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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. -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
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 -
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. -
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 -
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