Notes Part I Introduction 1. In this chapter, I do not provide references, other than when I quote directly, or when the full reference is not provided elsewhere. Part II Introduction 1. My own translation from original Spanish text. Chapter 3 1. In what follows, I will provide the official name of the organization in Spanish and then my own translation. I provide both because the translation is not an officially sanctioned one, but my own. 2. Personal communication with Mariano Mestman, Universidad de Buenos Aires, May 2011. 3. In what follows, I will provide my own translation from the Spanish text. 4. And Margaret Bouvard (1994) particularly suggests theirs was apolitical because they were not aligned ideologically. The extent to which their work was without ideology, and on these grounds considered depoliticized can be seriously questioned. Most of the desaparecidos had been aligned ideologically, and some of the Madres, such as Azucena Villaflor, had come from families deeply embroiled in radical politics (National Security Archives 2002) 5. Mariano was also my main informant for this leg of the research. He is a sen- ior film studies academic at the Universidad de Buenos Aires, and I owe him much gratitude for introducing me to the main issues related to my work in Argentina. 6. This article, found in the Harvard University student daily newspaper, con- tains only an authorial attribution to Solanas and has the date April 16, 1971. Because it refers to Solanas in the third person, this suggests that it may have been written by someone else and that the authorial attribu- tion refers to the film itself. The reference to a screening of the film in the Orson Welles Cinema (which ran from 1969–80) suggests the date of the piece is as stated. It may well be archival material added after the newspa- per went digital. The full piece can be found at http://www.thecrimson.com/ article/1971/4/16/a-film-essay-on-violence-and/. 7. It must be acknowledged that this reference discusses primarily ethics in rela- tion to the responsibilities of corporations and corporate power. While my discussion covers mostly the ways by which neoliberalism has reconfigured 217 218 Notes subjectivity, Grahame Thompson also includes a comment that goes to the heart of the philosophy and applies to individuals and corporations governed by this ideology. He states, “It seems to be fundamentally premised on the construction of a moral agency that accepts the consequences of its actions in a self-reflexive manner. This trend can be understood as one expression of the move towards various forms of ‘governance of the self’ in modern socie- ties” (2007). Chapter 4 1. Interview with Silvina Baviacchi, Festival Coordinator, in May 2011. 2. When three sections occur, namely: “dictatorship and authoritarianism”; “work and globalization”, and; “resistance and rebellion.” 3. These refer to people who were tortured by the military dictatorship and sub- sequently drugged and dropped while alive into the ocean. Some of their bodies washed up on beaches. 4. The term neoliberal continues to be used to describe films, however, in their respective summaries, as can be seen in the example below 5. Literally “cardboard-collectors,” but functionally “refuse collectors.” They are individuals who collect cardboard but also other refuse for recycling. 6. My own translation from the original Spanish text. Chapter 5 1. My own translation from original Spanish text. 2. My own translation from original Spanish text. 3. My own translation from original Spanish text. 4. My own translation from original Spanish text. 5. My own translation from original Spanish text. 6. Gerardo Halpern was another informant for this part of my study. He is an academic at the Universidad de Buenos Aires, and he pointed me to many of the racialized and class elements of the immigration debates in Argentina. 7. My own translation from original Spanish text. 8. One of my informants in Argentina, Alejandra Oberti, from the organization Memoria Abierta (Open Memory) also reiterated this in 2011. Chapter 6 1. My own translation. Part III Introduction 1. Human Rights Watch International Film Festival now screens in many more cities throughout the United States, but also in Europe, the main other city for the festival being London. I will only focus on New York, as a different set of films are screened in each city, sometimes being a smaller subset of Notes 219 the New York films, but at times, such as in London, with some new films included. 2. There was a three-year hiatus between 1988 and 1991, but it has been run- ning every year since then: http://www.hrw.org/reports/1996/WR96/Back-07. htm#P803_219786 (retrieved 13 February, 2014). 3. In 2013, when the full PDF brochure was available online, some of the fes- tival screenings were organized according to a few thematic sections, which suggests that this may have occurred previously, as archival material was then placed on the website as individual films screened, and not as they were shown in the festival brochure. Chapter 7 1. Although there were/are significant critiques of their ideas, I am not inter- ested at this point in engaging with the debates to which they gave rise because I am not using these ideas as prescriptive but rather descriptive of the time. 2. This term makes reference to the Jonestown, Guyana, mass suicide of 1978, when the followers of Jim Jones drank a cyanide-laced sweet drink and waited to die. Chapter 8 1. I give this term scare quotes not because I am dubious of the term, but because this was what was used to describe the characters upon whom the films were based. 2. It must be remembered that only about two to six films are screened each year per region, and for at least two years, only one film was screened for this region. 3. Although it is unfair to say that this film is entirely one dimensional as it does attempt to portray some of the wider sociopolitical dimensions of sex trafficking, it often falls into the binary trap of portraying the women as ulti- mate victims without agency, and the men involved in the consumption and organization of the trade as fairly one-dimensional monsters. 4. One of them, using a gender lens, would be to discuss the ways in which women are at the center of many of the films mentioned above, as victims of the war. 5. I recognize there are multidimensional factors in this decision that intersect gender with the geopolitical dimensions of the humanitarian gaze, but it is impossible for me to do justice to this discussion here. What can be noted is that The Price of Sex represents women as victims of “other” men, of commu- nist failures, and of tradition, all significant themes at the festival, whileLove Crimes of Kabul does none of these. 6. “Apparently” because there are no indications in the archival material that there were focus areas before 2013, and Andrea Holley, assistant director for the festival, stated that this has only been occurring for a couple of years (personal communication June 5, 2013). 220 Notes 7. I carry out this discussion more fully in those chapters because that festival has kept its thematic organization in its archival material, and has been struc- tured in that way for almost a decade since its inception. 8. In an interview conducted in June 2011. Chapter 10 1. Interview with Marina Kaufman, Festival Chair. 2. 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