Upcoming films, SUA Community Cinema

Dolores - March 8th (Thursday), 7 p.m., PAU 216

With intimate and unprecedented access, Peter Bratt's Dolores tells the story of Dolores Huerta, among the most important, yet least-known, activists in American history. Co-founder of the first farmworkers union with Cesar Chavez, she tirelessly led the fight for racial and labor justice, becoming one of the most defiant feminists of the 20th century. (Indie Lens Pop Up)


Look and See: Wendell Berry’s Kentucky - April 5th (Thursday), 7 p.m., PAU 216

​ Look & See revolves around the divergent stories of several residents of Henry County, Kentucky who each face difficult choices that will dramatically reshape their relationship with the land and their community. Filmed across four seasons in the farming cycle, it blends observational scenes of farming life, interviews with farmers and community members with evocative, carefully framed shots of the surrounding landscape. Thus, in the spirit of Berry’s agrarian philosophy, Henry County itself will emerge as a character in the film - a place and a landscape that is deeply interdependent with the people that inhabit it. (Indie Lens Pop Up)


Iris - May 3rd (Thursday), 7 p.m., PAU 216

Iris pairs the late documentarian Albert Maysles (Grey Gardens, Gimme Shelter), then 87, with Iris Apfel, the quick-witted, flamboyantly dressed 93-year-old style maven who has had an outsized presence on the New York fashion scene for decades. More than a fashion film, the documentary is a story about creativity and how a soaring free spirit continues to inspire. Iris portrays a singular woman whose enthusiasm for fashion, art and people are her sustenance. She reminds us that dressing — and indeed, life — is nothing but a grand experiment. "If you're lucky enough to do something you love, everything else follows." (POV).

Bloomington, Indiana
August 8th-11th, 2018

Panel Proposal

Chair: Javier Campo
Respondent: Fernao Ramos 

Javier Campo
CONICET, Universidad Nacional del Centro de la Provincia de Buenos Aires

Realizar un film en tres partes que dure más de cuatro horas, es arriesgado. Hecho de manera clandestina, resulta peligroso. Proyectado como un palimsesto que articule lenguajes diversos, es una locura. Pero el experimento resultó exitoso. El 68’ latinoamericano está signado por el estreno de un “film-faro”, La hora de los hornos (Octavio Getino y Fernando Solanas, 1968). Podemos entender a La hora de los hornos como ubicada en un primer tramo del sendero que partió de la izquierda marxista (con simpatías foquistas), para la que Frantz Fanon y Ernesto Guevara fueron estandartes, y llegó hasta el amplio Movimiento Peronista en el que los realizadores convivieron con otros militantes que no habían partido de las mismas bases. La monumentalidad de esta obra será revalidada en otros films argentinos del período y posteriores que se demostrarán inspirados estética y temáticamente, siguiendo algunos de sus procedimientos formales, repitiendo algunas de sus consignas o tomando planos de la misma como material de archivo. En esta ponencia se presentarán algunas notas, de un trabajo más extenso, relativas a un análisis formal del film de Octavio Getino y Fernando Solanas. El objetivo ha sido tratar de encarar lo que pocas veces se ha intentado saber: ¿Cómo está elaborado este film documental político imprescindible? ¿De qué maneras presenta sus discursos políticos y qué dicen los mismos? Algo tan simple, y al mismo tiempo tan complejo, como proceder a un análisis estético-político de La hora de los hornos.

Kristi M Wilson and Laura Ruberto
Soka University of America
Berkeley City College

The Hour of the Furnaces’, May 1968, and the Pesaro International Film Festival

The 17 May 1968 issue of the Italian daily newspaper, L’Unita’ ran a brief story on the Pesaro Film Festival, with the simple headline: ‘Questi i primi film selezionati per Pesaro’ (These, the first films selected for Pesaro) (1968: 9). The piece goes on to list, without much fanfare, some of the chosen films, noting that over 100 had been submitted for potential inclusion in the festival and that there would be a special ‘tavola rotonda sul cinema latino-americano’ (roundtable on Latin American film) and listing among the films from Latin America, ‘La hora de los hornos (L’ora dei forni) di Fernando Solanas (Argentina)’ (1968: 9). Written between the lines is the story that the paper did not run, the story that it could not have thought to run but which, today, some fifty years later, we can report with hindsight. That is the story of this paper. Why the Pesaro Film Festival and why this particular film? What was the greater cinematic community in which the film screened?

Bibliographical References

Buchsbaum, J., ‘A Closer Look at Third Cinema’, Historical Journal of Film, Radio and Television, 21:2 (2001), pp. 153-166.

Campo, J., ‘Filmando teorías políticas: dependencia y liberación en La hora de los hornos’, Política y cultura, 41 (2014), pp. 65-88.

Getino, Octavio, ‘Tra il Vecchio e il Nuovo Cinema Politico in Argentino’, in Pedro Armocida, Daniele Dottorini e Giovanni Spagnoletti (eds), Mostra Internazionale del Nuovo Cinema: Il Cinema Argentino Contemporaneo e L’opera di Leonardo Favio, (Milano: Marsilio Editore, 2006), pp. 106-119.

Francese, J., ‘The Influence of Cesare Zavattini on Latin American Cinema: Thoughts on El joven Rebelde and Juan Quin Quin’. Quarterly Review of Film and Video, 24: 5 (2007), pp. 431-444.

Ruberto, L.E. and Wilson, K.M. (eds), Italian Neorealism and Global Cinema, Detroit, Wayne State University Press, 2007.

Laura E. Ruberto is a Humanities professor at Berkeley City College, where she teaches courses in film studies and cultural studies. She has been a Fulbright Faculty Scholar to Italy and her work has been supported by the National Endowment for the Humanities. She is co-editor of the Fordham University Press series Critical Studies in Italian America and is the Film and Digital Media Review editor for the Italian American Review. Her published work includes Gramsci, Migration, and the Representation of Women’s Work in Italy and the U.S. (Rowman and Littlefield, 2007/2010), the co-edited volumes Italian Neorealism and Global Cinema (Wayne State University Press, 2007) and Bakhtin and the Nation (Bucknell University Press, 1999), and the translations, Such Is Life, Ma la vita e’ fatta cosi: A Memoir (Bordighera, 2010) and Threshold (with Irena Stanic-Rasin, Italica Press, 2016).

Kristi M. Wilson is an Associate Professor of Rhetoric and Humanities at Soka University of America. Her research and teaching interests include classics, film studies, gender studies, cultural studies, and rhetoric. Dr. Wilson is the co-editor of Italian Neorealism and Global Cinema (2007), Film and Genocide (2011), and Political Documentary Cinema in Latin America (2014), and author of numerous publications in such journals as Screen, Yearbook of Comparative and General Literature, Signs, and Literature/Film Quarterly. She also serves on the editorial board and is a film review editor at Latin American Perspectives (SAGE Publications).

Tomás Crowder-Taraborrelli
Soka University of America

Popular Music and Political Militancy in The Hour of the Furnaces

In this presentation, I will analyze the presence of popular music in the film’s soundtrack and its counterpunctual relationship the image. The filming of The Hour of the Furnaces began some months before General Juan Carlos Onganía’s coup d'état in 1966. In Argentina, middle and lower class youths, like a large portion of North American and European youths, were enjoying rock music and adding momentum to the hippie movement. ). I will build upon their research in order to reflect on the dialectic movement of the film’s revolutionary message, which is actualized in large part by the counterpoint relationship between music and image. The revolutionary message in Solanas and Getino’s documentary, as Mariano Mestman explains in detail, had an “agitational” function (2007, p.7) and aspired to transcend the screen, to move the spectator and give a voice to the people (2013, p.307). Similarly, rock musicians wanted to surpass the limits of the stage in order to mobilize the audience and transform them into consumers of their albums and sympathizers of their vital rebelliousness. This essay attempts to determine Grupo Cine Liberación's perspective on rock music's potential as a movement of political and social transformation.

Bibliographical References

Burton, J., 1978. The Camera as “Gun”: Two Decades of Culture and Resistance in Latin America. Latin American Perspectives, 1(16). pp.49-76.

Campo, J., 2014. Filmando Teorías Políticas: Dependencia y Liberación en La Hora de los Hornos. Política y Cultura, Spring Issue. pp.65-88.

Favoretto, M. & Wilson T. 2010. ‘Entertaining’ the Notion of Change: The Transformative Power of Performance in Argentine Pop. Popular Entertainment Studies, Vol.1, Issue 2, pp. 44-60.

Getino, O., 2011. The Cinema as Political Fact. Third Text, 25(1), pp.41-53.

Manzano, V., 2014. “Rock Nacional” and Revolutionary Politics: The Making of a Youth Culture of Contestation in argentina, 1966-1976. The Americas, 70(3), pp.393-427.

Podalsky, L., 2011b. Of Passion, Aesthetics, and Politics: rethinking the New Latin American Cinema. In: L. Podalsky, ed. 2011. The Politics of Affect and Emotion in Contemporary Latin America Cinema: Argentina, Brazil, Cuba, and Mexico. pp.25-57.

Tomás Crowder -Taraborrelli received his doctorate in Spanish and Portuguese at the
University of Irvine, California. He is an associate producer for ITVS and POV, from
the Public Broadcasting Service in the United States. He is on the editorial board of
the journal Latin American Perspectives, of which he is co-editor of the film section. He is co-editor of Film and Genocide ( University of Wisconsin Press, 2012) and El documental político en Argentina, Chile y Uruguay (LOM Ediciones, 2015). Currently, he is a visiting professor of Latin American Studies at Soka University of America, California.
The Legacy of 1968 in Latin America: Making the Personal Political

Of the series “Cuerpo a cuerpo/El incendio y las vísperas”, Graciela Sacco - courtesy of the artist
Workshop (April 2018, date TBC) & Symposium (18th May 2018)

2018 marks the 20th anniversary of the incorporation of the Spanish & Latin American Studies section to the University of Leicester’s School of Modern Languages (now part of the School of Arts), and half a century since the events of May 1968 shook up the world, generating the establishment of interesting, if short-lived, synergies between different groups (industrial workers, students, academics, feminists). Underlying these partnerships was a shared understanding of the personal as political; a recognition that imagination and lived experience should play a role in shaping the political agenda, and that politics, in turn, had a direct and tangible impact on individuals’ everyday lives.

Exploring these socio-political shifts, as well as key cultural responses to them, these events will examine manifestations of the personal as political in various artistic productions from Latin America over the past 50 years. Papers will be presented by colleagues working on Latin American Studies in the Midlands and beyond, on a range of topics to include, though not limited to:

The cultural legacy of the 1968 events in Latin America
Gender, the body, and its interplay with political discourses
The personal versus the collective
First person accounts/autobiographies and their connections to socio-political contexts
Narratives exploring the somatic effects of political change
The embodied dimension of memory and memory politics


A key aim of this event is to facilitate articulations of the ways in which academia, and the critical thinking that resides at its heart, touch base with the subjective and the personal. Therefore, a workshop for undergraduate and postgraduate students will facilitate discussion of their own lived experiences of the personal as political, with a focus on the role of gender in contemporary daily life, and, crucially, on how their engagement with the field of Latin American Studies as academic discipline enables socially valuable understanding about our own and others’ lives. The workshop activities will involve the collaborative creation of artistic artifacts in text and image formats, drawing upon the actions of the student movements of the time. Invited speakers (TBC) will participate alongside the student attendees, providing an extremely valuable point of exchange between research and pedagogy.

The planned workshop – free for the students of the existing ‘Midlands Three Cities’ partnership between the universities of Leicester, Nottingham and Birmingham – is intended to enable us to make sure that this event also promotes Latin American studies to future generations of scholars, providing both undergraduate and postgraduate students with the opportunity to engage their own understanding of the connection between the political and the personal – so important in the current global climate –, by applying their disciplinary knowledge and critical skills, but also bringing their personal experiences to bear in a vibrant collective activity


Confirmed speakers: Prof. Michael Chanan (Roehampton University), Dr James Scorer (University of Manchester), Dr Enea Zaramella (University of Birmingham), Dr Philippa Page (Newcastle University), Dr Cecilia Sosa (Conicet-Argentina/Nottingham University), Dr Dunja Fehimovic (Newcastle University), Dr Mariano Paz (University of Limerick), Prof. Sarah Barrow (University of East Anglia)

A CFP is now open until 22nd December 2017. Please send abstracts (max. 250 words) and queries to:

Dr Clara Garavelli - cg226@le.ac.uk

Dr Emma Staniland - els15@leicester.ac.uk

This event is sponsored by:


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…


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 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

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 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).

Comments by SUA student:

On Thursday September 28, 2017, I went to watch Last Men in Aleppo. I was glad that to see that there was so many people there that wanted to know and were interested. The film itself was very difficult to watch. It is difficult to express all of what I felt.

Near the beginning of the film, there was a man that said “it’s not about us, it’s about the children.” We then saw how he went to the pharmacy where they told him that his daughter was malnourished and that they could not get the vitamins that she had been taking before. To see how hard he was working and fighting for his children and then to not be able to get his children the nutrients they needed to be healthy was awful. I cannot imagine his pain.

As the men gathered around at one point listening to the news, one became overwhelmed. One of his friends said “get over it, get over it… let it go, let it go.” They are in a situation that no one should ever have to be in, and yet there is no time or space to be able to express or feel their emotions. They have to repress their emotions otherwise it would all be too much. The amount of pain and disaster that they face is not something that we as humans are meant to be able to handle.

At one point, sitting on a roof looking over broken buildings, one man said “it’s unreal. it cannot be comprehended by humans or anything else.” This quote really stuck out to me because of how true it is. The White Helmets are just people. They’re volunteers. They’re not superheroes with abilities above all other humans. They’re people, just like their friends, families, and neighbors that they try to help. This is not like a job that you study and prepare for because there is no way that anyone could be prepared for this.

When the film ended, I had to leave immediately. I could not stay any longer. In class, we’ve talked about contradictions. I was reminded of that while watching this film. There were parts where we would see the “normal” daily life that would happen. People would see their friends, get married, go to school, play with their children, and go home to their families. How can this exist simultaneously in the same place with something so horrible? This truly is something that cannot be fully comprehended by humans or anything else.

May 23rd to May 26th


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


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.

Photo by Telam
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