This chapter turns away from the données of Third Cinema, placing the concept under erasure. It c... more This chapter turns away from the données of Third Cinema, placing the concept under erasure. It challenges advocates and critics of Tercer Cine alike to address labour, a topic rarely discussed in detail in terms of the process whereby films are made, for all its centrality to the genre’s origin myth (Solanas and Getino 2000) . We do so in order to show that Third Cinema always had industrial aspects, despite its later interpretations by scholars; that the street popularity of plebeian film today represents a crucial link to that past; and that the national and regional industries sought by Tercer Cine’s founders are dogged by labour exploitation and Hollywood’s New International Division of Cultural Labour (NICL) (Miller 2018) . Our methods blend political economy with interviews. The concept of ‘cinema’ is itself under erasure. For many years, box-office takings have..
The purpose of this paper is to reflect on the problem of (self-) representation in indigenous au... more The purpose of this paper is to reflect on the problem of (self-) representation in indigenous audiovisual production from a critical perspective. Although in principle it is possible to think of an autonomous and "pure" representation of the indigenous, our hypothesis here has to do with the concept of the white-ness and the presence of pre-existing forms of audiovisual aesthetics and narrative. The idea of an indigenous person who represents themselves from an apparent purity seems to dissolve in the mediation of hegemonic forms of construction of identity. The text does not pretend to make an exhaustive analysis of the audiovisual representation of indigeneity, this escapes our possibilities, but rather to think about the paradoxes that are hidden behind the idea of purity in the audiovisual representation and the need to recognize ourselves as a hybrid nation beyond the place of enunciation.
The purpose of this paper is to present and discuss four approaches which support actions in favo... more The purpose of this paper is to present and discuss four approaches which support actions in favor of endangered language preservation and maintenance. Preservation, on the one hand, refers to the process of documenting and storing information which can later on be accessed by the public; whereas maintenance, on the other, implies a support for the users of the language to prevent its disappearance by encouraging its use. Each of the approaches is assessed on its priority in one or the other form of language protection, drawing on their justifications and main goals. Finally, conclusions are brought forth regarding the potential uses of the different approaches.<br>El propósito de este artículo es presentar y discutir cuatro aproximaciones que apoyan las acciones en favor de la preservación y mantenimiento de los idiomas en peligro de extinción. La preservación se entiende como el proceso de documentar y almacenar información que pueda ser posteriormente accesible por el público general, mientras que mantenimiento, por otro lado, implica el apoyo a los usuarios del idioma para prevenir la desaparición y promover la continuación de su uso. Cada una de las aproximaciones es evaluada con respecto a su prioridad como forma de proteger el idioma, obtenidas a partir de su justificación y objetivos. Por último, las conclusiones se presentan hacia su uso potencial de las distintas aproximaciones.
Revista Internacional de Comunicación y Desarrollo (RICD), 2018
El cine ha experimentado un crecimiento considerable en Colombia en los últimos 15 años, particul... more El cine ha experimentado un crecimiento considerable en Colombia en los últimos 15 años, particularmente a partir de la Ley del Cine (Ley nº 814, 2003) que permitió y promovió el desarrollo de películas colombianas, a la vez que fomentó distintas etapas de creación y distribución audiovisual. No obstante, el incremento en producciones y algunos éxitos de taquilla no significan que el cine nacional haya devenido en una industria sólida, rentable y culturalmente consolidada. Por otra parte, más recientemente, una nueva política cultural, amparada en el interés económico de corto plazo, busca atraer inversión extranjera en el audiovisual a través de ventajas económicas y tributarias enmarcadas en la Ley Location Colombia (Ley nº1556, 2012). Está Ley ha sido considerada un éxito el Ministerio de Cultura, aunque sus réditos no se han probado como sostenibles más allá del beneficio temporal en términos de empleo y ocupación hotelera. El desarrollo del cine nacional y la ejecución de estas...
This chapter turns away from the données of Third Cinema, placing the concept under erasure. It c... more This chapter turns away from the données of Third Cinema, placing the concept under erasure. It challenges advocates and critics of Tercer Cine alike to address labour, a topic rarely discussed in detail in terms of the process whereby films are made, for all its centrality to the genre’s origin myth (Solanas and Getino 2000) . We do so in order to show that Third Cinema always had industrial aspects, despite its later interpretations by scholars; that the street popularity of plebeian film today represents a crucial link to that past; and that the national and regional industries sought by Tercer Cine’s founders are dogged by labour exploitation and Hollywood’s New International Division of Cultural Labour (NICL) (Miller 2018) . Our methods blend political economy with interviews. The concept of ‘cinema’ is itself under erasure. For many years, box-office takings have..
The purpose of this paper is to reflect on the problem of (self-) representation in indigenous au... more The purpose of this paper is to reflect on the problem of (self-) representation in indigenous audiovisual production from a critical perspective. Although in principle it is possible to think of an autonomous and "pure" representation of the indigenous, our hypothesis here has to do with the concept of the white-ness and the presence of pre-existing forms of audiovisual aesthetics and narrative. The idea of an indigenous person who represents themselves from an apparent purity seems to dissolve in the mediation of hegemonic forms of construction of identity. The text does not pretend to make an exhaustive analysis of the audiovisual representation of indigeneity, this escapes our possibilities, but rather to think about the paradoxes that are hidden behind the idea of purity in the audiovisual representation and the need to recognize ourselves as a hybrid nation beyond the place of enunciation.
The purpose of this paper is to present and discuss four approaches which support actions in favo... more The purpose of this paper is to present and discuss four approaches which support actions in favor of endangered language preservation and maintenance. Preservation, on the one hand, refers to the process of documenting and storing information which can later on be accessed by the public; whereas maintenance, on the other, implies a support for the users of the language to prevent its disappearance by encouraging its use. Each of the approaches is assessed on its priority in one or the other form of language protection, drawing on their justifications and main goals. Finally, conclusions are brought forth regarding the potential uses of the different approaches.<br>El propósito de este artículo es presentar y discutir cuatro aproximaciones que apoyan las acciones en favor de la preservación y mantenimiento de los idiomas en peligro de extinción. La preservación se entiende como el proceso de documentar y almacenar información que pueda ser posteriormente accesible por el público general, mientras que mantenimiento, por otro lado, implica el apoyo a los usuarios del idioma para prevenir la desaparición y promover la continuación de su uso. Cada una de las aproximaciones es evaluada con respecto a su prioridad como forma de proteger el idioma, obtenidas a partir de su justificación y objetivos. Por último, las conclusiones se presentan hacia su uso potencial de las distintas aproximaciones.
Revista Internacional de Comunicación y Desarrollo (RICD), 2018
El cine ha experimentado un crecimiento considerable en Colombia en los últimos 15 años, particul... more El cine ha experimentado un crecimiento considerable en Colombia en los últimos 15 años, particularmente a partir de la Ley del Cine (Ley nº 814, 2003) que permitió y promovió el desarrollo de películas colombianas, a la vez que fomentó distintas etapas de creación y distribución audiovisual. No obstante, el incremento en producciones y algunos éxitos de taquilla no significan que el cine nacional haya devenido en una industria sólida, rentable y culturalmente consolidada. Por otra parte, más recientemente, una nueva política cultural, amparada en el interés económico de corto plazo, busca atraer inversión extranjera en el audiovisual a través de ventajas económicas y tributarias enmarcadas en la Ley Location Colombia (Ley nº1556, 2012). Está Ley ha sido considerada un éxito el Ministerio de Cultura, aunque sus réditos no se han probado como sostenibles más allá del beneficio temporal en términos de empleo y ocupación hotelera. El desarrollo del cine nacional y la ejecución de estas...
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