institutions and the community at large- to investigate genocidal crimes. The quote that appears at the beginning of M describes the existential angst Prividera feels at not being able to find the strength to communicate his emptiness. AsWilliam Faulkner says in his novel Absalon, Absalon!, “su niñez estaba poblada de nombres, su propio cuerpo era como un salón vacío lleno de ecos de sonoros nombres derrotados. No era un ser, una persona, era una comunidad”.

With Javier Campo and Clara Garavelli


Clara Garavelli, Universidad Autónoma de Madrid, Spain
<clara.garavelli@uam.es>
Playing with Memory: Short Experimental Video Documentaries in Contemporary
Argentina. 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 these kinds of productions have been widely studied within traditional disciplines and categories, there are some areas still waiting to be analysed and discussed. Such is the case, for instance, of those works located at the interstices of art and cinema: short experimental videos that employ certain documentary modes and do not recur to narrative structures. 

Their way of dealing with memory and its ways of representation are partly connected with the proliferation of new technologies. By reducing the costs of production and opening up the possibilities for exhibition, the so-called ‘new media’ allow a stage of experimentation with the audiovisual language that is yet to be uncovered. Therefore, this paper will try to briefly explore how the works of Graciela Taquini, Gabriela Golder, Julieta Hanono, Andrés Denegri, Carlos Trilnick and Gustavo Galuppo, explore new ways of dealing with memory whilst challenging the traditional documentary mode. Session 2: Sunday, 11:00-12:30 (Buch. 216) (Chair: Clara Garavelli)

Elena Rosauro, Universidad Autónoma de Madrid, Spain
<elena.rosauro@gmail.com>
The Walking Archive: Art, Politics and Blogging. In 2001, the Argentinian artist Eduardo Molinari (1961) created the Walking Archive (AC), the core of his artistic practice. It consists of photographs from public archives, photographs taken by the artist himself, and “junk” material (newspapers, magazines, and collected or donated graphic materials). The AC is a work in progress that Molinari defines as a visual archive concerned with the actual and imaginary relationships between art, history and politics. It is a sheaf of critical reflections on the official historical narratives. 

The AC is a structure capable of engaging with the context-world: the places the artist travels, but also the national/post-national tension, since his practice starts from the local sphere but has global reference points. Therefore, the archive is an open shape where borders are dissolved. This paper intends to reflect on the use of archives and documents as emerging spaces of construction, through the case study of Molinari, starting from two hypotheses: history and art are practices that reconfigure past and present differently, but with certain concomitances; the works of art incorporating the concepts of document and archive reelaborate the relationship between history, culture and politics, while requiring a close relationship with new technologies.
Cecilia Palmeiro, Birkbeck College, University of London, UK
<c.palmeiro@sllc.bbk.ac.uk>
Poéticas vitales en tránsito: Antiestéticas de lo trash. This paper examines how a certain constellation of texts and political practices produced during the last 30 years in Argentina and Brazil allows to rethink the status of literature and its relationship with politics in contemporary Latin America. Ranging across a series of translations, smugglings and short-circuits between Argentina and Brazil, mainly operated by poet and activist Néstor Perlongher, this work elaborates a dialectical image of a discontinuous trail of queer-trash anti-aesthetics, orientated to the mutation of subjectivity through a queer bodily experimentation understood as a molecular revolution. 

Reading together underground literature with documents of avant-garde political activism, this paper explores the forms in which literature reaches beyond the limits of its autonomy to intervene in concrete social practices, as well as explores political formations alternative to the classic concept of engagement.This materialistic analysis allows to read anti-aesthetic movements as expression of cultural conflicts that boosts the insurgent impulses in society as an objective need of social change, as well as intends to provide a language of expression for those impulses.

Francisco Godoy, Universidad Autónoma de Madrid, Spain
<francisco.de.godoy@gmail.com>
Body practices, public practices, registered practices: the documentation of certain performances in the 70’s and 80’s in Chile. Since the birth of photography and anthropology the register of the body is constituted as a mechanism for classification and control of the body-other. Against this, some conceptual practices between the late 60’s and late 80’s in Chile – in diverging ways – present and de-construct the body in the streets, in the alternative gallery spaces and housing (protected meeting places) as a vindication of an abject and de-centred body.

In this biopolitical and public acts occur a disruptive articulation of the relationship between art, politics and regulated body. In this context, the record in video and photography is established as the “documentation” of those practices known as ephemeral and, therefore, its memory is in those materials. Nowadays, with the boom of the archive, these materials made in difficult circumstances are in debate between their classification as “work of art” or document, between their private conservation or public re-activation. This presentation will discuss certain works registered of the Colectivo de Acciones de Arte (CADA), Carlos Leppe and Las Yeguas del Apocalipsis, all of them practices that occurred at different moments of the
dictatorship of Augusto Pinochet.

Georgiana Dragota, Universidad Autónoma de Madrid, Spain
<georgiana.dragota@gmail.com>
The role of new technologies in the internationalisation process: the diffusion of Latin-American telenovelas in Romania. During the last two decades, the growth of new technologies has contributed to an increase in the transnational circulation of television products. The Latin American telenovela has reached new markets due to such internationalisation. The development of satellite and cable television and the deregulation of the public channels in Europe are the main factors that favoured the emergence of new private television channels. Such television series began to be broadcast in Romania starting in the ’90s, after the fall of the Communist regime, when the number of privatelyowned television channels increased considerably, along with the necessity of programming to fill the emission schedule. 

The telenovelas have been in increasingly high demand due to their great popularity and high audience ratings. The main purpose of this paper is to illustrate how the telenovela industry has been driven by the development of the means of production and technology, which allows the series to be produced on a large scale, and destined for both the national and international market. The illustrative case of Romania shows how new technologies have contributed to the inclusion of Latin American telenovelas in the programming schedule.

Immigration Law Lecture (Soka University of America)



Friday, February 11, 5 p.m.

Soka University of America, 1 University Avenue, Aliso Viejo, California

Grand Reading Room, Ikeda Building, Room 400

A conversation with Professor Marisa S. Cianciarulo, Associate Professor of Law, Chapman University School of Law and Tomas F. Crowder-Taraborrelli, Soka University of America

Screening of Sin País (dir. Theo Rigby, 2010, 20 min.)

Professor Cianciarulo is a specialist in clinical teaching and immigration law with a human rights focus. She is the Director of Chapman’s Family Violence Clinic, which she launched in 2007. Professor Cianciarulo taught in the Villanova Clinic for Asylum, Refugee and Emigrant Services for three years prior to joining the faculty at Chapman. She previously served as a Staff Attorney with the American Bar Association’s Commission on Immigration in Washington, D.C., was a partner in a law firm specializing in immigration matters, and served as interim legal director of a non-profit immigration services provider in Arlington, Virginia. Professor Cianciarulo received her B.A. from the Catholic University of America, her Juris Doctor from American University Washington College of Law, and her M.A. from American University School of International Service. She teaches the Family Violence Clinic, Gender & the Law, Refugee Law and Remedies. She publishes on the intersection of gender and immigration with an emphasis on vulnerable immigrant populations.

Courses Taught: Family Violence Clinic and Gender & the Law, Refugee Law and Remedies

Latin American Studies Workshop (San Francisco, 2012)



Si la evolución del cine, como la de todo campo artístico, demanda de diversidad en la dimensión discursiva, también requiere de políticas industriales y culturales idóneas para proveer los mecanismos económicos y los marcos legales que posibiliten la integración de los mercados, los acuerdos de complementación productiva y las regulaciones dirigidas a establecer relaciones equitativas de competencia con los grandes conglomerados transnacionales de la industria audiovisual.
Octavio Getino y Susana Vellegia
Latin American Studies Association, San Francisco, California, May 2012
“Industry and History in Latin America”
A workshop
The main objective of this workshop is to discuss the relationship between film history and policies in Latin America. Some questions we would like to explore in this workshop are: What is the relationship of film history and film production? What are some of the characteristics that shape industry policies in Latin America? Is it possible to distinguish any national traits, genres, which inform industry regulations? Are these national trends a result of policies sanctioned by national film institutes or international organizations? Are there important theoretical and practical distinctions between documentary and fiction films and do these distinctions determine the distribution of subsidies? What role do international festivals play in shaping the themes, narrative conventions, class and ethnic representations in Latin American films? Can independent cinema challenge the distribution of subsidies to a handful of directors and in the process challenge a discourse of representation? What projects of integration are still at play, especially in regions of our continent that have produced fewer films? What are the legacies of continental movements like the New Latin American Cinema?
The organizers will suggest a core group of readings to be part of the general discussion but please send us any readings you might want to include. If you are interested in participating in this workshop please send the organizers a two hundred-word description of your possible contributions to the workshop and a short biography by March 1st, 2011. The maximum number of participants will be limited to 15.
Workshop leaders Tomás F. Crowder-Taraborrelli and Javier Campo
Soka University of America UBA y Cine Documental


Track Code: SEC
Session Name: Industry and History in Latin American Cinema
Session ID: 7529
Day: Saturday
Time: 2:30 pm – 4:15 pm
Last Name: Crowder-Taraborrelli
First Name: Tomás

tfcrowder@gmail.com

For more information about LASA visit: http://lasa.international.pitt.edu/eng/