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 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.

After New Latin American Cinema

2012 ◽  
Vol 51 (2) ◽  
pp. 87-112 ◽  
Author(s):  
Paul A. Schroeder Rodríguez
Keyword(s):  
Latin American ◽  
American Cinema ◽  
Latin American Cinema ◽  
New Latin American Cinema

Sanjinés, Jorge (1936--)

2018 ◽  
Author(s):  
Jorge E. Cuéllar
Keyword(s):  
Latin American ◽  
Peace Corps ◽  
Ways Of Knowing ◽  
Indigenous Resistance ◽  
American Cinema ◽  
The People ◽  
Latin American Cinema ◽  
Class Hierarchies ◽  
The Government ◽  
New Latin American Cinema

Jorge Sanjinés is a Bolivian director, screenwriter, and author. A committed political filmmaker, Sanjinés’s films and essays attempt to integrate Marxist revolutionary theory and indigenous ways of knowing towards the creation of a popular, transformative, liberating cinema. His first feature, Ukamau [And So it Is] (1966) tells the story of a native man who exacts revenge on a wealthy mestizo for the rape and murder of his wife. His second film, Yawar mallku [Blood of the Condor] (1969), is a story of indigenous resistance against a covert US Peace Corps sterilizing program affecting the women of an Andean peasant village. In 1971 Sanjinés directed El coraje del pueblo [The Courage of the People], a documentary re-enactment of the government-sponsored massacre of miners in 1967 using survivors of the slaughter itself. Considered an integral part of the New Latin American Cinema, Sanjinés’s filmmaking practice is notable for its intimate collaboration with indigenous peoples through his production collective, Grupo Ukamau. Sanjinés’s films, though frequently affected by limited financing and marginalized forms of exhibition and distribution, have been instrumental in preserving the indigenous language Quechua, challenging ethnic and class hierarchies, and revealing the injustices, exploitation, repression, and racism in Bolivian society. His latest film, Insurgentes (2012), is a historical tracing of the lost sovereignty of Andean communities in Bolivia from Spanish colonization to the first indigenous President of Bolivia, Evo Morales.

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