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El presente volumen está íntegramente dedicado a los documentales largometrajes de tema histórico dirigidos por Patricio Guzmán, que constituyen la mayor parte de su producción y tratan principalmente la historia contemporánea de Chile, [MEA1] y a sus aspectos sociopolíticos que abarcan [MEA2] desde principios de los años 70 del siglo XX -época de la Unidad Popular presidida por Salvador Allende- [MEA3] hasta los procesos de recuperación de la memoria histórica sobre ese periodo y sobre la época de la dictadura de Pinochet. Un grupo internacional de investigadores proporciona las claves de interpretación que permiten formarse una visión crítica sobre los documentales de tema histórico de Patricio Guzmán. En la introducción se establecen las pautas generales para entender la evolución del estilo y de las intenciones del director, y cada capítulo está dedicado a uno o varios de los documentales en cuestión. Se insiste en la dimensión pragmática de cada obra y en su alcance social, desde el registro de Historia viva [MEA4] de la célebre trilogía La Batalla de Chile[MEA5] hasta la especial configuración ético-estética de sus última trilogía, compuesta por Nostalgia de la luz, El botón de nácar y La cordillera de los sueños, [MEA6] pasando por los documentales en los que es más directo el compromiso para dar voz a los afectados por violaciones de derechos humanos[MEA7], como Chile, la memoria obstinada o El caso Pinochet[MEA8] . Este amplio panorama crítico permitirá apreciar o redescubrir los aspectos contextuales y las características específicas más relevantes de una de las obras cinematográficas más premiadas de las últimas décadas y cuya influencia ha sobrepasado el marco hispánico.
Patricio Guzmán no se encontró de sopetón con el cine, al que llego por decisión juvenil, pero si con el documental, al que se vio empujado por la vertiginosa situación política del Chile de los 70 . La decisión voluntariosa de trabajar sobre esos "años de fuego" lo convirtió no solo en un testigo privilegiado, sino sobre todo en una de las figuras más respetadas del cine documental y de sus rápidas mutaciones en los siguientes treintas años. Las numerosas interpretaciones que han rodeado a su obra mas maciza, la trilogía La Batalla de Chile, se ven hoy como meras resonancias del debate que, día por día, se despoja de su apariencia combativa. Jorge Ruffinelli reconstruye en este libro la sorprendente trayectoria que ha llevado a Guzmán del presente al pasado, de la anticipación a la retrospección, de la afirmación a la duda, y viceversa. Un texto fundamental para acercarse a las grandes interrogantes del documental contemporáneo.
An exploration of the fundamental bond between cinema and the cosmos The advent of cinema occurred alongside pivotal developments in astronomy and astrophysics, including Albert Einstein’s theories of relativity, all of which dramatically altered our conception of time and provided new means of envisioning the limits of our world. Tracing the many aesthetic, philosophical, and technological parallels between these fields, Stardust explores how cinema has routinely looked toward the cosmos to reflect our collective anxiety about a universe without us. Employing a “cosmocinematic gaze,” Hannah Goodwin uses the metaphorical frameworks from astronomy to posit new understandings of cinematic time and underscore the role of light in generating archives for an uncertain future. Surveying a broad range of works, including silent-era educational films, avant-garde experimental works, and contemporary blockbusters, she carves out a distinctive area of film analysis that extends its reach far beyond mainstream science fiction to explore films that reckon with a future in which humans are absent. This expansive study details the shared affinities between cinema and the stars in order to demonstrate how filmmakers have used cosmic imagery and themes to respond to the twentieth century’s moments of existential dread, from World War I to the atomic age to our current moment of environmental collapse. As our outlook on the future continues to change, Stardust illuminates the promise of cinema to bear witness to humanity’s fragile existence within the vast expanse of the universe.
The chapters in this book show the important role that political documentary cinema has played in Latin America since the 1950s. Political documentary cinema in Latin America has a long history of tracing social injustice and suffering, depicting political unrest, intervening in periods of crisis and upheaval, and reflecting upon questions about ideology, cultural identity, genocide and traumatic memory. This collection bears witness to the region's film culture's diversity, discussing documentaries about workers' strikes, riots, and military coups against elected governments; crime, poverty, homelessness, prostitution, children's work, and violence against women; urban development, progress, (under)development, capitalism, and neoliberalism; exile, diaspora and border cultures; trauma and (post)memory. The chapters focus on documentaries made in Argentina, Brazil, Chile, Cuba, Mexico, and Venezuela, as well as on the work of Latino and diasporic Latin American political documentarians. The contributors to the anthology reflect the cultural and linguistic diversity of current Latin American film scholarship, with some writing in Spanish and Portuguese from Argentina and Brazil (with their original works especially translated), and others writing in English from Australia, Europe, and the USA. This book was originally published as a special issue of Social Identities.
Throughout the past century, traumatic experiences have been re-enacted frequently by evolving media and art forms. Now there is a significant body of theory across academic disciplines focused on the representation of cataclysmic European and US historical events. However, less critical attention has been devoted to the representation of havoc outside the West, even though depictions of Third-World disasters saturate contemporary media and art around the globe. This book considers traumatic histories internationally in a broad range of creative arts and visual media representations. Deploying diverse applications of the conventional theories of trauma, it examines the theoretical limitations at the same time as considering alternative methodologies. Interrogating Trauma is concerned with the examination of the concept of trauma, and how it is (often unproblematically) used to theorise the cultural representation of disaster and atrocity. It offers a theorisation of trauma, in order to reappraise the relationship between cultural representation and the socio-historical processes which are marked by violence, conflict and suffering. This book was published as a special issue of Continuum: Journal of Media and Cultural Studies.
This book broaches a comparative and interdisciplinary approach in its exploration of the phenomenon of the dictatorship in the Hispanic World in the twentieth century. Some of the themes explored through a transatlantic perspective include testimonial accounts of violence and resistance in prisons; hunger and repression; exile, silence and intertextuality; bildungsroman and the modification of gender roles; and the role of trauma and memory within the genres of the novel, autobiography, testimonial literature, the essay, documentaries, puppet theater, poetry, and visual art. By looking at the similarities and differences of dictatorships represented in the diverse landscapes of Latin America and Spain, the authors hope to provide a more panoramic view of the dictatorship that moves beyond historiographical accounts of oppression and engages actively in a more broad dialectics of resistance and a politics of memory.
This seven volume set reissues a collection of out-of-print titles covering a range of responses to modern culture. They include in-depth analyses of US and Australian popular culture, works on the media and television, macrosociology, and the media and ‘otherness’. Taken together, they provide stimulating and thought-provoking debate on a wide range of topics central to many of today’s cultural controversies.
Latin American Documentary Filmmaking is the first volume written in English to explore Latin American documentary filmmaking with extensive and intelligent analysis. David William Foster, the leading authority on Latin American urban cultural production, provides rich, new interpretations on the production of gender, political persecution, historical conflicts, and exclusion from the mainstream in many of Latin America’s most important documentary films. Foster provides a series of detailed examinations of major texts of Latin American filmmaking, discussing their textual production and processes of meaning. His analysis delves deeply into the world of Latin American film and brings forth a discourse of structure that has previously been absent from the fields of filmmaking and Latin American studies. This volume provides perspective on diverse and methodological approaches, pulling from a wide scope of cinematic traditions. Using his own critical readings and research, Foster presents his findings in terms that are accessible to non-Spanish speakers and Latin American film enthusiasts. A much-needed contribution to the field of Latin American documentary film, Foster’s research and perspective will be a valuable source for those interested in film studies, gender studies, and culture.
This anthology on otherness and the media, first published in 1993, was prompted by the proliferation of writings centring on issues of ‘difference’, ‘diversity’, ‘multiculturalism’, ‘representation’ and ‘postcolonial’ discourses. Such issues and discourses question existing canons of criticism, theory and cultural practice but also because they suggest a new sense of direction in theorisation of difference and representation.