{"title":"La conquista del espacio: cine silente uruguayo (1915–32), Georgina Torello (2018)","authors":"Juan Sebastián Ospina León","doi":"10.1386/slac_00050_5","DOIUrl":"https://doi.org/10.1386/slac_00050_5","url":null,"abstract":"Review of: La conquista del espacio: cine silente uruguayo (1915–32), Georgina Torello (2018)\u0000Montevideo: Editorial Yaugurú, 276 pp.,\u0000ISBN 978-9-97489-027-5, p/bk","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48027357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: The Two cines con niño: Genre and the Child Protagonist in Over Fifty Years of Spanish Film (1955–2010), Erin Hogan (2018) Edinburgh: Edinburgh University Press, 236 pp., ISBN 978-1-47443-611-3, h/bk, £75.00 and p/bk, £19.99
{"title":"The Two cines con niño: Genre and the Child Protagonist in Over Fifty Years of Spanish Film (1955–2010), Erin Hogan (2018)","authors":"Rachel Beaney","doi":"10.1386/slac_00053_5","DOIUrl":"https://doi.org/10.1386/slac_00053_5","url":null,"abstract":"Review of: The Two cines con niño: Genre and the Child Protagonist in Over Fifty Years of Spanish Film (1955–2010), Erin Hogan (2018)\u0000Edinburgh: Edinburgh University Press, 236 pp.,\u0000ISBN 978-1-47443-611-3, h/bk, £75.00 and p/bk, £19.99","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66764404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Recent scholarship on Sara Gómez has expanded upon existing discourse on her work beyond her singular feature film, De cierta manera/One Way or Another ([1974] 1977) to examine not only her earlier documentary shorts of the 1960s, but to demonstrate the impact that her body of work has had on a subsequent generation of Cuban filmmakers who continue her mission to critique the Revolution through an antiracist and feminist lens – contemporary filmmakers such as Gloria Rolando, Sandra Gómez and Susana Barriga. This article seeks to push this conversation forward by arguing several interrelated points: (1) that De cierta manera contains symbolic, visually embedded references to a specific patakí (myth) about the Afro-Cuban orishas Ogun and Ochún; (2) that De cierta manera holds this in common with Gloria Rolando’s Oggun: An Eternal Presence (1991), which tells the patakí in a more explicit manner, and therefore the two films warrant comparison and (3) lastly, that this interpretation of De cierta manera offers a novel take on a ‘classic’ Cuban revolutionary film, offering additional interpretive layers that do not change the message of the film, per se, but complicate it by adding an additional filter through which to view and interpret it: that of Yoruba moral philosophy. The Afro-Cuban word patakí in Cuban Lucumí liturgical speech refers to a parable with a moral lesson, and is derived from the word pàtàkì, which means ‘[something] important’ in the Yorùbá language of West Africa. This article will attempt to answer how and why this particular myth is ‘important’ (pàtàkì) to the reading of De cierta manera and argue for a broader re-centring and privileging of African-derived philosophical frameworks within Cuban intellectual history and popular culture.
最近关于萨拉Gómez的学术研究扩展了对她的作品的现有论述，超越了她唯一的故事片《一条路或另一条路》([1974]1977)，不仅研究了她20世纪60年代早期的纪录片短片，而且展示了她的作品对后来一代古巴电影人的影响，这些电影人继续她的使命，通过反种族主义和女权主义的镜头来批判革命——当代电影人，如格洛丽亚·罗兰多，Sandra Gómez和Susana Barriga。本文试图通过讨论几个相互关联的观点来推动这一对话:(1)De cierta manera包含象征性的，视觉上嵌入的对特定patakí(神话)的参考，关于非洲裔古巴orishas Ogun和Ochún;(2) De cierta manera与Gloria Rolando的Oggun有共同之处;《永恒的存在》(1991)，以一种更明确的方式讲述patakí，因此两部电影值得比较，(3)最后，对《永恒的存在》的这种解释提供了一部“经典”古巴革命电影的小说，提供了额外的解释层，这些解释层并不改变电影本身的信息，但通过增加额外的过滤器来观看和解释它，使其复杂化:约鲁巴道德哲学。古巴语Lucumí礼仪演讲中的非裔古巴语patakí指的是一个带有道德教训的寓言，它来自于pàtàkì这个词，在西非的Yorùbá语言中，它的意思是“重要的东西”。本文将试图回答这个特殊的神话如何以及为什么对阅读《自由》“重要”(pàtàkì)，并主张在古巴思想史和流行文化中更广泛地重新集中和重视源自非洲的哲学框架。
{"title":"A re-visionist Her-story of De cierta manera ([1974] 1977): Reading Yoruba myth in Sara Gómez’s revolutionary classic1","authors":"Susanne Hackett","doi":"10.1386/slac_00046_1","DOIUrl":"https://doi.org/10.1386/slac_00046_1","url":null,"abstract":"Recent scholarship on Sara Gómez has expanded upon existing discourse on her work beyond her singular feature film, De cierta manera/One Way or Another ([1974] 1977) to examine not only her earlier documentary shorts of the 1960s, but to demonstrate the impact that her body of work has had on a subsequent generation of Cuban filmmakers who continue her mission to critique the Revolution through an antiracist and feminist lens – contemporary filmmakers such as Gloria Rolando, Sandra Gómez and Susana Barriga. This article seeks to push this conversation forward by arguing several interrelated points: (1) that De cierta manera contains symbolic, visually embedded references to a specific patakí (myth) about the Afro-Cuban orishas Ogun and Ochún; (2) that De cierta manera holds this in common with Gloria Rolando’s Oggun: An Eternal Presence (1991), which tells the patakí in a more explicit manner, and therefore the two films warrant comparison and (3) lastly, that this interpretation of De cierta manera offers a novel take on a ‘classic’ Cuban revolutionary film, offering additional interpretive layers that do not change the message of the film, per se, but complicate it by adding an additional filter through which to view and interpret it: that of Yoruba moral philosophy. The Afro-Cuban word patakí in Cuban Lucumí liturgical speech refers to a parable with a moral lesson, and is derived from the word pàtàkì, which means ‘[something] important’ in the Yorùbá language of West Africa. This article will attempt to answer how and why this particular myth is ‘important’ (pàtàkì) to the reading of De cierta manera and argue for a broader re-centring and privileging of African-derived philosophical frameworks within Cuban intellectual history and popular culture.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46451690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"In (Spanish)","authors":"","doi":"10.5040/9781350965638","DOIUrl":"https://doi.org/10.5040/9781350965638","url":null,"abstract":"","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81478418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article draws on Levinas’ ‘first ethics’ and Derrida’s account of hospitality in order to examine how Fresa y chocolate/ Strawberry and Chocolate (Gutiérrez Alea and Tabío 1993) and Santa y Andrés/Santa and Andrés (Lechuga 2016)make perceptible (drawing on the etymology of aesthetics as ‘aistheta’, perceptible things) the problem of the encounter with the Other. As films, they inevitably thematize and reduce both the Other’s infinite alterity and our own infinite responsibility. However, whereas Santa y Andrés makes the viewer experience the uncertainty produced by the subject’s encounter with difference, developing an aesthetics that bears a trace of this ‘first ethics’, Fresa y chocolate reduces alterity in favour of resolution. Examining the characters’ interactions in light of Derrida’s ‘hostipitality’, it becomes clear that, whereas Alea’s work encourages us to forget the power imbalances that neuter Diego’s authority as host, Lechuga’s film gestures towards a pervasive sovereignty that determines the exercise of hospitality as ethical response. Thus, by acknowledging the uncomfortable proximity of hospitality, hostility and discipline, and by allowing the viewer to access a trace of the unsettling encounter with infinite otherness, Santa y Andrés encourages a more ethical engagement with difference than its predecessor.
本文借鉴了Levinas的“第一伦理学”和Derrida对好客的描述，以考察Fresa y巧克力/草莓和巧克力（Gutiérrez Alea和Tabío，1993年）和Santa y Andrés/Santa和Andrés（Lechuga，2016年）如何使与他者相遇的问题变得可感知（借鉴美学的词源为“aistheta”，可感知的事物）。作为电影，它们不可避免地主题化和减少了他人的无限交替和我们自己的无限责任。然而，尽管Santa y Andrés让观众体验到了受试者遇到差异所产生的不确定性，形成了一种带有这种“第一道德”痕迹的美学，但Fresa y巧克力减少了冲突，有利于解决问题。根据德里达的“主人翁精神”来审视角色的互动，很明显，尽管阿莱亚的作品鼓励我们忘记削弱迭戈作为主人翁权威的权力失衡，但勒丘加的电影却表明了一种普遍的主权，这种主权决定了将好客作为道德回应。因此，通过承认热情好客、敌意和纪律的令人不安的接近，并允许观众接触到与无限另类的不安遭遇，《圣诞老人》鼓励与前任相比，更合乎道德的差异参与。
{"title":"Ethics, hospitality and aesthetics in Fresa y chocolate/Strawberry and Chocolate (Gutiérrez Alea and Tabío 1993) and Santa y Andrés/Santa and Andrés (Lechuga 2016)","authors":"Dunja Fehimović","doi":"10.1386/SLAC_00030_1","DOIUrl":"https://doi.org/10.1386/SLAC_00030_1","url":null,"abstract":"This article draws on Levinas’ ‘first ethics’ and Derrida’s account of hospitality in order to examine how Fresa y chocolate/\u0000Strawberry and Chocolate (Gutiérrez Alea and Tabío 1993) and Santa y Andrés/Santa and Andrés (Lechuga 2016)make perceptible (drawing on the etymology of aesthetics as ‘aistheta’, perceptible things) the problem of the encounter with the Other. As films, they inevitably thematize and reduce both the Other’s infinite alterity and our own infinite responsibility. However, whereas Santa y Andrés makes the viewer experience the uncertainty produced by the subject’s encounter with difference, developing an aesthetics that bears a trace of this ‘first ethics’, Fresa y chocolate reduces alterity in favour of resolution. Examining the characters’ interactions in light of Derrida’s ‘hostipitality’, it becomes clear that, whereas Alea’s work encourages us to forget the power imbalances that neuter Diego’s authority as host, Lechuga’s film gestures towards a pervasive sovereignty that determines the exercise of hospitality as ethical response. Thus, by acknowledging the uncomfortable proximity of hospitality, hostility and discipline, and by allowing the viewer to access a trace of the unsettling encounter with infinite otherness, Santa y Andrés encourages a more ethical engagement with difference than its predecessor.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43443844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Mexican film was aligned with the state since its origins, but this union only generated continuous cinematographic production beginning in the 1930s, when the government of President Lázaro Cárdenas del Río (1934‐40) signed a contract with the production company that would go to become one of the most important producers of Mexican cinema of the Golden Age: la Cinematográfica Latinoamericana S.A. (CLASA). This article analyses the changes of discourse and narrative style used in these newsreels during three consecutive presidential terms and outlines the working dynamics and the cinematic discourse of each government, as well as how newsreel formats reflected the agenda of each head of state.
墨西哥电影从一开始就与国家结盟，但这种联盟直到20世纪30年代才开始产生持续的电影制作，当时总统Lázaro Cárdenas del Río(1934 - 40)政府与制作公司签订了一份合同，该公司将成为黄金时代墨西哥电影最重要的生产商之一:la Cinematográfica Latinoamericana S.A. (CLASA)。本文分析了连续三届总统任期内新闻短片的话语和叙事风格的变化，概述了每届政府的工作动态和电影话语，以及新闻短片格式如何反映每一位国家元首的议程。
{"title":"El Noticiario C.L.A.S.A., órgano de difusión gubernamental (1934‐52)","authors":"Tania Celina Ruiz Ojeda","doi":"10.1386/slac_00017_1","DOIUrl":"https://doi.org/10.1386/slac_00017_1","url":null,"abstract":"Mexican film was aligned with the state since its origins, but this union only generated continuous cinematographic production beginning in the 1930s, when the government of President Lázaro Cárdenas del Río (1934‐40) signed a contract with the production\u0000 company that would go to become one of the most important producers of Mexican cinema of the Golden Age: la Cinematográfica Latinoamericana S.A. (CLASA). This article analyses the changes of discourse and narrative style used in these newsreels during three consecutive presidential\u0000 terms and outlines the working dynamics and the cinematic discourse of each government, as well as how newsreel formats reflected the agenda of each head of state.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72811947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article studies the cinema produced by the National Indigenist Institute (INI) in its initial stage (1956‐70), to investigate how this institution used the moving image to promote its agendas. Through an analysis of the discursive and formal characteristics of the three films produced during that era (Nuevos horizontes, Arenas [1956] 2010; Todos somos mexicanos, Arenas [1958] 2008; and Misión de Chichimecas, López [1970] 2008), I show how an audio-visual rhetoric was configured in which the voice-over expresses the guidelines of the indigenista policy, but also opens up a space for the self-expression of the indigenous characters and for their languages. Likewise, I underline the specificity of the INI’s cinema during this early period in the wider context of Mexican cinema and in relation to different filmic representations of indigenous people.
{"title":"El uso del cine en la política indigenista mexicana: El cine del Instituto Nacional Indigenista (INI) de su primera etapa (1956‐70)","authors":"Claudia Arroyo Quiroz","doi":"10.1386/slac_00019_1","DOIUrl":"https://doi.org/10.1386/slac_00019_1","url":null,"abstract":"This article studies the cinema produced by the National Indigenist Institute (INI) in its initial stage (1956‐70), to investigate how this institution used the moving image to promote its agendas. Through an analysis of the discursive and formal characteristics of the three\u0000 films produced during that era (Nuevos horizontes, Arenas [1956] 2010; Todos somos mexicanos, Arenas [1958] 2008; and Misión de Chichimecas, López [1970] 2008), I show how an audio-visual rhetoric was configured in which the voice-over expresses the guidelines\u0000 of the indigenista policy, but also opens up a space for the self-expression of the indigenous characters and for their languages. Likewise, I underline the specificity of the INI’s cinema during this early period in the wider context of Mexican cinema and in relation to different filmic\u0000 representations of indigenous people.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72904484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Claudia Quiroz, Alvaro Vázquez Mantecón, D. Wood
The special issue presented in this introduction focuses on the uses of documentary cinema in Mexico between 1930 and 1980 as part of the wider cultural policy of a variety of institutions that made films to express particular discourses or to promote their agendas. The institutions under study include state agencies, international bodies, private media companies and marginal political organizations.
{"title":"Forgotten cinemas: The institutional uses of documentary in twentieth-century Mexico (1930‐80)","authors":"Claudia Quiroz, Alvaro Vázquez Mantecón, D. Wood","doi":"10.1386/slac_00016_2","DOIUrl":"https://doi.org/10.1386/slac_00016_2","url":null,"abstract":"The special issue presented in this introduction focuses on the uses of documentary cinema in Mexico between 1930 and 1980 as part of the wider cultural policy of a variety of institutions that made films to express particular discourses or to promote their agendas. The institutions\u0000 under study include state agencies, international bodies, private media companies and marginal political organizations.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"119 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86061967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Film production played a decisive role in the Nicaraguan Revolution. During the preparation of the 1979 Ofensiva Final (Final Offensive), the Sandinistas clearly understood the need to produce audio-visual documents that would serve as testimony and political propaganda of this historic moment. To do so, they sought the support of internationalist filmmakers among whom a group of Mexicans were most prominent. This article focuses on materials on the Sandinista Revolution preserved at the film archive of the University Center for Cinematographic Studies (CUEC) of the National Autonomous University of Mexico (UNAM). It analyses them in relation to the role of left-wing film internationalism in political documentary in Latin America and builds an ‘other’ history of a Mexican film institution that in the 1970s was uniquely politicized as a result of the 1968 Mexican student movement and, later, the influence of Latin American exiles. As a particular case study, this article rescues one of the key figures of Mexican internationalism during the Sandinista Revolution, Adrián Carrasco Zanini Molina, and the role of Mexican filmmakers in the creation of institutions dedicated to film production in Nicaragua such as the Nicaraguan Film Institute (INCINE).
{"title":"Mexicans in Nicaragua: Revolution and propaganda in Sandinista documentaries of the University Center for Cinematographic Studies (CUEC-UNAM)","authors":"Ana Daniela Nahmad Rodríguez","doi":"10.1386/slac_00020_1","DOIUrl":"https://doi.org/10.1386/slac_00020_1","url":null,"abstract":"Film production played a decisive role in the Nicaraguan Revolution. During the preparation of the 1979 Ofensiva Final (Final Offensive), the Sandinistas clearly understood the need to produce audio-visual documents that would serve as testimony and political propaganda\u0000 of this historic moment. To do so, they sought the support of internationalist filmmakers among whom a group of Mexicans were most prominent. This article focuses on materials on the Sandinista Revolution preserved at the film archive of the University Center for Cinematographic Studies (CUEC)\u0000 of the National Autonomous University of Mexico (UNAM). It analyses them in relation to the role of left-wing film internationalism in political documentary in Latin America and builds an ‘other’ history of a Mexican film institution that in the 1970s was uniquely politicized as\u0000 a result of the 1968 Mexican student movement and, later, the influence of Latin American exiles. As a particular case study, this article rescues one of the key figures of Mexican internationalism during the Sandinista Revolution, Adrián Carrasco Zanini Molina, and the role of Mexican\u0000 filmmakers in the creation of institutions dedicated to film production in Nicaragua such as the Nicaraguan Film Institute (INCINE).","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81420592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on the productive tensions between the competing ideological discourses of post-war internationalism, Mexican post-revolutionary nationalism and local indigenous representational paradigms in the activities of the film unit of the UNESCO-sponsored adult education centre (CREFAL) in the town of Pátzcuaro, Mexico in the 1950s, which combined village screenings of educational, promotional and informative movies from the world over, with the local production of pedagogical documentary shorts by non-professional filmmakers from across Latin America. Inspired by the work of British documentarian Paul Rotha, whose United Nation picture World Without End (Mexico/Thailand/United Kingdom, 1953, codirected with Basil Wright) was partly filmed at CREFAL, these films frequently resorted to a docudrama format that enabled amateur documentary filmmakers to engage with the agendas of their indigenous subjects even as they subordinated them to the United Nation’s call to hygiene, progress and civic values. In doing so, they responded creatively to appeals by theorists such as Kracauer and Grierson for a critical realist cinema. They also acted as a link between the so-called ‘classical’ pre-war documentary movements in the United Kingdom, North America and elsewhere, and the later, socially committed new cinemas.
{"title":"Docudrama for the emerging post-war order: Documentary film, internationalism and indigenous subjects in 1950s Mexico1","authors":"D. Wood","doi":"10.1386/slac_00018_1","DOIUrl":"https://doi.org/10.1386/slac_00018_1","url":null,"abstract":"This article focuses on the productive tensions between the competing ideological discourses of post-war internationalism, Mexican post-revolutionary nationalism and local indigenous representational paradigms in the activities of the film unit of the UNESCO-sponsored adult education\u0000 centre (CREFAL) in the town of Pátzcuaro, Mexico in the 1950s, which combined village screenings of educational, promotional and informative movies from the world over, with the local production of pedagogical documentary shorts by non-professional filmmakers from across Latin America.\u0000 Inspired by the work of British documentarian Paul Rotha, whose United Nation picture World Without End (Mexico/Thailand/United Kingdom, 1953, codirected with Basil Wright) was partly filmed at CREFAL, these films frequently resorted to a docudrama format that enabled amateur documentary\u0000 filmmakers to engage with the agendas of their indigenous subjects even as they subordinated them to the United Nation’s call to hygiene, progress and civic values. In doing so, they responded creatively to appeals by theorists such as Kracauer and Grierson for a critical realist cinema.\u0000 They also acted as a link between the so-called ‘classical’ pre-war documentary movements in the United Kingdom, North America and elsewhere, and the later, socially committed new cinemas.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85010652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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