Descargar Catálogo 17 FICDH

Total Page:16

File Type:pdf, Size:1020Kb

Descargar Catálogo 17 FICDH El 17° Festival Internacional de Cine de Derechos Humanos es orga- Comité de Honor: Rigoberta Menchú, Estela de Carlotto, Nora Cortiñas, nizado por el Instituto Multimedia DerHumALC - Derechos Huma- Adolfo Pérez Esquivel, Taty Almeida y Patricia Erb. nos en América Latina y el Caribe - Asociación Civil. Comité Asesor: Jorge Denti, Mimmo Calopresti, Patrice Vivancos y El Festival Internacional de Cine de Derechos Humanos ha sido decla- Mariano Mestman. rado de Interés Cultural por la Honorable Cámara de Diputados de la Nación y por la Legislatura de la Ciudad Autónoma de Buenos Aires. Auspician Sponsors Oficiales Patrocinan Delegación de la Unión Europea en la República Argentina 2 // Colaboran Diplomatura en Traducción de Textos Audiovisuales Media Sponsor 17 FESTIVAL INTERNACIONAL DE CINE DE DERECHOS HUMANOS // 3 Índice general Table of contents Índices ............................................................................................................................. 06 Indexes Equipo ............................................................................................................................. 08 Staff Presentaciones .............................................................................................................. 12 01 Presentations Jurados ............................................................................................................................ 16 02 Juries Competencia Oficial de Largometrajes Internacionales ...................................... 21 03 International Feature Films Official Competition Competencia Oficial de Corto y Mediometrajes Internacionales ....................... 29 04 International Short and Medium-Length Films Official Competition Competencia Oficial de Documentales Latinoamericanos .................................. 37 05 Latin American Documentary Films Official Competition Miradas de género ......................................................................................................... 43 06 Gender Views [FINCA] Ambiente ......................................................................................................... 53 07 [FINCA] Environment Infancia y Juventud ...................................................................................................... 57 08 Childhood and Youth Memoria .......................................................................................................................... 63 09 Memory Migrantes ....................................................................................................................... 69 10 Migrants Pueblos Originarios ....................................................................................................... 75 11 Native Peoples 4 // Cuerpos Cautivos .......................................................................................................... 79 12 Captive Bodies Panorama ........................................................................................................................ 83 13 Panorama Foco Mediterráneo ........................................................................................................ 89 14 Mediterranean Focus Foco Medio Oriente / Ravi .......................................................................................... 93 15 Focus on Middle East / Ravi Foco Colombia ................................................................................................................ 97 16 Focus on Colombia Ventana DOK Leipzig ................................................................................................... 101 17 Focus on Middle East / Ravi Ventana FEMCINE ......................................................................................................... 105 18 Window to FEMCINE Retrospectiva 20 Años ................................................................................................ 107 19 Retrospective 20 Years Retrospectiva Pamela Yates ...................................................................................... 113 20 Pamela Yates Retrospective Escuelas .......................................................................................................................... 117 21 Schools Actividades Especiales ................................................................................................ 129 22 Special Activities Abreviaturas Abbreviations I: Idioma original / Original language T: Temática / Subject S: Sección / Section D: Dirección / Director C: Contacto / Contact Todas las películas en idioma extranjero están subtituladas en español. All films in a language other than Spanish have Spanish subtitles. 17 FESTIVAL INTERNACIONAL DE CINE DE DERECHOS HUMANOS // 5 Índice por películas Table of Contents: Films # F 120 Las luchas de las pibas 121 R ¡Ratas! 109 Foto documento 70 Líneas de teléfonos 110 Reflections 125 (de) Bajo Belgrano 119 Fuori campo 71 Listen 110 Relato de un Pescador Kukama 126 112 44 Lo hace porque me quiere, Relatos de un proyecto para 3000 Layla 22, 81 G ¿me quiere? 121 no olvidar - Vera Jarach 65 500 años 115 Gayby Baby 102 Los medios de comunicación masivos Roger 126 7 Semanas 106 Gharli Damlar 32, 49 y la construcción de Granito: How to Nail a Dictator 112, 115 la figura de la mujer 122 S A Guf Shlishi 45 Los ofendidos 38, 65 Schuld 35, 66 Alas de mar 76 Guru, une famille hijra 23, 49 Los sentidos 39, 60 Se dice por TV 126 Alto el juego 30, 60, 128 Lunas cautivas 111 SEED: The Untold Story 53 Apricot Groves 22, 48 H Seeing Voices 87 Argentina de rodillas 119 Half/Life 71 M Shashamane 26, 73 As Cores das Ruas 44 Hombre eléctrico 33, 54 Madres invisibles 46 Si Bondye vle, Yuli 40, 73 Atenas 84 Manuel 64 Silent Land, the Fight Az itt élő lelkek nagy része 23, 88 I Migas de pan 25, 65 for Fair Food 54 Ici, personne ne meurt 85 Mujeres y militancia 122 Sinfonía en abril 40, 66 B Il mio mondo 124 Murciélagos 34, 88 Slobodni 87 Bacon & God’s Wrath 30, 88 IMAGI.NO.VER 120 Nacido en Siria 26, 91 Sonita 27, 60 Bag Mohajer In Vrijheid 85 Når jeg hører fuglene synge 124 Spartacus 126 Tasche des Flüchtlings 90 Intégration Inch’ Allah 72 NEC. Nos Están Cagando 122 Baia urbana 52 Newen Mapuche. La fuerza T Bajo la sombra del cóndor 119 J de la gente de la tierra 111 Tablo-A 59 Bellanca 31, 88 Jackson 46 Ni un pibe menos 122 Tarana 127 Beti bezperako koplak 31, 48 Jesser en het Suikerriet 52, 128 No te calles… ni te avergüences 123 Tempestad 41, 49 Bolingo. El bosque del amor 90 Juana Azurduy, guerrillera Norte 81 The Last of You 127 Bon Voyage 32, 91 de la Patria Grande 24, 77 Notiverde 123 This Is My Land... Hebron 112 Boxgirls 45, 128 Juicio a las Juntas: Tiempo suspendido 106 Boy 102 El Nüremberg argentino 110 O Buenos Aires Viceversa 109 Oasis en la 12 123 U K Oriented 103 Unsilent Potato 48 C Kurdistan, la guerre des filles 94 Cecilia 58 Kuyujani envenenado 76 P V Chocolate de paz 98 Paciente 86 Valparaiso 36, 73 Corp. 84 L Palabras de caramelo 34, 60, 128 Venían a buscarme 41, 66 Curumim 80 La calle, mi casa 120 Pani: Women, Drugs Violencia Colectiva 127 La fiesta del maíz 124 and Kathmandu 86 Violencia de género D La lucha de las mujeres Pequeñas buenas acciones 124 verbal callejera 127 Desde mis ojos 119 en el arte 120 Pequeñas voces 111 Vivir y otras ficciones 27, 88 Di tutto, il nulla 123 La lunga strada gialla 53 Plaza de la Soledad 39, 49 District Zero 94 La mentada de La llorona 80 Ponemos el cuerpo y decimos: W Drømmen om Danmark 70 La mirada indolente 33, 49 “con las pibas no” 125 Washina Cainabi 98 La piscina 58 Postdata a Walsh 125 When the Mountains Tremble 115 E La resistencia de los metales 64 Where to, Miss? 47 El silencio de los fusiles 38, 99 La supplication 24, 54 Q Women in Sink 95 En ausencia 109 La verdad en cautiverio 121 Que no nazca mujer 125 Yek An 81 Enlaces comuntarios Lantouri 25, 49 Quehuaya 35, 77 Zaatari Djinn 59 Las organizaciones barriales Las de los palos y pañuelos. Quipu. Llamadas por justicia 47 en la villa 21-24 120 Mujeres piqueteras 121 6 // Índice por directores Table of Contents: Directors Afsah, Yalda 102 EESN°53, Isidro Casanova, Jean, Jean 40, 73 Ramírez Vilches, Felipe 34, 88 Agresti, Alejandro 109 La Matanza 123 Johar, Pankaj 58 Remedi, Claudio 40, 66 Amati, Giulia 26, 73, 112 EESN°8, Claypole Kopla Taldea, Ageda 31, 48 Riveros Jiménez, Roberto 64 Bastian, Manuela 47 (Almirante Brown) 121 Kowalski, Dariusz 87 Rodríguez Arias, Miguel 110 Bellotti, Giovanni, Centro Egurza ,Gonzalo 35, 66 La Matatena, Asociación de Cine Rodríguez, Manane 25, 65 Educativo “Catrin Sud” di Napoli 124 Eijsink, Godelieve 52, 128 para Niñas y Niños, A. C., Sabanes, Diego M. 109 Benítez, Lorenzo 46 Elías, Anuar 35, 77 Del. Tlalpan, Ciudad de México 124 Salgado, Alejandro G. 90 Betz, Jon 53 ENS N°4 “Estanislao Severo Le Dauphin, Axelle 23, 49 Sanjinés, Jorge 24, 77 Brigante, Marcelo 110 Zeballos”, Caballito, CABA 125 Lerner, Rosemarie 47 Saporiti, Teresa 40, 66 Bruschtein, Natalia 106 ESBN°43, Ringuelet, La Plata 125 Llambí, Rocío 58 Sauloy, Mylène 94 Buharov, Igor e Ivan 23, 88 ESBN°5, Hudson, Berazategui 121 Los niños de la comunidad Seidl, Ginan 102 Burd, Marcelo 39, 60 ESBNº3, EEMNº10, San Isidro 127 Kukama de Santo Tomás Siegel, Taggart 53 Burnyeat, Gwen 98 Escuela Comercial nº 35 - en Loreto 126 Sironi, Carlo 36, 73 Caal Gaspar, Mayra P. 72 Lugano, CABA 123 Luzon, Sharon 45 Sol, Jo 27, 88 Caballero, Jorge 86 Escuela de Bellas Artes Rogelio Lyan Tun, Sein 48 Taller de Cine Diego Rodríguez, Camacho, Sebastián 33, 49 Yrurtia, Parque Avellaneda, CABA 120 Manjarrés, Luis Ángel 98 Ringuelet,
Recommended publications
  • Elise Piazza Weisenbach Unit 3 the Repressed And
    Unit 3 The Repressed and the Repressors Introduction First we will kill all of the subversives; then…we will kill all of their sympathizers; then…those who remain undecided, and finally we will kill the indifferent ones. ~General Ibérico Saint-Jean, May 26, 1977 This quote by General Ibérico Saint-Jean attests to the clear and horrific plan of the junta’s Process of National Reorganization (El Proceso) to eliminate anyone considered an enemy of the state. In contrast to Saint-Jean’s clarity, the Argentines were left to wonder why people were arrested or disappeared. The media was not a reliable source of truthful information and people lived in fear of the government as well as their neighbors. In Unit 3, students will learn more about life in Argentina during this Dirty War from exiled writer Eduardo Galeano. They will learn about human rights organizations, and role-play a meeting with the OAS, government officials and prisoners. Essential Questions Lessons I-III • How does literature help us understand the human spirit? • How do writers express their most important sociopolitical views? • How does a writer’s style impact our understanding of sociopolitical events? • How can literature inspire social change? • How can we use databases to access information? • What is the role of human rights organizations? • How do human rights organizations engender change? Objectives Students will: • read and discuss literature by exiled writers • research human rights organizations • role-play a meeting with the OAS • read a science fiction comic strip Lesson I Century of the Wind Elise Piazza Weisenbach A. Materials a.
    [Show full text]
  • Empathetic and Affective Circuits in Marcela Zamora Chamorro's María
    Middle Atlantic Review of Latin American Studies, 2021 Vol. 5, No. 1, 25-41 Empathetic and Affective Circuits in Marcela Zamora Chamorro’s María en tierra de nadie and Tin Dirdamal’s De nadie Jared List Doane University [email protected] Using Roger Rouse’s (2002) theoretical conceptualization of migration as circuits and border, this essay analyzes two documentary Central American-Mexican films on migration, Tin Dirdamal’s De nadie (2005) and Marcela Zamora Chamorro’s María en tierra de nadie (2011). The films represent and engender circuits rooted in basic humanity and seek to recuperate a humanitarian model that establishes an ethics of relationality grounded in human rights as opposed to a necropolitical one derived from violence and consumption. Both documentaries become a form of resistance against a necropolitical system that consumes and destroys human life, through their ability to prompt viewers to recognize and apprehend the migrants’ situations. By employing testimonial and affective strategies, the films attempt emotional identification and affective transmission between the viewer and the films’ subjects, at the risk of replicating the very notion they are fighting. The films challenge viewers to comprehend the humanity shared by self and Other. Such a demand threatens the gore capitalist model of power that enables the violence, precarity, and vulnerability that migrants face during their journey. Keywords: migration, Central America, Mexico, documentary film, affect, circuits Utilizando la conceptualización teórica de Roger Rouse (2002) de la migración como circuitos y frontera, este ensayo analiza dos documentales centroamericano-mexicanos sobre la migración, De nadie (2005) de Tin Dirdamal y María en tierra de nadie (2011) de Marcela Zamora Chamorro.
    [Show full text]
  • Universidade Federal De Minas Gerais Escola De
    UNIVERSIDADE FEDERAL DE MINAS GERAIS ESCOLA DE BELAS ARTES Eduardo Dias Fonseca A CONSTRUÇÃO DA NARRAÇÃO DO NACIONAL NO CINEMA BRASILEIRO E ARGENTINO (1995-2002) BELO HORIZONTE 2019 Eduardo Dias Fonseca A CONSTRUÇÃO DA NARRAÇÃO DO NACIONAL NO CINEMA BRASILEIRO E ARGENTINO (1995-2002) Tese apresentada ao Programa de Pós- Graduação em Artes da Escola de Belas Artes, da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Doutor em Artes. Linha de Pesquisa: Cinema Orientador: Prof. Dr. Evandro José Lemos da Cunha BELO HORIZONTE 2019 Ficha catalográfica (Biblioteca da Escola de Belas Artes da UFMG) Fonseca, Eduardo Dias, 1974- A construção da narração do nacional no cinema brasileiro e argentino (1995-2002) [manuscrito] / Eduardo Dias Fonseca. – 2019. 260 f. Orientador: Evandro José Lemos da Cunha. Tese (doutorado) – Universidade Federal de Minas Gerais, Escola de Belas Artes. 1. Cinema brasileiro – Séc. XX-XXI – Teses. 2. Cinema argentino – – Teses. 3. Cinema – Aspectos sociais – Teses. 4. Cinema – Aspectos políticos – Teses. I. Cunha, Evandro, 1950-. II. Universidade Federal de Minas Gerais. Escola de Belas Artes. III. Título. Dedico este trabalho a meu pai e minha mãe, dos quais a perda, nos últimos quatro anos, foi a mais sentida dentre todas as que eu tive. Os fragmentos, retalhos e restos da vida cotidiana devem ser repetidamente transformados nos signos de uma cultura nacional coerente, enquanto o próprio ato da performance narrativa interpela um círculo crescente de sujeitos nacionais. Na produção da nação como narração ocorre uma cisão entre a temporalidade continuísta, cumulativa, do pedagógico e a estratégia repetitiva, recorrente, do performático.
    [Show full text]
  • Nuevo Cine Argentino De Rapado a Historias Extraordinarias Veinticinco Años, Veinticinco Libros
    Nuevo Cine Argentino De Rapado a Historias extraordinarias Veinticinco años, veinticinco libros El ciclo político inaugurado en Argentina a fines de 1983 se abrió bajo el auspicio de generosas promesas de justicia, renovación de la vida pública y ampliación de la ciudadanía, y conoció logros y retrocesos, fortalezas y desmayos, sobresaltos, obstáculos y reveses, en los más diversos planos, a lo largo de todos estos años. Que fue- ron años de fuertes transformaciones de los esquemas productivos y de la estructura social, de importantes cambios en la vida pública y privada, de desarrollo de nuevas formas de la vida colectiva, de actividad cultural y de consumo y también de expansión, hasta ni- veles nunca antes conocidos en nuestra historia, de la pobreza y la miseria. Hoy, veinticinco años después, nos ha parecido interesante el ejercicio de tratar de revisar estos resultados a través de la publica- ción de esta colección de veinticinco libros, escritos por académicos dedicados al estudio de diversos planos de la vida social argentina para un público amplio y no necesariamente experto. La misma tiene la pretensión de contribuir al conocimiento general de estos procesos y a la necesaria discusión colectiva sobre estos problemas. De este modo, dos instituciones públicas argentinas, la Biblioteca Nacional y la Universidad Nacional de General Sarmiento, a través de su Instituto del Desarrollo Humano, cumplen, nos parece, con su deber de contribuir con el fortalecimiento de los resortes cognos- citivos y conceptuales, argumentativos y polémicos, de la democra- cia conquistada hace un cuarto de siglo, y de la que los infortunios y los problemas de cada día nos revelan los déficits y los desafíos.
    [Show full text]
  • Half Title>NEW TRANSNATIONALISMS in CONTEMPORARY LATIN AMERICAN
    <half title>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS</half title> i Traditions in World Cinema General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema Linda Badley, R. Barton Palmer, and Steven Jay Schneider (eds) Japanese Horror Cinema Jay McRoy (ed.) New Punk Cinema Nicholas Rombes (ed.) African Filmmaking Roy Armes Palestinian Cinema Nurith Gertz and George Khleifi Czech and Slovak Cinema Peter Hames The New Neapolitan Cinema Alex Marlow-Mann American Smart Cinema Claire Perkins The International Film Musical Corey Creekmur and Linda Mokdad (eds) Italian Neorealist Cinema Torunn Haaland Magic Realist Cinema in East Central Europe Aga Skrodzka Italian Post-Neorealist Cinema Luca Barattoni Spanish Horror Film Antonio Lázaro-Reboll Post-beur Cinema ii Will Higbee New Taiwanese Cinema in Focus Flannery Wilson International Noir Homer B. Pettey and R. Barton Palmer (eds) Films on Ice Scott MacKenzie and Anna Westerståhl Stenport (eds) Nordic Genre Film Tommy Gustafsson and Pietari Kääpä (eds) Contemporary Japanese Cinema Since Hana-Bi Adam Bingham Chinese Martial Arts Cinema (2nd edition) Stephen Teo Slow Cinema Tiago de Luca and Nuno Barradas Jorge Expressionism in Cinema Olaf Brill and Gary D. Rhodes (eds) French Language Road Cinema: Borders,Diasporas, Migration and ‘NewEurope’ Michael Gott Transnational Film Remakes Iain Robert Smith and Constantine Verevis Coming-of-age Cinema in New Zealand Alistair Fox New Transnationalisms in Contemporary Latin American Cinemas Dolores Tierney www.euppublishing.com/series/tiwc iii <title page>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS Dolores Tierney <EUP title page logo> </title page> iv <imprint page> Edinburgh University Press is one of the leading university presses in the UK.
    [Show full text]
  • Cyborgs in Latin America
    CYBORGS IN LATIN AMERICA 9780230103900_01_prexii.indd i 5/7/2010 12:14:52 PM This page intentionally left blank Cyborgs in Latin America J. Andrew Brown 9780230103900_01_prexii.indd iii 5/7/2010 12:14:52 PM CYBORGS IN LATIN AMERICA Copyright © J. Andrew Brown, 2010. All rights reserved. First published in 2010 by PALGRAVE MACMILLAN® in the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978–0–230–10390–0 Library of Congress Cataloging-in-Publication Data Brown, J. Andrew, 1970– Cyborgs in Latin America / J. Andrew Brown. p. cm. Includes bibliographical references. ISBN 978–0–230–10390–0 (alk. paper) 1. Spanish American fiction—20th century—History and criticism. 2. Science fiction, Spanish American—History and criticism. 3. Cyborgs in literature. 4. Cyborgs in mass media. 5. Cyborgs in motion pictures. 6. Literature and technology—Latin America— History—20th century. 7. Mass media and technology—Latin America—History—20th century. 8. Human beings—Philosophy. I. Title. PQ7082.S34B76 2010 863Ј.087620998—dc22 2009047964 A catalogue record of the book is available from the British Library.
    [Show full text]
  • New Releases
    2014 NEW RELEASES WOMEN MAKE MOVIES www.wmm.com Women Make Movies Staff Amy Aquilino Distribution & Sales Coordinator Kristen Fitzpatrick Director, Public Exhibition & Acquisitions Barbara Ghammashi Broadcast Sales & Development Consultant CREATE EDUCATE EMPOWER INSPIRE Kelly Hernandez-Alonzo Web Consultant Tracie Holder Production Assistance & Development Consultant Maya Jakubowicz About Women Make Movies, Director, Finance & Administration a non-profit independent media distributor. Chris Kelsaw Finance Manager Since 1972, Women Make Movies (WMM) has brought you critically-acclaimed, award- Sarah Lerner winning and innovative films by women directors, tackling global, national and local issues Office Coordinator that affect us all. From universities to libraries, from festivals to community groups, WMM is Emily Sternlicht Marketing & Outreach Coordinator the world’s leading distributor of films by and about women. Eileen Tavárez Program Assistant WMM is different from most distributors because we are first and foremost a non-profit Julie Whang organization dedicated to supporting both our filmmakers and the users of our films, by giving Director, Distribution & Sales many audiences who don’t always have the opportunity to see our projects, the chance to do so. Debra Zimmerman Executive Director When you purchase a film from WMM, you are helping women directors by supporting their roles as worldwide change-makers and ensuring the production of more feminist film. We are Board of Directors committed to supporting our filmmakers and we return 30-40% of all revenue to them Claire Aguilar President annually, and in total, WMM has returned more than $10,000,000 in royalties to women Nicole Page filmmakers both domestically and internationally, something we are proud of and will work Chair hard to continue to do.
    [Show full text]
  • Proveedores Cutonala
    Proveedores CUTonalá tipo rfc descrip curp nombre Nombre de Representante Legal domicilio telefono Rubro F AAAF660108M26 FRANCISCO ARTURO ARANDA AGUIRRE FRANCISCO ARTURO ARANDA AGUIRRE PASEOS DE LOS CHOPOS NO.1277 TABACHINES F AAAG860826SJ0 GREGORIO ÁLVAREZ ALCALÁ AAAG860826HJCLLR04 GREGORIO ÁLVAREZ ALCALÁ FRANCISCO MUJICA NO. 95 COL. JARDINES ALCALDE C.P. 44298 F AAAH4511164M0 HERIBERTO ARAGÓN ARVIZO AAAH451116HCHRRR09 HERIBERTO ARAGÓN ARVIZO MORELOS 172 CHAPALA JAL. 376 7653252 F AAAJ490526KA1 JUAN ANTONIO ALVAREZ ALVAREZ JUAN ANTONIO ALVAREZ ALVAREZ SANTA CLEMENCIA 2503 36652345 F AAAJ770707PU1 JUAN CARLOS ANAYA ANAYA JUAN CARLOS ANAYA ANAYA AV. AMECA # 7 ATENGUILLO JAL. F AAAL601103FMA LUZ ANGELICA DE ANDA ALBA LUZ ANGELICA DE ANDA ALBA PLAZA PRINCIPAL 8 LAGOS DE MORENO JAL. 0 F AAAM670812UA5 DEPORTES AGUILAR MARTHA SUSANA AMADOR AGUILAR NEGRETE 27 02/12/2000 F AAAM690104S42 MARIBEL ALVAREZ ALVAREZ AAAM690104MJCLLR08 MARIBEL ALVAREZ ALVAREZ CALLE 10 #1058 MERCADO DE ABASTOS F AAAM790811UJA MIGUAL ALVAREZ ALVAREZ MIGUAL ALVAREZ ALVAREZ AV. TESISTAN NO.870 ZAPOPAN, JAL. CP.45140 3364-0658 F AAAO670413LD8 OSCAR MARTIN AYALA ARAMBULA OSCAR MARTIN AYALA ARAMBULA NINOS HEROES NO. 892 FRACC. CAMICHINES F AAAR540309CR6 ROSA MARIA AVALOS ARIZAGA AAAR540309MMNVRS07 ROSA MARIA AVALOS ARIZAGA VALLARTA NO.30-A AMECA, JALISCO 7580449 F AAAS700803J14 SANDRA ALVAREZ ALVAREZ AAAS700803MJCLLN03 SANDRA ALVAREZ ALVAREZ JUAN MANUEL # 1576, C.P.44600 38268016 F AABC471130JU7 CELINA ACARAZ BERMUDEDEZ CELINA ACARAZ BERMUDEDEZ RAMON CORONA 281 CD. GUZMAN JALISCO 3414120571 F AABE700304KK7 EVELIA ALVAREZ BARRAGAN AABE700304MJCLRV03 EVELIA ALVAREZ BARRAGAN TIANGUIS MUNICIPAL BENITO JUAREZ MODULO 8 LOCALES 31 Y 36 F AABJ710331RT1 JUAN ALVARADO BARRIGA AABJ7103331HJCRN09 JUAN ALVARADO BARRIGA / EXTINTORES JOAQUIN MARTINEZ CHAVARRIA 1561 F AABL830421GQ8 LAURA IVETHE ALDACO BARBOSA LAURA IVETHE ALDACO BARBOSA PERIFERICO 501, AUTLAN, JALISCO F AACA581228UT9 AUDON AVALOS CORTES AUDON AVALOS CORTES ZARAGOZA NO.
    [Show full text]
  • UNODA Occasional Papers WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS No
    MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMI- NARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORK- SHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PA- PERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA UNODA Occasional Papers WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS No. 37, December 2020 PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS United Nations Programme PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGSof Fellowships PRESENTATIONS on Disarmament PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIAat 40 WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS PRESENTATIONS PAPERS SEMINARS STATEMENTS SYMPOSIA WORKSHOPS MEETINGS
    [Show full text]
  • Rodrigo Noya (Valentín), Alejandro Agresti (Padre), Mex Urtizberea (Rufo), Carlos Roffe (Doctor Galaburri) Director
    Dir. Alejandro Agresti (2002) Student study guide (pre-film) written by Alicia Peña Calvo edited by Rachel Hawkes Nombre: ____________________________________ 1 Mira las carátulas. A primera vista… ¿Qué tipo de película es? romántica cómica histórica de drama de ciencia- de acción de dibujos de terror ficción animados ¿Cómo te parecen los protagonistas? inteligente optimista triste serio tonto mentiroso sincero divertido ¿Cuándo tiene lugar? hoy en día hace 50 años en el futuro hace 20 años ¿Dónde tiene lugar? en los EEUU en España en Argentina en Portugal ¿Cuáles son los temas principales? la niñez la ambición el crimen la familia la amistad el dinero la guerra el amor 2 El mundo en 1969 La película Valentín tiene lugar en 1969 en la ciudad de Buenos Aires, Argentina. ¿Qué sucedía en el mundo en 1969? 1 2 3 4 5 6 7 8 9 A El fútbolista Pelé marcó su milésimo gol. B El medio penique se retiró de la circulación. Muchísima gente se manifestaba contra la guerra en C Vietnam. D El primer ser humano pisó la luna. E Salió al mercado el álbum Abbey Road (de los Beatles). F Se realizó el primer vuelo de un 747. G Se mandaron los primeros mensajes por Arpanet. H Se empezaron a poner programas en color en BBC y ITV. I Se estrenó la primera serie de Monty Python. 3 ¿Quién es Valentín? ¿Quién es Valentín? Escucha la respuesta a esta pregunta en una entrevista en inglés al director Listen to the answer de la película Alejandro Agresti. En to this question in an parejas, completad en español las interview done in frases a continuación con la English to the información de la entrevista.
    [Show full text]
  • 1 November 2013 Gabriela COPERTARI Associate Professor Department of Modern Languages and Literatures Case Western Reserve Univ
    November 2013 Gabriela COPERTARI Associate Professor Department of Modern Languages and Literatures Case Western Reserve University Cleveland, OH 44106 (216) 368 4324 [email protected] EDUCATION January, 2004 Ph.D., Spanish, Georgetown University Dissertation’s Title: “Narrativas de desintegración y de justicia: el cine Argentino en el cambio de siglo.” Passed with distinction Summer 2000 Fellow in the School of Criticism and Theory, Cornell University (with distinction) Summer 1999 Fellow in the Summer Institute on Migration and Exile, Boston University Spring 1999 Antonio de Nebrija Scholar, Universidad de Salamanca 1995 Licenciada en Letras, Diploma de Honor, Universidad de Buenos Aires ACADEMIC APPOINTMENTS 2009- present Associate Professor of Spanish, Department of Modern Languages and Literatures, Case Western Reserve University January-June 2011 Visiting Associate Professor, Department of Spanish and Portuguese, University of California, Los Angeles Jan., 2004 – 2009 Assistant Professor of Spanish, Department of Modern Languages and Literatures, Case Western Reserve University Fall 2003 Instructor of Spanish, Department of Modern Languages and Literatures, Case Western Reserve University 1999 – 2003 Teaching Associate, Department of Spanish and Portuguese, Georgetown University Fall 1998 Lecturer, Department of Spanish and Portuguese, Georgetown University Spring 1996 Teaching Assistant, Facultad de Filosofía y Letras, Universidad de Buenos Aires, Argentina 1995 – 1996 Lecturer, Universidad de Ciencias Empresariales y Sociales, Buenos
    [Show full text]
  • Women of Latin American Film Handout.Pdf
    SECOND CENTURY PHOTOGRAPHY, FEMINISM, POLITICS WOMEN OF LATIN AMERICAN FILM PANEL Moderated by Michelle Farrell, Assistant Professor of Spanish and Portuguese, Fairfield University, CT, with pan- elists: Diana Vargas, Artistic Director, Havana Film Festival New York; Laura Gómez, Director and Actor, New York; and Ana Katz, Writer, Director, Actor, Buenos Aires, Argentina. Panelists address the complexities and limitations of the category “women’s film,” particularly through the lens of Latin American films made by women filmmakers and scriptwriters. Two aspects of “women’s film” will be explored: the oversimplified terms of the definition itself, i.e., women writing and directing their own stories; and a less obvious subject, the development of an audience which recognizes women’s voices as distinct based on their female authorship. An Abridged List of Latin American Films by Women Just a start: Most are available on streaming platforms in English, Spanish, and Portuguese Maria Luisa Bemberg Camila (Argentina) Marilyn Solaya Vestido de Novia (Cuba) Ana Katz Mi Amiga del Parque (Argentina) Laura Amelia Guzmán Sand Dollars (Dominican Lucrecia Martel La Ciénaga (Argentina) Republic) Lucia Puenzo XXY (Argentina) Yanillys Perez, Jeffrey (Dominican Republic) Julia Solomonoff Nadie Nos Mira (Argentina) Marcela Zamora María en tierra de nadie (El Salvador) D. Suzana Amaral The Hour of the Star (Brazil) Tatiana Huezo, Tempestad (El Salvador) Katia Lund City of God (Brazil) Marcela Fernandez Violante Cananea (México) Anna Muylaert Second Mother
    [Show full text]