Friday, November 15, 2013

Genocide Commemorative Film Festival

April 1st, 2014, Soka University of America

Remembering the past Toward Healing our Future:

A six event commemorative film festival featuring the stories of survivors and their children

[April 2011 was the first official Genocide Awareness and Prevention Month in the State of California. In April 2010, the California State Legislature passed Assembly Concurrent Resolution 144 proclaiming April of each year Genocide Awareness and Prevention Month.]


My Neighbor, My Killer (2011)

Synopsis: Could you ever forgive the people who slaughtered your family? In 1994, hundreds of thousands of Rwandan Hutus were incited to wipe out the country's Tutsi minority. Local "patrols" massacred lifelong friends and family members, often with machetes and imporvised weapons. In 2001, the government put in place the Gacaca Tribunals -- open-air hearings with citizen-judges meant to try their neighbors and rebuild the nation. As part of this experiment in reconciliation, confessed genocide killers were sent home from prison, while traumatized survivors are asked to forgive and resume living side- by- side. Award-winning filmmaker Anne Aghion has charted the impact of Gacaca on survivors and perpetrators alike. Through their fear and anger, accusation and defenses, blurry truths, inconsolable sadness, and hope for life renewed, she captures the emotional journey to coexistence. 

Order of Events -- April 1, 2014 

9a - 530p (tents) Camp Darfur Interactive 
  • 5 of the 6 featured tents are located on the Campus Green
  • a traveling, awareness-raising six tent refugee camp exhibit, (one for each genocide being commemorated in April).
  • Community booths from partnering organizations will be featured at the reception. 
Pauling Plaza

Open to the public. Guests meet panelists and guest speakers. 
  • light refreshments--tea, coffee
  • visuals on the history of Rwanda genocide
  • Rwanda tent open 

Program: 6p-8p Film and Discussion

  • Introduction and welcome
  • Guest Speaker #1 (Survivor)
  • Film Screening 
  • Guest Speaker #2 
  • Q & A
  • Information and advocacy organizations/ how to engage

Speakers: Tomas Crowder-Taraborrelli, Delly Nzella, Kristi Wilson

Camp Darfur, a mobile 6-refugee tent exhibit featuring info on genocides commemorated in April will be on campus beginning at NOON. Campus map:

Community booths will be included at the reception as well as background info on the Rwanda genocide.

For all event details, film trailers, list of community partners, and RSVP:

Living Ubuntu, in collaboration with with Amnesty International - Irvine and six local academic institutions and community partners, presents a six-event commemorative film series featuring the stories of survivors and their children. April is Genocide Awareness and Prevention Month, and each film commemorates a genocide that started during April. Living Ubuntu provides education about global traumas as part of its mission to heal trauma in order to promote peace. All films are free and open to the public. The first one is about Rwanda.

"Surviving is more than just staying alive; surviving is learning how to live again." - Carl Wilkens

Living Ubuntu, a local non-profit located in Newport Beach, is organizing a film festival for April GAPM 2014. This 6-part event will take note of each of April’s genocide commemorations, Rwanda, Bosnia, Cambodian, Darfur, Armenian, and the Holocaust, by including 6 colleges / universities within Orange County, each hosting one event themed around one particular genocide. Each event will include a film and speaker(s) and each will be unique to the desires of the campus, selected according to what is best-suited to their own student populations. Additional local organizations with international focus will be asked to sign on as community partners. The intended audience is both students and members of the community.

While each campus is free to promote their own event in any way they see fit, additional public promotion will take place, marketing the six events as all part of the whole. The goal is to encourage attendees to attend multiple events, ideally, all of them. A secondary goal of the event is to increase awareness of genocide, trans-generational trauma and opportunities to get involved locally. The events will emphasize the human experiences of genocide, the stories of survivors and their children. Themes of the trans-generational nature of trauma will be included toward increasing our common need for coming together in healing in this world. We seek to remember the past toward healing our future.

Media, Politics and Democratization in Latin America


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

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 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: 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:

Javier Campo:


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


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: 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: 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:

Javier Campo:

Monday, October 21, 2013


Thursday, October 24th, 2013
2 p.m. to 4 p.m.
280 Charles E. Young Drive North

This event will be followed by a 5:30 p.m. film screening of DOG FLESH (Fernando Guzzoni, Chile, 2013) in ROYCE HALL 314 F, 340 Royce Drive.

We invite your participation in a symposium at UCLA designed to discuss and debate a diversity of approaches to the topic of Latin American cinema studies today. 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. 

DOG FLESH (courtesy of FIGA films)

Dr. Kristi M. Wilson (Soka University of America, Latin American Perspectives)
Dr. Javier Campo (CONICET, UNICEN, Argentina)
Dr. Tomas Crowder-Taraborrelli (Soka University of America, Latin American Perspectives)
Daniel Cooper (UCLA Department of Spanish and Portuguese)
Dr. Randal Johnson, interim Vice Provost for International Studies at UCLA and distinguished film scholar
Alex Garcia, FiGa films
Dr. Laura Isabel Serna, Assistant Professor of Critical Studies, USC.

*This event is co-sponsored by Latin American Perspectives (SAGE publications) and the Center for Argentina, Chile and the Southern Cone at UCLA.

With Alex Garcia, FiGa Films

Los Graduados

Soka University Community Cinema had a successful turn out for our screening of 
The Graduates/Los Graduados

Valley High School Students and Faculty from Santa Ana, CA
Professor James Spady facilitating discussion after the film 

Fulfilling Community Needs

This was intended for the younger audience, the low income Latinos in Orange County. We had 50 high school students from Santa Ana come out and participate. We also had 2 guest panelists with CSU degrees who grew up in a low-income, latina family whose parents were illegal immigrants from Mexico so this dynamic helped with the discussion after the screening. We had about 20 Univeristy students, and about 10 more faculty and/or community members in attendence.

The Power of Why

Our approach was to have the guest panelists facilitate a discussion among the students and community members that would bring awareness about Latinos and Latino culture in America... we wanted people to see how they struggle so that they could better understand how poverty and immigration issues effect their standards on education and the family, ect.

Impact & Action

The high school students really voiced their opinions about staying in school and the importance of education. They heard a first hand account of the struggle of one of the panelists to obtain her drivers license and college degree because she had citizenship issues. The film was very relatable for a lot of these kids and I think it motivated them to stick together as a community of students at their school because they expressed how they knew that their school gets a bad repuatation around their community due to it beinf predominately Lations and less priveldged students.

The conversation

This event had a lot of audience participation, it was a great success. Once the high school students were probed a bit more about the film and their thoughts on education and "being Latino," they weren't shy to talk about their experiences. One young man told everyone how their school is like a family, and he shared how he dropped out of high school in 10th grade because he felt the need to work, but he was urged by his classmates to return to school. He touched a lot of people with his honesty and showed just how successful a student can be no matter what struggles they face or what demographic they fit, as long as they have "teachers who care and wan to see us graduate, then we want to be at school and go to college" one boy also said.

Presentacion de Javier Campo en Soka University of America

Friday, October 11, 2013

Thursday, October 10, 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.


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

Tuesday, September 17, 2013

Free Community Cinema Screening
The Graduates/Los Graduados by Bernardo Ruiz

Thurs. October 17, 2013 7-8:30 PM

Soka Univeristy
Pauling 216

Pressing issues in education today are explored through the eyes of a diverse array of Latino and Latina adolescents from across the United States in this eye-opening documentary on the challenges facing bot the students, their families, educators and community leaders.

The Independent Television Service (ITVS), PBS SoCal (KOCE-TV) and Soka University of America are pleased to announce the fifth year of the Community Cinema series. The largest public interest outreach program in public or commercial television, Community Cinema features a sneak peek of six documentaries set to broadcast on the award-winning PBS series Independent Lens. Community Cinema, in partnership with Soka University’s Humanities Program and Student Affairs, screens films from October through May.

After the screenings, Community Cinema features panel discussions with community-based organizations, special guest speakers, information, resources, and other programming designed to help our students and community learn more about the issues and get involved. Faculty members are encouraged to incorporate these films in their class curricula.

For more information about the films and Community Cinema visit:

Panelists: Professor James Spady, Soka University of America, Carolyn Torres--MA from California State University Long Beach (Chicano Studies) political activist (Dream Act) Jesus Cortez.

GuestsValley View High School Students and Staff (50+ participants)

Tuesday, September 10, 2013

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.

Monday, July 22, 2013

LASA, Washington D.C., 2013

June 1, 2013. 10:30 a.m.–12:15 p.m.



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


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


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

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.


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.

UCLA Symposium Latin American Film


Raymundo Gleyzer en el rodaje de La revolución congelada


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:

Sunday, July 21, 2013

Film Review LAP

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

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.

Los espacios de la memoria: Memorias del porvenir


En el marco de la conmemoración de los cincuenta años de la Carrera de Artes

Martes 6 de Agosto, 2013. 14 a 16 hs. 
Centro Cultural de la Memoria Haroldo Conti- Aula 2
Buenos Aires, Argentina


Magdalena Dardel Coronado (Pontificia Universidad Católica de Valparaíso):Experiencia, emoción y estilo: aportes de la filosofía de Richard Wollheim a la historia del arte.

Marcelo G. Burello (UBA):Regalos de los dioses. El estatuto epistemológico del arte rupestre en la actual Historia del Arte

Jorge Anthonio  e Silva (UNILA):  “Memória, tempo, espaço, arte loucura  em  Arthur  Bispo  do  Rosário

Bárbara Varassi Pega; Inês de Avena Braga (Universidad de Leiden, Holanda. Programa docARTES del Orpheus Institute, Gante, Bélgica):Investigación artística: el cruce entre la teoría y la praxis.

Miriam Lucero (UNSJ-UNTreF-CONICET):El devenir animal en Francis Bacon: una tensión irreductible entre político y lo estético.

Karina Zaltsman (UBA):Los afectos en el cine. En torno a la lectura deleuziana de dos films de John Cassavetes.

Tomás F. Crowder-Taraborrelli (Soka University of America):Música, consumo y geografías emocionales.


La tecnología digital ha generado, como se dice frecuentemente, un sin número de cambios en la producción de las artes. Pero quizás uno de los cambios más notorios y dramáticos es la forma como se compra y se escucha música. Un experiencia tan simple como caminar por las calles de las grandes ciudades pone en evidencia que, a consecuencia de la nuevas tecnologías y del uso de los auriculares, la gente se desplaza e interactúa de forma diferente. El MP3, el teléfono celular, le dan al consumidor la ilusión, tal vez real, que es amo de su campo auditivo. 

En los últimos dos años se publicaron en Estados Unidos varios textos que analizan este fenómeno, algunos de ellos de gran vuelo teórico- Acoustic Territories Sound Culture and Everyday Life (2010) de Brandon La Belle y Reason and Resonance: A History of Modern Aurality (2010), de Veit Erlmann. Para Jonathan Sterne, autor de MP3:The Meaning of a Format (2012) los nuevos formatos digitales sirven de excusa para repasar la historia de la emisión de sonido por cable- empezando por el teléfono, las grabaciones de pasta (el LP), el casete y el MP3. Estos cambios son orquestados por un conglomerado de corporaciones que persuaden a los consumidores que las nuevos formatos son siempre superiores - más pequeños, más livianos, más realistas, y más fáciles de copiar. En mi presentación, analizaré algunas de las características de estos cambios y la diferentes aproximaciones teóricas publicadas en los dos últimos años, haciendo una comparación entre tecnología analógica y digital y su relación con los hábitos de consumo. También me referiré a un estudio de observación realizado en la ciudad de Buenos Aires sobre los modos de escuchar música en la calle. 

Martes, 6 de agosto de 2013


Un gran espacio de reflexión

El CIAC repasará las transformaciones sociopolíticas, estéticas y culturales del último medio siglo en la Argentina. 
Por María Daniela Yaccar

Es enorme el listado de actividades del III Congreso Internacional Artes en Cruce (CIAC), una iniciativa de la carrera de Artes de la Universidad de Buenos Aires (UBA). Lo es porque no pasa por alto ninguna disciplina y porque repasa distintas aristas de la creación: la estética, la social y, ante todo, la histórica. El CIAC es un espacio de reflexión y de diálogo que reunirá, desde hoy y hasta el sábado, a artistas, investigadores e intelectuales, nacionales e internacionales, y a la comunidad, para pensar las artes. Se propone una intersección entre los saberes del campo académico, la investigación y la enseñanza en la materia, tanto en los niveles de grado como de posgrado.

Este año, el lema del encuentro –que es bienal– es “Los espacios de la memoria, memorias del porvenir”, ya que invita a hacer una revisión histórica de las distintas disciplinas artísticas (cine, teatro, plástica, música y literatura). Además, “el congreso se propone pensar la historia”, desliza Jorge Dubatti, docente universitario, crítico, historiador teatral y coordinador del área de teatro del CIAC. “Sobre todo pensarla hacia el futuro. El congreso tiene una fuerte marca de futuridad, sobre todo porque alumnos y egresados participan de una manera muy fuerte. El congreso es de los jóvenes”, concluye. Una amplia variedad de temas será abordada en mesas, plenarios, conferencias, entrevistas abiertas y presentaciones de libros. Por otra parte habrá obras teatrales, danza y música. Ayer, Luis Felipe Noé y Eduardo “Tato” Pavlovsky estuvieron en la apertura oficial. En los próximos días participarán Federico Luppi, Norman Briski, Raúl Serrano y Graciela Borges. Una de las actividades destacadas será la entrega de un Doctorado Honoris Causa a la familia de Leonardo Favio.

En esta ocasión, el CIAC se propondrá repasar las transformaciones sociopolíticas y culturales de los últimos cincuenta años. Esta tercera edición es la más grande desde el surgimiento del encuentro, puesto que coincide con el 50º aniversario de la carrera de Artes de la UBA. “Queremos hacer una memoria de la carrera”, apunta Ricardo Manetti, director de Artes. “Entre 1963 y 2013 han ocurrido muchos acontecimientos que transformaron a la universidad y al país. La realidad del ’63 difiere de la de 2013. Hay palabras que hubieran sido impensables, como ‘desaparecido’, ‘trans’, ‘matrimonio igualitario’. Todos estos hechos están ligados a la construcción del campo artístico”, explica. La mirada histórica que propone esta edición del CIAC se manifiesta, también, en la elección de las sedes: la principal es el Centro Cultural de la Memoria Haroldo Conti, que funciona en la ex ESMA. También habrá actividades en el Centro Cultural de la Cooperación –nacido tras la crisis de 2001– y el Centro Cultural Francisco “Paco” Urondo.

“En la selección de los espacios hay una toma de posición, respecto de pensar los treinta años de post-dictadura mirando hacia el futuro”, recalca Dubatti, para quien el factor económico también es crucial para pensar el arte y la cultura: “Es impresionante el crecimiento que la cultura argentina ha ganado, en términos de PBI, en cine, teatro, literatura y música. Es fuerte. Eso habla de la integración de lo artístico a las fuerzas productivas de la Argentina. Recoloca al arte de un lugar más aislado a uno protagónico”.

Entre los múltiples propósitos del congreso también está la revisión del plan de estudios de la carrera de Artes, que nació en los ‘60 como un desprendimiento de Historia. Primero se llamó Historia de las Artes. Manetti traza una cronología hasta llegar a la actualidad. “Durante la primavera camporista se modificó el ámbito universitario, ya que empezó a mostrar un interés grande por el pensamiento latinoamericano y el argentino. Eso quedó parado en los años terribles de oscurantismo y desapariciones. En el ’85, la carrera pasa a llamarse Artes y se divide en tres orientaciones (música, plástica y artes combinadas), incorporando formas de la cultura mediática y popular”, repasa el director. El CIAC debe servir, también, para revisar el plan de estudios actual, “porque los jóvenes de hoy son mucho más jóvenes que el programa. El congreso nos permite pensar nuevos paradigmas en el campo artístico”, cierra Manetti. Otra de las intenciones de los organizadores del CIAC es que la investigación abrace a la comunidad, que no quede en un salón en el que un par de estudiosos debaten sobre el campo artístico. Desde ayer, la Facultad de Filosofía y Letras de la UBA está artísticamente intervenida. “Más que un congreso, éste es un festival”, define Manetti. “Los congresos tienen que abrirse a otras perspectivas. Los grupos de estudio tienen que estar, pero también es importante plantear un encuentro con los que producen arte. La carrera de Artes trabaja en el campo teórico, pero nada puede hacer esa disciplina si no existen los artistas. Y es clave el contacto con la comunidad”, recalca Manetti