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2016 •
The purpose of this chapter is to explore processes of intergenerational and family memory construction by focusing on Argentine and Chilean documentaries produced in the last fifteen years. Lattanzi analyzes documentaries by the biological children of victims of the most recent Chilean and Argentine dictatorships to show that their films have less to do with reconstructing a life as it was than with thinking about how subjects exist and persist in a postdictatorial moment characterized by the exhaustion of community and the end of utopia. Documentaries by filmmakers like Maria Ines Roque, Albertina Carri, Nicolas Prividera, Lorena Giachino Torrens, and Macarena Aguilo privilege daily life and the family as strategic arenas for reconfiguring identities torn asunder by dictatorial violence. More than attempting a fictitiously integral autobiographical gesture, the films stake their claim on questioning the very notion of autobiography.
Berkeley Journal of Sociology
Una Escuela Llamada América: Documentary film and photography as ethnographic tools for reflexive social research2022 •
How can documentary strategies advance sociological insights beyond academia? This photo-essay analyzes the process of producing a documentary film with immigrant children in Arica – the most septentrional city in northern Chile, only 20 kilometers south from the frontier with Peru. We reflect upon the documentary’s production and its relationship with social research in order to show how visual narratives can serve public debates. The photographs included in this work document different stages of the process of narrative-making. Ultimately, these visual sources highlight the agency of the film’s protagonists in framing their own stories in the collective assembling of the audiovisual pieces. Film directors and participants are thus crucial agents in the effort of producing this piece of visual sociology.
Abstract Discussions about the digital image’s connection to reality (Cubitt 1999; Stam 2000) provoke a re-evaluation in our theoretical frames for conceptualizing the documentary practices of digitally shot documentary films because, quite simply, documentaries rely on a basic notion of reality. Two recent, digitally shot, Latin American films, which make use of the documentary mode, present interesting case studies with respect to rethinking realism in a digital age, because they use the digital medium to engage with the concept of different realities, ones that have a specific cultural resonance in Latin America. This chapter focuses on two of these documentaries; Cuban Fernando Pérez’ Suite Havana (2003) and Franco-Colombian Barbet Schroeder’s Our Lady of the Assassins (2000).
hispanetjournal.com
Considerations on the Appearance of the First Person in Contemporary Argentine Documentary2017 •
The open access version of this thesis contains redacted material. This material can be accessed by request and it is published in the print version of the thesis at the University Library.
Cuban filmmaker Yaima Pardo creates a participatory digital literacy campaign in her documentary OFF_LINE (2013) and documentary series SWITCH ON (2013-present). Through her work she establishes a multi-directional dialogue on digital literacy. Beyond this call for digital literacy, Pardo herself is part of a contemporary generation of Cuban filmmakers, nuevos realizadores that depend on digital technology to make, distribute and exhibit their works despite their illegal status as the Cuban state does not recognize their independent production companies. Challengingover fivedecades of control, Pardo and her peers are part of a larger national fight to redefine Cuban film. Abstract Cuban filmmaker Yaima Pardo creates a participatory digital literacy campaign in her documentary OFF_LINE (2013) and documentary series SWITCH ON (2013-present). Through her work she establishes a multi-directional dialogue on digital literacy. Beyond this call for digital literacy, Pardo herself is part of a contemporary generation of Cuban filmmakers, nuevos realizadores that depend on digital technology to make, distribute and exhibit their works despite their illegal status as the Cuban state does not recognize their independent production companies. Challengingover fivedecades of control, Pardo and her peers are part of a larger national fight to redefine Cuban film.
2017 •
In the long history of political banishment in Latin America there is a counterpart to the category of "exile" that needs more attention: the individual that is excluded, or marked as an "undesirable" by an authoritarian regime for ideological reasons, yet remains inside the country in a condition of reduced citizenship that mirrors that of the political exile. In this paper I would like to expand the discussion of insilio from literature to cinema through an analysis of Tomás Gutiérrez Alea's most influential films, Memorias del subdesarrollo (1968) and Fresa y Chocolate (1994). This paper will look first at how Gutiérrez Alea uses critical montage to illustrate the phenomenon of Cuban insilio in two different periods in Cuban revolutionary history. I will demonstrate how the cinematic language of montage is able to illustrate the subjective disjointedness and fragmentation caused by internal exile. My analyses of these films' cinematography are informed by Sergei Eisenstein's ideas on the dialectical dimensions of montage (summarized in the term "critical montage") and Michael Betancourt's approach about spatial montage. This paper will also look at how montage in Gutiérrez Alea's films achieves a unique form of communication built on dialectical contrast through a calculated disposition of camera shots, spatial arrangements, and mise-en-scène that makes critical montage more than just the outcome of concept vs. narrative-based editing.
Abecé (2014), directed by Diana Montero, opens with a squeal of protest from a young boy. The boy is in a battle of wills with Leoneidi, a young woman whose frustrated face fills the screen. According to director Diana Montero, the demands of motherhood are an unavoidable condition for many teenage women in Sierra Maestra. As a student filmmaker of Cuba’s famed Instituto Cubano del Arte e Industria Cinematográficos (ICAIC), she was given rare access to this isolated family. Montero’s appearance at Undisciplined Graduate Symposium 2015 was facilitated by Queen’s Master’s student, Jessica Burgess, who is actively researching emergent filmmaking in Cuba.This film review is found in a post-symposium brochure published by the student organizers.
2024 •
RESTAURACIÓN DE RÍOS. Guia Metodológica para la Elaboración de Proyectos
GUÍA METODOLÓGICA PARA LA ELABORACIÓN DE PROYECTOS DE RESTAURACIÓN DE RÍOS2008 •
Studia Ecologiae et Bioethicae
Przestrzenio-czas i czaso-kultura. Uwagi o komplementarności przestrzeni, kultury, czasu i krajobrazu2006 •
Archaeology and Early History of Ukraine
Spеcial Children. Personal Ornaments in Children’s Burials of Mariupol Type2020 •
Cuyo. Anuario de Revista Argentina y Americana (44)
Vida, obra y legado de Enrique Dussel. Entrevista con Jorge Zúñiga.2024 •
American Journal of Archaeology
Refuse and the Roman City: Determining the Formation Processes of Refuse Assemblages Using Statistical Measures of Heterogeneity2022 •
2011 •
Journal of Clinical Investigation
Viral infection induces dependence of neuronal M2 muscarinic receptors on cyclooxygenase in guinea pig lung1996 •
Eastern-European Journal of Enterprise Technologies
Establishing patterns in the influence of micro- and nano-dispersed mineral additives on the water resistance of construction gypsum2021 •
Indonesian Accounting Literacy Journal
Pengaruh Sistem Informasi Akuntansi Persediaan Barang Dan Pengendalian Internal Persediaan Barang Terhadap Pencegahan Kecurangan (Fraud) Persediaan2022 •
Blucher Design Proceedings
Architecture Design Pedagogy: Which leads to what?2023 •
Journal of Virological Methods
Click labeling of unnatural sugars metabolically incorporated into viral envelope glycoproteins enables visualization of single particle fusion2016 •
2024 •
Environmental Conservation
The International Society for Tropical Ecology1985 •