Documentary Film and Video

TOSQUELLA, J., ABAD, M., GONZÁLEZ-REGALADO, M.L., TOSCANO, A., RUIZ, F. (2012). Virtualización de yacimientos de la Formación Niebla (Mioceno superior) de la provincia de Huelva: hacia una puesta en valor del Patrimonio Paleontológico en entornos educativos diferenciados II. En: Nuevos estándares en la innovación docente en Historia Natural. Actas del I Congreso de innovación docente universitaria en Historia Natural, (Beltrán, J.F., Conradi, M., Gutiérrez, J.J. y Rodríguez, M. Eds.). Grupo de Investigación Didáctica de la Universidad de Sevilla. Sevilla, España. ISBN: 978-84-940062-1-0

GONZÁLEZ-REGALADO, M.L., TOSQUELLA, J., TOSCANO, A., ABAD, M., RUIZ, F. (2012). Virtualización de yacimientos del Plioceno de la provincia de Huelva: hacia una puesta en valor del Patrimonio Paleontológico en entornos educativos diferenciados I. En: Nuevos estándares en la innovación docente en Historia Natural. Actas del I Congreso de innovación docente universitaria en Historia Natural, (Beltrán, J.F., Conradi, M., Gutiérrez, J.J. y Rodríguez, M. Eds.). Grupo de Investigación Didáctica de la Universidad de Sevilla. Sevilla, España. ISBN: 978-84-940062-1-0

This is a draft text of a paper read at the conference Latinoamerica en perspectiva II, at Harvard, May 2019.

Abstract: As scenes of representation and (re)narrativization, the audio-visual and legal proceedings occupy privileged positions within the operations of the neoliberal state’s broadly defined discursive apparatus, as well as those of its alternatives. In this work I will take an example from each, to explore opposed logics of (d)effacement within recent Argentine and Chilean history. Re-presented in their video rebelde, the folds of exteriority effacing itself in the masks of Argentine encapuchados allow commonality to speak beyond the politics of bourgeois individuality, re-framing their experiences beyond the narratives of the state or any politics invested with hegemonic aspirations, including those of the historical left. In Chile, the State’s testigos sin rostro, used against the Mapuche in farcical anti-terrorism legal proceedings, expose the individual bourgeois citizen-subject as a vessel through which the State may speak, via its defacement.  Between liberatory, masked effacement and the defacement of state legalism- is that where we might trace the emergence of another spatial practice, one other than traditional representational practices? By juxtaposing these two instances of a logic of (d)effacement, I intend to highlight how cracks in capitalism’s spectacular reality signal a space and spatial practice to come, elsewhere than a space overwhelmed by the capitalist state’s stifling power.

Link to a 26-minute documentary film entitled The War of the Princes of Rain ("La guerra de los príncipes de la lluvia", in Spanish) researched, directed and co-produced by Bernardo Pérez-Soler:

https://vimeo.com/119632830
(Please request password by writing an e-mail to bperezsoler@gmail.com)

The old Macehual Maya experts in the art of recalling events long gone-by from the state of Quintana Roo, Mexico, still evoke vividly and in great detail the final stages of the so-called “Caste War” of Yucatan, even though they did not witness them or ever read anything about them—actually, they never learned how to read.

The vividness of this evocation has to do with the fact that the remembrance of the Caste War is thoroughly intertwined with both Maya religion and agriculture, and, more generally, with how the people who still speak the Yucatec Maya language spend their everyday lives.

This film is about the old stories on the war three of these men recount, and about the main activities those who share (or, in one case, oppose) their beliefs engage in.

Albeit in its present form it is a fully completed short-film, I have recorded enough material to enlarge it into a feature-length film. I, however, did not get enough funding to edit and post-produce such longer version.

El presente estudio ofrece una aproximación al vídeo documental colaborativo como agente de preservación del patrimonio cultural inmaterial. Las obras audiovisuales producidas de modo participativo dejan constancia de las expresiones efímeras de la cultura local entretejidas en las historias de vida de sus protagonistas. Estas “huellas de cotidianidad” del colectivo que conforma el foco de atención del filme se presentan como parte de su patrimonio intangible, cuya preservación pasa por la documentación necesaria de sus manifestaciones unida a su difusión. En este sentido, destacaríamos el potencial del documental interactivo y el denominado cine procesual como repositorios de la memoria colectiva, ya que sus métodos permiten alto grado de la implicación de la comunidad en el proceso de creación.

Pembuatan Video Company Profile, Video Dokumentasi 085718518618 -
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