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Exploring Hugo Chávez's Use of Mimetisation to Build a Populist
Exploring Hugo Chávez’s use of mimetisation to build a populist hegemony in Venezuela Elena Block Rincones MSc, BA A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2013 School of Journalism and Communication Abstract “You too are Chávez”… (Hugo Chávez, 2012i) This thesis examines the political communication style developed by Hugo Chávez in his hegemonic construction of power and collective identity during the 14 years he governed Venezuela. This thesis is located in the field of political communication. A culturalist approach is used for the case, which prioritises issues of culture and power and acknowledges the role of human agency. Thus, it specifically focuses on the way the late President appears to have incrementally built an emotional, mimetic bond with his publics in a process that culminated in the mimetisation of the leader and his followers in a new collective, but top-down, identity called Chávez. This process expresses a hegemonic dynamic that involved the displacement of former dominant groups and rearrangement of power relations in Venezuela. The logic of mimetisation proposes an incremental logic of articulation whereby I tried to make sense of Chávez’s political communication style and success. It involves the study of the thread that joined together key elements in Chávez’s political communication style: hegemony and identity construction, political culture, populism, mediatisation, and communicational government. It is a style that appears to have exceeded classic populist forms of communication based on exerting an appeal to the people, towards more inclusive, participatory, symbolic-pragmatic forms of practising political communication that may have constituted the key to Chávez’s political success for 14 years. -
Cuba and Alba's Grannacional Projects at the Intersection of Business
GLOBALIZATION AND THE SOCIALIST MULTINATIONAL: CUBA AND ALBA’S GRANNACIONAL PROJECTS AT THE INTERSECTION OF BUSINESS AND HUMAN RIGHTS Larry Catá Backer The Cuban Embargo has had a tremendous effect on forts. Most of these have used the United States, and the way in which Cuba is understood in the global le- its socio-political, economic, cultural and ideological gal order. The understanding has vitally affected the values as the great foil against which to battle. Over way in which Cuba is situated for study both within the course of the last half century, these efforts have and outside the Island. This “Embargo mentality” had mixed results. But they have had one singular has spawned an ideology of presumptive separation success—they have propelled Cuba to a level of in- that, colored either from the political “left” or fluence on the world stage far beyond what its size, “right,” presumes isolation as the equilibrium point military and economic power might have suggested. for any sort of Cuban engagement. Indeed, this “Em- Like the United States, Cuba has managed to use in- bargo mentality” has suggested that isolation and ternationalism, and especially strategically deployed lack of sustained engagement is the starting point for engagements in inter-governmental ventures, to le- any study of Cuba. Yet it is important to remember verage its influence and the strength of its attempted that the Embargo has affected only the character of interventions in each of these fields. (e.g., Huish & Cuba’s engagement rather than the possibility of that Kirk 2007). For this reason, if for no other, any great engagement as a sustained matter of policy and ac- effort by Cuba to influence behavior is worth careful tion. -
Venezuela After Chavez
Edited by Veronica Zubillaga George Ciccariello-Maher Rebecca Hanson Boris Muñoz Robert Samet Naomi Schiller David Smilde Alejandro Velasco Veronica Zubillaga April 30th, 2014 1 Introduction Venezuela after Chávez: Challenges of Democracy, Security and Governance April 30, 2014 Center for Latin American and Caribbean Studies Watson Institute for International Studies Brown University The death of President Hugo Chávez on March 2013 has raised pressing questions about the future of Venezuela and the continuity of Chávez’s Bolivarian project. Nicolás Maduro, Chávez’s hand-picked successor, won elections in April 2013 with a very narrow electoral victory that aroused serious suspicion of fraud amidst the opposition and intense tensions among Venezuelans. Nine months later, in February 2014, Venezuelans experienced a burst of massive students protests in different states, which immediately spread to middle-classes neighborhoods of the emboldened opposition. While we were organizing the Venezuela conference at Brown, in Caracas some middle-class neighborhoods were taken and blocked by “vecinos” (neighbors); students kept taking to the streets protesting while excessively repressive and militarized police responses reheated the students’ rage. The protest’s focused on a vast range of claims: from freedom of speech, citizen security, food shortages; inflation; freedom for those imprisoned for political motives since the beginning of the protests; government repression, up to Maduro’s immediate resignation. The landscape resembled a war zone in one part of the city yet was amazingly calm in other parts. Social polarization was evident and finding out the reasons why people in barrios were not protesting is one of the questions posed here. -
Venezuela's Medical Revolution: Can the Cuban Medical
VENEZUELA’S MEDICAL REVOLUTION: CAN THE CUBAN MEDICAL MODEL BE APPLIED IN OTHER COUNTRIES? by Christopher Walker Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia December 2013 © Copyright by Christopher Walker, 2013 DEDICATION I would like to dedicate this research project to an old friend and mentor Therese Kaufmann. Though in her later years and facing many health challenges, her support as a friend, neighbour, tennis partner and caretaker has to be acknowledged as a pivotal person in my life growing up. Her generosity, friendship, compassion, patience and belief in me was truly extraordinary. I would also like to dedicate this to my dear friend and colleague Mahkia Eybagi, for showing many of us what it means to face real life challenges with strength, compassion, dignity and kindness. ii TABLE OF CONTENTS LIST OF TABLES ............................................................................................................ v LIST OF FIGURES ........................................................................................................ vi ABSTRACT ..................................................................................................................... vii LIST OF ABBREVIATIONS USED .......................................................................... viii ACKNOWLEDGEMENTS .............................................................................................. ix CHAPTER 1 INTRODUCTION ................................................................................. -
El Personal De La Sala Permite Que Su Público Ingrese Con La Botana Que Desee, Pues No Cuenta Con Una Dulcería Propia
El personal de la sala permite que su público ingrese con la botana que desee, pues no cuenta con una dulcería propia. A un costado se localiza una cafetería concesionada y una máquina expendedora, donde se puede adquirir agua, refrescos, papas, galletas, etcétera. Cine Villa Olímpica es operada por tres personas: programador, relaciones públicas y coordinador administrativo (más personal de limpieza y seguridad propios del deportivo) y es utilizado en ocasio- nes como sala de juntas para los vecinos del complejo habitacional. // LA CARTELERA El análisis de la cartelera de Cine Villa Olímpica resultó uno de los más extensos de las sedes objeto de estudio. El análisis comprendido en el periodo de julio 2017 a agosto 2018 arrojó que se programaron en total (sin contar funciones programadas por festivales de cine) 514 películas, de las cuáles el 52.14% fueron películas internacionales y el 47.85% películas mexicanas. El país que tuvo mayor presencia en programación fue Estados Unidos con 35%, seguido de Francia con 27%. El cine mexicano representa casi la mitad de la programación en este espacio. El 71.40% corresponde a películas de ficción y el 28.60% a cine documental. Cine Villa Olímpica se destaca por ser una sede que programa numerosos ciclos, muestras y proyecciones especiales, entre los cuales se encuentran: ‘México locuaz’ con títu- los como: Fando y Lis (México, 1968) de Alejandro Jodorowsky y La fórmula secreta 170 • EL ESTADO DE LAS AUDIENCIAS DEL CINE MEXICANO (México, 1964) de Rubén Gámez; ‘Segundas Vueltas’, con películas como Post Tenebras Lux (México, Francia, Alemania Países Bajos, 2011) de Carlos Reygadas, Navajazo (México, 2014) de Ricardo Silva, Asalto al cine (México, 2011) de Iria Gómez Concheiro y Quebranto (México, 2013) de Roberto Fiesco. -
Barrio Adentro
VENEZUELAN HEALTH REFORMS Venezuela's Barrio Adentro: Participatory Democracy, South-South Cooperation and Health Care for All Carles Muntaner, MD, PhD,1,2, Francisco Armada, MD, PhD2, Haejoo Chung, RPh, PhD2, Rosicar Mata3, Leslie Williams-Brennan, Bsc, BScN, RN2 and Joan Benach, MD, PhD4 Preface to improve quality of life; thus, Latin America In the 1990s Latin American countries, with the remains the region of the world with the greatest exception of Cuba, undertook reforms in their inequalities between social classes. health systems. In general, they followed a pattern These persistent inequalities have motivated a similar to that adopted in other parts of the world variety of political responses in Latin America, by pursuing a neoliberal agenda that included the including proposals advocated by liberal left-wing promotion of changes designed to achieve greater sectors in various countries of the region that are participation of the private sector in the funding contrary to neoliberalism and include the and delivery of health services. Despite the promotion of policies to reverse privatization of different modes of reform, all strengthened the health care while asserting it as a right guaranteed view of health as a consumer commodity and by the state. The amendments to the Venezuelan favored abandonment of the concept of health care health system are one of the earliest examples of as a right guaranteed by the state. Most of the this type of reform. From 1999 onward, after a changes implemented corresponded to the policies decade of implementing neoliberal policies, a of structural adjustment, in accordance with the marked adjustment in the health system was neoliberal paradigm recommended by initiated to establish health as a fundamental right international financial institutions with the aim of guaranteed by the state in a context of broad guaranteeing payments of the external debt (1-4). -
Ficm Cat16 Todo-01
Contenido Gala Mexicana.......................................................................................................125 estrenos mexicanos.............................................................................126 Homenaje a Consuelo Frank................................................................... 128 Homenaje a Julio Bracho............................................................................136 ............................................................................................................ introducción 4 México Imaginario............................................................................................ 154 ................................................................................................................. Presentación 5 Cine Sin Fronteras.............................................................................................. 165 ..................................................................................... ¡Bienvenidos a Morelia! 6 Programa de Diversidad Sexual...........................................................172 ..................................................... Mensaje de la Secretaría de Cultura 7 Canal 22 Presenta............................................................................................... 178 Mensaje del Instituto Mexicano de Cinematografía ������������9 14° Festival Internacional de Cine de Morelia.............................11 programas especiales........................................................................ 179 -
Emergency Communications Network for Disasters Management in Venezuela
The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLII-3, 2018 ISPRS TC III Mid-term Symposium “Developments, Technologies and Applications in Remote Sensing”, 7–10 May, Beijing, China EMERGENCY COMMUNICATIONS NETWORK FOR DISASTERS MANAGEMENT IN VENEZUELA C. Burguillos 1*, H. Deng 2 1 Regional Centre for Space Science and Technology Education in Asia and the Pacific, International School Beihang University, No. 37 Xueyuan Road, 100191, Beijing, China - [email protected] 2 School of Electronic and Information Engineering, Beihang University, No. 37 Xueyuan Road, 100191, Beijing, China - [email protected] Commission III, WG III/1 KEY WORDS: Space Technology Applications, Disasters Management, Emergency Communications Network, VENESAT-1, VRSS-1, VRSS-2, Technologies Solutions, Images Exchange ABSTRACT: The integration and use of different space technology applications for disasters management, play an important role at the time of prevents the causes and mitigates the effects of the natural disasters. Nevertheless, the space technology counts with the appropriate technological resources to provide the accurate and timely information required to support in the decision making in case of disasters. Considering the aforementioned aspects, in this research is presented the design and implementation of an Emergency Communications Network for Disasters Management in Venezuela. Network based on the design of a topology that integrates the satellites platforms in orbit operation under administration of Venezuelan state, such as: the communications satellite VENESAT-1 and the remote sensing satellites VRSS-1 and VRSS-2; as well as their ground stations with the aim to implement an emergency communications network to be activated in case of disasters which affect the public and private communications infrastructures in Venezuela. -
El Día Que Cambio La Noche
TINTA EN ALAS DE PAPEL: LA CIUDAD DE LOS PALACIOS El día que cambió la noche* En las páginas de papel couché de Su Otro YO brillaron la José Luis Martínez S. Princesa Lea, la Princesa Yamal, Rossy Mendoza, Mora Escu- dero, Gloriella, Lyn May, Gioconda, Thelma Tixou, Angélica Chaín, Sasha Montenegro, Isela Vega, Olga Breeskin… Era una lista grande de mujeres famosas por sus cuerpos contundentes y sinuosos, por el arte con que muchas de ellas El 19 de septiembre de 1985, la noche de la Ciudad de México —no todas hacían striptease— se despojaban poco a poco de su cambió súbitamente; en su lugar quedaron los recuerdos, la ropa llena de holanes, plumas, chaquira, lentejuelas. Un bon- nostalgia, el cascajo de insospechados deseos. gocero sonriente —a veces un grupo o una orquesta— les Ese día, sin saberlo, me despedí de ella con una larga pere- marcaba el ritmo mientras ellas se desnudaban frente al públi- grinación por sus santuarios. co devoto y expectante. ¿Por qué nunca antes quise escribir de esas últimas horas Recuerdo la primera vez que Ortega Colunga me invitó a de una ciudad luminosa, divertida, no exenta de peligros y acompañarlo en sus andanzas nocturnas: contrastes pero tampoco de emociones? —Vamos a trabajar —me dijo, como si en la redacción no No lo sé. O tal vez sí: en un principio porque la tragedia hiciéramos sino perder el tiempo. ocasionada por el sismo de las 7:19 llenaba todas las páginas Saliendo de la oficina, en Bucareli 18, fuimos a cenar. Alre- de los periódicos y revistas, todos los espacios noticiosos de la dedor de las once nos dirigimos al Can Can, un cabaret de la radio y la televisión. -
Two Mexican Documentaries
City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2017 Of Stars and Solitude: Two Mexican Documentaries Paul Julian Smith CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/393 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SCREENINGS Of Stars and Solitude: Two Mexican Documentaries Paul Julian Smith By happy coincidence, Mexico in 2016 yielded two expert After this preamble, the five principals of Bellas de noche and moving documentaries on women, sex, and aging: María (little known to most modern Mexicans) are helpfully intro- José Cuevas’s Bellas de noche (Beauties of the Night)andMaya duced with onscreen titles that spell out their exotic stage Goded’s PlazadelaSoledad(Solitude Square). Both are first- names: Olga Breeskin, Lyn May, Rossy Mendoza, Wanda time features by female directors. And both are attempts to Seux, and Princesa Yamal. The original conflict between reclaim previously neglected subjects: showgirls of the 1970s stardom and stripping is now complicated by a new and jar- and sex workers in their seventies, respectively. Moreover, ring contrast between past and present versions of the aging lengthy production processes in which the filmmakers cohabi- women. Yet there are continuities, such as the sight of a ma- tatedwiththeirsubjectshaveresulted in films that are clearly ture Wanda managing, still, to maneuver a huge orange love letters to their protagonists. Widely shown at festivals and headdress in a contemporary testimony to the enduring beyond, Bellas de noche won best documentary at Morelia, showgirl fetish for feathers. -
Cinema México 2017
2015-2017 Un mapa y al mismo tiempo una brújula: esa es la naturaleza de Cinema México 2015-2017. Como podrán comprobar los lectores, tiene el propósito de servir como instrumento de tra- bajo y como memoria de nuestra ambiciosa actividad cinematográfi ca. No solo se dirige al ámbito mexicano; también aspira a encontrarse con la mirada internacional. Su estructura permite navegar con curiosidad propicia: tres secciones que dan cuenta de los largometrajes, documentales y cortometrajes, cada una de cuyas producciones se presenta en orden alfabé- tico. El resultado es una imagen concentrada de un universo en expansión. Both a map and a compass: that is what Cinema México 2015-2017 aims to be. As readers will fi nd, it hopes to serve both as a work instrument and as a comprehensive report of our ambitious fi lm activity. It is not only addressed to Mexico but also aspires to reach an international audience. The book’s struc- ture is designed to encourage curious exploration: it includes three sections focusing on feature-length fi lms, documentaries, and short fi lms, with each of the included productions listed in alphabetical order. The result offers a focused look at an expanding universe. PRODUCCIONES PRODUCTIONS PRODUCCIONES PRODUCCIONES PRODUCTIONS CINEMA MÉXICO 2015-2017 PRODUCCIONES PRODUCTIONS 2015-2017 SECRETARÍA DE CULTURA Marco Julio Linares Quintero León Nava Rojas SECRETARIAT OF CULTURE Coordinador Ejecutivo del EFICINE Producción Subdirector de Divulgación y Medios Deputy Rafael Tovar y de Teresa Executive Coordinator of EFICINE -
Otros Modos De Escribir La Historia Del Cine: La Cinematografía Mexicana Según Tres Documentales De Los Últimos Años
REVISTA CIENTÍFICA DE CINE Y FOTOGRAFÍA E-ISSN 2172-0150 Nº 20 (2020) Otros modos de escribir la historia del cine: la cinematografía mexicana según tres documentales de los últimos años Other ways of writing cinema’s history: Mexican cinematography according to three documentaries from the last years Silvana Flores Universidad de Buenos Aires / CONICET, Argentina https://orcid.org/0000-0003-0991-029X [email protected] Resumen Este artículo se propone analizar tres largometrajes documentales mexicanos lanzados en los últimos años que tienen en común su interés por forjar, a través del formato audiovisual, una memoria sobre la historia del cine de aquel país, y en torno a ello, sobre las microhistorias doméstico-familiares que involucran personalmente a sus realizadores, restituyendo ciertos aspectos sobre ese tópico en particular que incluyen tanto la reivindicación de la cultura popular como la proyección de experiencias privadas sobre dicha construcción. Aquellos films, Perdida (Viviana García Besné, 2009), La historia negra del cine mexicano (Andrés García Franco, 2016) y Bellas de noche (María José Cuevas, 2016), se destacaron por relatar algunas particularidades históricas del cine en contraste con lo que se ha tendido a llamar cine de arte o cine de autor, y vienen a recomponer y actualizar, por fuera de la disciplina historiográfica tradicional, aquellos fenómenos cinematográficos menospreciados por sus rasgos populares o, en ciertos casos, por su carácter controversial. Abstract This article proposes to analyze three Mexican documentary feature films launched in the last years, that have in common their interest to forge, through audiovisual format, a memory about the cinema’s history of that country, and around it, about the domestic-familiar microhistories that involve personally to their directors, restoring certain aspects about that topic in particular, that include the reivindication of popular culture and the projection of private experiencies linked to that construction.