Tuesday, October 10, 2017


Tuesday, December 5, 2017, 7 – 9 p.m.

One of the most acclaimed films of the year and an Oscar nominee for Best Documentary, I Am Not Your Negro envisions the book James Baldwin never finished. The result is a radical, up-to-the-minute examination of race in America, using Baldwin’s original words, spoken by Samuel L. Jackson, and with a flood of rich archival material.TRT: 84 minutes

PANELIST: Professor James Spady

Location Pauling Hall 216
Campus Location Pauling Hall 216
Address Soka University
1 University Drive
Aliso Viejo, CA 92656
Event Type University-Wide
Contact tcrowdertaraborrelli@soka.edu
Keywords I am not your negro, documentary, free, film, cinema, PBS, Indie Lens, Soka University, Aliso Viejo, California,
Link www.pbs.org…


Thursday, November 2, 2017, 7 – 9 p.m.

Set against the social, political and cultural landscape of the times, Chasing Trane brings saxophone great John Coltrane to life, as a man and an artist. The film is the definitive look at the boundary-shattering musician whose influence continues to this day. (TRT: 84 minutes)

PANELIST: Professor Allison Johnson
Location Pauling Hall 216
Campus Location Pauling Hall 216
Address Soka University
1 University Drive
Aliso Viejo, CA 92656
Event Type University-Wide
Contact tcrowdertaraborrelli@soka.edu
Keywords John Coltrane, documentary, free, film, cinema, Soka University, Aliso Viejo, California,
Link www.pbs.org…

Sunday, October 8, 2017


Thursday, September 14, 2017 – Monday, January 8, 2018

Pablo Salvadó and Sebastián Chillemi present some of their most recent artistic reflections on natural landscapes and countrysides in Latin America. This show reconceptualizes European impressionism and its influence in Latin America.

Opening Reception: Thursday, September 14, 2017, 5:30 pm to 7:30 pm
Campus Location Founders Hall Art Gallery
Address Soka University
1 University Drive
Aliso Viejo, CA 92656

Event Type Art Gallery
Contact arts@soka.edu
Keywords Soka University, Latin American Art, Pablo Salvadó, Sebastián Chillemi, impressionism, Art Gallery, Latin American artists, acrylic painting, paint on canvas, ink on canvas, turn of the 19th century art
Link www.chillemisebastian.blogspot.com

Thursday, October 5, 2017


Thursday, October 19, 2017, 7 – 9 Pm

In Shalom Italia, three Italian Jewish brothers set off on a journey through Tuscany, in search of a cave where they hid as children to escape the Nazis. Their quest, full of humor, food, and Tuscan landscapes, straddles the boundary between history and myth — a profound, funny, and endearing exploration of individual and communal memory.

Panelist: Professor Robert Allinson

Wednesday, October 4, 2017

Journey to the Kino Eye of documentaries about Latin America


Rodrigo Reyes (USA/Mexico)


Border Issues, Hybrid Identities, Immigration and Migration


Memories Of The Future

Natalia Almada (USA/Mexico)

Everardo Gonzalez (Mexico)

Ryan Suffern (USA/Guatemala)


Pamela Yates (USA/Guatemala)


Thursday, September 21, 2017


Thursday, September 28, 2017, 7 – 9 Pm Pauling 216

After five years of war in Syria, the remaining citizens of Aleppo are getting ready for a siege. Through the eyes of volunteer rescue workers called the White Helmets, Last Men in Aleppo allows viewers to experience the daily life, death and struggle in the streets, where they are fighting for sanity in a city where war has become the norm. FREE! Winner, 2017 Sundance World Cinema Grand Jury Prize for Documentary.

Panelist: Dr. Ryan Caldwell and Stephanie Cohen (Orange County Community Housing Corporation) with the special participation of Dr. Shane Barter.


We will have in the audience junior high and high schools in Central and North Orange County, from Santiago High School (Garden Grove) and Ocean View High School (Huntington Beach).

Tuesday, August 29, 2017



Latin American studies today is experiencing a surprising and welcome dynamism. The expansion of this field defies the pessimistic projections of the 1990s about the fate of area studies in general and offers new opportunities for collaboration among scholars, practitioners, artists, and activists around the world. This can be seen in the expansion of LASA itself, which since the beginning of this century has grown from 5,000 members living primarily in the United States to nearly 12,000 members in 2016, 45 percent of whom reside outside of the United States (36 percent in Latin America and the Caribbean). And while the majority of us reside in the Americas, there are also an increasing number of Latin American studies associations and programs in Europe and Asia, most of which have their own publications and annual seminars and congresses. Several factors explain this dynamism. Perhaps the most important is the very maturity of our field. Various generations of Latin Americanists have produced an enormous, diverse, and sophisticated body of research, with a strong commitment to interdisciplinarity and to teaching about this important part of the world. Latin American studies have produced concepts and comparative knowledge that have helped people around the world to understand processes and problematics that go well beyond this region. For example, Latin Americanists have been at the forefront of debates about the difficult relationship between democracy, development, and dependence on natural resource exports—challenges faced around the globe. Migration, immigration, and the displacement of people due to political violence, war, and economic need are also deeply rooted phenomena in our region, and pioneering work from Latin America can shed light on comparable experiences in other regions today. Needless to say, Latin American studies also has much to contribute to discussions about populism and authoritarianism in their various forms in Europe and even the United States today. With these contributions in mind, we propose that the overarching theme of the Barcelona LASA Congress be “Latin American Studies in a Globalized World”, and that we examine both how people in other regions study and perceive Latin America and how Latin American studies contribute to the understanding of comparable processes and issues around the globe.

Program Track: Mass Media and Popular Culture

Media and Democratization in Latin America (Numero especial de LAP)

Javier Campo (CONICET) y Tomas Crowder-Taraborrelli (SUA)

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. 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. This panel 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. 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. 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.

Kathryn Lehman
Beyond Pluralism and Media Rights: Indigenous Communication for Transformation in Latin America and Abya Yala. 

In resisting genocidal projects of modernity since the Conquest and the most recent phase, neoliberalism, indigenous peoples have provided leadership in maintaining pluralist societies and protecting the rights of all living beings. This role is little known, including by many on the left, because of the history of the nation-state and current communications and research practices (Paillán, Smith, Schiwy). This article provides examples of the role of indigenous media in twenty-first century Latin American participatory democracy and plurinational socialism, focusing on their defence of autonomy of thought, and of communication as a basic human right. Drawing on community-based autonomous alternatives to neoliberalism, these media evoke a long history of indigenous placed-based narratives whose values are encoded in language, and their epistemologies are strengthened by transnational indigenous communication networks and practices. Moving beyond pluralism and media rights, indigenous communication transforms media practices in order to decolonize relations among humans, living beings, and the environment that sustains life.

Keywords: Indigenous media, participatory democracy, plurinationalism, UNDRIP, NWICO, CLACPI, decolonization, Mapuche

João Feres Júnior
A lua de mel que não houve: o terceiro turno de Dilma Rousseff

In this paper, we test the hypothesis of the occurrence of a Honeymoon period after Dilma Rousseff’s victory in the 2014 elections, first in the realm of politics and then in the news media. The hypothesis is doubly rejected. The main opposition party, PSDB, assumed an aggressive stance in favor of Dilma’s deposition even before her term has started. Meanwhile, the proportion of negative articles about Dilma rose abruptly right after the second round of the elections, November 2014, and continued to rise to unprecedented levels until her impeachment. We conclude the article reflecting on the importance of these events for the future of democracy in Brazil.

Keywords: democracy, media, Brazil, Dilma, Honeymoon

Maria Concepcion Castillo Gonzalez
Nos faltan 43. Storytelling digital y la disputa por la representación del caso de Ayotzinapa

El artículo busca comprender las dinámicas de poder articuladas a través del storytelling como práctica social sobre el caso de la desaparición de los 43 estudiantes en Ayotzinapa, México. Se analizaron las narrativas de la sociedad civil y del gobierno federal en YouTube y Twitter durante tres meses para someterlas a una comparación, lo que permitió identificar los códigos de representación en disputa sobre el emblemático caso de violación a derechos fundamentales. Constatamos que el storytelling digital que se propaga de forma viral y transmedia ofrece posibilidades para organizar la protesta en el mundo offline. Sus atributos reflexivos favorecen la visibilización de la injusticia, la permanencia en la agenda local y global y en algunos casos ejercen presión ante los diversos actores sociales y las autoridades para establecer mecanismos de solución a los conflictos.
Keywords: Transmedia Storytelling, Ayotzinapa, YouTube, Twitter, Representations

Naomi Schiller
Changing the Channel: Class Conflict, Everyday State Formation, and Television in Venezuela

The formation of new state television outlets in Venezuela over the past decade has been a process of dismantling and remaking hierarchies among social classes and between the fields of state and community media production. I analyze the involvement of community media producers in creating a new state television outlet in Caracas and the ongoing collaboration between community and state producers. Drawing on ethnographic data, I argue that a view of the state as a multifaceted and contested process permits us to analyze the intertwined practices of state formation and popular organizing, the role of international activists in this process, and the class tensions that underlie everyday state craft.
Keywords: State television, Community television, The state, Social class, Venezuela

Sunday, August 27, 2017


Buenos Aires

Visible Evidence, the international conference on documentary film and media, will convene for its 24th year in the city of Buenos Aires, Argentina, August 2-6, 2017. VE2017 is hosted in collaboration with the Argentine Association of Cinema and Audiovisual Studies (AsAECA), the Audiovisual Research and Experimentation Laboratory (Master in Documentary Journalism -LAIE-, National University of Tres de Febrero -UNTREF-) and Revista Cine Documental . The conference will take place at the Centro Cultural Borges (Borges Cultural Center) above the traditional Galerías Pacífico, at the Margarita Xirgu-UNTREF theater in the historical neighborhood of San Telmo, at Alianza Francesa (central site) and at the Haroldo Conti’s Cultural Memory Centre.

Visible Evidence Buenos Aires (2017) coincides with the 100th anniversary of the Russian Revolution and marks fifty years since Che Guevara’s assassination in Bolivia. These two transcendental events compel us to contemplate anew the relationship between documentary film and revolutionary movements. In the 1960s, Argentina and other Latin American nations were at the center of a transnational debate about the role of film as a tool for social change in a regional movement called “New Latin American Cinema”. In the next decade, many influential filmmakers lost their lives and many others were forced into exile. From abroad, or clandestinely in their own countries, filmmakers thought deeply about the ethical, moral, aesthetical and political dimensions of their practices, in particular about how to represent individuals as political agents. An important aspect of their work was to foster political alliances with their colleagues, producers and film distributors in other developing countries. In spite of the brutal political persecution, their activist approach to filmmaking had an enormous influence on younger generations, particularly after the economic crisis at the turn of the twenty-first century and the popular insurrections that disrupted the neoliberal takeover of the economy, society, and culture in many Latin American countries. The Latin American documentary film tradition followed these popular revolts closely, gradually incorporating many of the organizing structures of progressive social movements. Thus, while notions of Third Cinema or Political Cinema may seem less prominent in recent years, it is productive to think about the elements of the traditions that live on in contemporary Latin American film. At the beginning of the new millennium, one sees a fruitful and combative debate about the efficacy of documentation, understood within the historiography of human rights abuses, indigenous rights, and genocide. There has also been an increase in interest in documentary film in the last two decades in Argentina. Progressive governments throughout the continent have increased funding for non-fiction films, strengthening ongoing discussions in academic circles about the role of the state as a patron of the arts. We believe that the time is ripe to rethink the relations between documentary film and national cinemas, at a time in which state-funded progressive films are not always in agreement with transnational trends in contemporary cinema.

Visible Evidence 2017 encourages participants to engage with the following themes:
Documenting social movements
Revolutionary filmographies
Documenting Latin America, documenting “the South”
First person documentary film
Frictions between performativity, fiction, and documentary
Media and technology
Documentary between national/regional tradition and transnational trends
Scopes and limits of contemporary documentary theory to fully understand current Latin America documentary trends
Transmedia and Interactive Documentary. New Problems
Documenting human rights abuses

Online Program

Download Program

Organizing Committee:

Javier Campo
Tomás Crowder-Taraborrelli
Clara Garavelli
Pablo Piedras
Kristi Wilson

Scientific Committee:

†Ana Amado
Josetxo Cerdán
Michael Chanan
Andrés Di Tella
Clara Kriger
Amir Labaki
Ana Laura Lusnich
Mariano Mestman
María Luisa Ortega
Manuela Penafria
Fernao Ramos
Michael Renov
Brian Winston

Production Coordinator:

Violeta Uman

Production Assistant:

Cecilia Pisano

Saturday, August 26, 2017