scholarly journals Beatriz Palacios: Ukamau’s Cornerstone (1974–2003)

2021 ◽  
Vol 48 (2) ◽  
pp. 77-92
Author(s):  
Isabel Seguí
Keyword(s):  
Latin American ◽  
American Cinema ◽  
Political Cinema ◽  
Latin American Cinema ◽  
Popular Classes ◽  
Authorial Persona ◽  
Correct Understanding ◽  
The Impact ◽  
The Voice ◽  
Cine Latinoamericano

Beatriz Palacios’s instrumental role in the Ukamau group has been largely ignored by film historiography and criticism. The authorial persona of her comrade and husband, Jorge Sanjinés, has eclipsed Palacios’s work and ideas. Her erasure is due to the perspectives chosen to analyze Ukamau (male-centered auteurist and formalist approaches) and to the almost exclusive use of the voice of Sanjinés (interviews, essays, and films interpreted in an authorial key) to construct the group’s history. Ignoring the contribution and importance of Palacios’s work and not accounting for her share in the authorship of the films made during the years they lived and worked together impedes a correct understanding of the complexity of the production context and the amplitude of the contribution of Ukamau to Latin American cinema. While her work as a producer is increasingly recognized, delving into her roles as a disseminator of political cinema in alternative circuits, evaluator of the impact of the movies on the popular classes, and documentary director completes the portrait of her all-encompassing life and career. En gran medida, el papel instrumental de Beatriz Palacios en el grupo Ukamau ha sido ignorado por la historiografía y la crítica cinematográficas. La persona autoral de su camarada y esposo, Jorge Sanjinés, ha eclipsado la obra e ideas de Palacios. Dicha eliminación se debe a las perspectivas elegidas para analizar Ukamau (enfoques y formalistas) y al uso casi exclusivo de la voz de Sanjinés (entrevistas, ensayos y películas interpretadas en clave autoral) para construir la historia del grupo. Ignorar la contribución e importancia del trabajo de Palacios, así como su participación en la autoría de las películas realizadas durante los años que vivieron y trabajaron juntos, impide una correcta contribución de Ukamau al cine latinoamericano. Mientras que su trabajo como productora es cada vez más reconocido, ahondar en su labor como divulgadora de cine político en circuitos alternativos, evaluadora del impacto de las películas en las clases populares y directora de documentales, completa debidamente retrato de su vida y carrera.

Solanas, Fernando (1936--)

2018 ◽  
Author(s):  
Jorge E. Cuéllar
Keyword(s):  
Latin American ◽  
Public Intellectual ◽  
Art Cinema ◽  
Third Cinema ◽  
American Cinema ◽  
Political Cinema ◽  
Latin American Cinema ◽  
Political Film ◽  
Hydraulic Fracking ◽  
Progressive Party

Fernando "Pino" Solanas is an Argentinian director, screenwriter, author, politician, and public intellectual. Alongside Octavio Getino, Solanas is a founder of the Third Cinema political film movement, which would serve to express the political challenges of Latin American cinema and contribute to transforming filmmaking practice. His most important film, La hora de los hornos [Hour of the Furnaces] (1968) is a forceful critique of Neocolonialism, violence, and underdevelopment. The film would yield the manifesto "Towards a Third Cinema" co-authored by Solanas and Getino in 1969. Third Cinema, for Solanas and Getino, is a radical film practice that opposes First Cinema (Hollywood cinema) and rejects Second Cinema (auteur, European art cinema) in favor of articulating a political cinema attendant to the problems of the world’s underclasses, and committed to the decolonization of the developing world. A dedicated activist and political persona, Solanas continues to make films and inroads in to Argentine politics. Other notable works include Memorias del saqueo [Social Genocide] (2004), a documentary about political corruption, economic privatization, and widespread hunger in Argentina, as well as Dignidad de los nadies [Dignity of the Nobodies] (2005), a film about the existential challenges facing Argentine people following the economic crisis of 2001. Solanas was elected to the Argentine Senate as a representative of the progressive party Proyecto Sur. Actively writing, producing, and directing films in search of the film-essay form, Solanas’ most recent feature documentary is titled La guerra del fracking (2013), a film about the environmental costs, health risks, and economic unsustainability of hydraulic fracking in contemporary Argentina.

The Two cines con niño

2018 ◽  
Author(s):  
Erin K. Hogan
Keyword(s):  
Latin American ◽  
Film History ◽  
Spanish Language ◽  
The Political ◽  
Pedro Almodovar ◽  
Spanish Film ◽  
American Cinema ◽  
Latin American Cinema ◽  
The Impact ◽  
Genre Study

The Two cines con niño  is the first genre study of Spanish-language child-starred cinemas. It illuminates continuities in the political use of the child protagonist in over fifty years of cinema from Spain and how the child-starred genres use the concept of childhood to define the nation’s past, present, and future. From Francoist popular to oppositional auteur films, and including Latin American cinema, this monograph examines dialogism in aesthetics, narratives, and genre functions. It demonstrates the impact of these narratives within Spanish film history and Francoist biopolitics, as well as providing a broader transatlantic perspective on the genre in select productions from Chile and Argentina. In-depth inquiry within its pages examines films by Pedro Almodóvar, Antonio del Amo, Montxo Armendáriz, Benjamín Ávila, Juan Antonio Bayona, José Luis Cuerda, Guillermo del Toro, Víctor Erice, Manuel Gutiérrez Aragón, Arantxa Lazkano, Luis Lucía, Paula Markovtich, Javier Ruiz Caldera, Carlos Saura, Imanol Uribe, Ladislao Vajda, Agustí Villaronga, and Andrés Wood.

scholarly journals El alquimista poético-político

2019 ◽  
Author(s):  
Marco Franzoso
Keyword(s):  
Latin American ◽  
Entry Point ◽  
South American ◽  
Self Awareness ◽  
Social Self ◽  
Santa Fe ◽  
American Cinema ◽  
Latin American Cinema ◽  
New Latin American Cinema ◽  
Cine Latinoamericano

Fernando Birri (1925-2017) was a puppeteer, writer, artist, director, cinema theorist and teacher. The intellectual from Santa Fe has made syncretism and eclecticism the trademarks of his art. After completing his studies in Italy in 1956, he went back to his birthplace Santa Fe where he founded the Instituto de Cinematografía, the first cinema academy of the country. With his work and academic activity Birri redefined the function of Cinema, transforming it into an educational instrument for the creation of a Latin-American social self-awareness. Birri has revolutionised South-American Cinema, to the extent that he has been named ‘Padre del Nuevo Cine Latinoamericano’ (Father of the new Latin-American Cinema). This paper does not claim to be an exhaustive analysis of Birri’s work. It aims instead to offer an entry point to awake the interest about the first part of his production, in order to screw up some point for a future investigation.

scholarly journals Transgresiones domésticas y agencia femenina en “Las dependencias” (1999) de Lucrecia Martel=Domestic Transgressions and Female Agency in Lucrecia Martel’s Las dependencias (1999)

2021 ◽  
pp. 102
Author(s):  
Sofía Ruiz Alfaro
Keyword(s):  
Latin American ◽  
Short Story ◽  
Power Dynamics ◽  
Female Agency ◽  
Domestic Worker ◽  
Class Differences ◽  
American Cinema ◽  
Latin American Cinema ◽  
Silvina Ocampo ◽  
Cine Latinoamericano

<p align="left"><strong>Resumen</strong></p><p>Este trabajo estudia la representación fílmica de la empleada doméstica en <em>Las dependencias</em> (Lucrecia Martel, 1999), telefilm dedicado a la escritora argentina Silvina Ocampo. Este documental es pionero dentro del cine latinoamericano contemporáneo por el lugar central que la doméstica ocupa como sujeto femenino complejo e idiosincrático, un protagonismo inexistente en el cine del siglo pasado. A través del análisis de los testimonios de las empleadas, de los espacios y objetos domésticos y de la intertextualidad con el cuento de Ocampo <em>Las vestiduras peligrosas</em>, exploro la representación de las diferencias de clase, la dinámica de poder en la relación afectiva entre criada-señora y las diferentes estrategias de resistencia que hacen de la empleada un sujeto con voz y agencia propia.</p><p align="left"><strong>Abstract</strong></p><p>This article studies the filmic representation of the female domestic worker in <em>Las dependencias</em> (Lucrecia Martel, 1999), a film about the Argentine writer Silvina Ocampo. This is a pioneer documentary in contemporary Latin American cinema based on the centrality given to the housekeeper as a complex and idiosyncratic character, a portrayal not found in 20<sup>th</sup> century Latin American cinema. Through the analysis of the female workers’ testimonies, domestic places and objects, and the intertextuality with Ocampo’s short story <em>Las vestiduras peligrosas</em>, we explore the representation of class differences, the power dynamics and the affective dimensions found in the servant-mistress relationship, and the strategies of resistance that make the domestic worker a subject with a voice and agency of her own.</p>

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