Spring 2016 HISP 162b New Latin American Cinema. From Revolution to the Market. M,W 5:00 PM–6:20 PM Mandel Ctr for HumanitiesG10 Professor Fernando J. Rosenberg Shiffman 204 Office hours: Wednesday 12 to 2pm or by appt. e-mail: [email protected]
We will study and compare two pivotal periods of film production, both of which were considered “new waves” of Latin American cinema. On the one hand, the new cinemas of the 1960s and 1970s, which accompanied moments of radical change and movements of revolutionary insurrection. On the other hand, the film boom of the 1990s and 2000s, in which aesthetic experimentation intersected with new realities of neoliberal policies and market globalization.
Parallel to these historical conjunctures that we will study in detail through their cinematic manifestations, the class will explore the more theoretically charged topic of the cinematic real—the conditions of film-art realistic predicament. This line of inquiry will be guided by questions such as: What are some of the different notions of reality at play? What does it mean to capture reality in cinema? What is the relation between the image and the commodity? How do revolutionary filmmakers attempt to intervene in reality or historicity? How the force of the real might itself intervene or disrupt cinematographic reality projections? What are the possible relations between the audio-visual, sensual experience of cinema, and the sensorial construction of the real?
Learning goals
-Students will be able to identify and understand what are arguably the two central periods of Latin American cinema -By exposing the class to films and film cultures that are removed from the North American commercial mainstream, the class will expand students’ cultural and artistic horizons -As these periods are directly connected, both in their content and in their modes of distribution and production, with two differentiated historical periods, students will get acquainted with the political and social underpinnings of filmmaking and viewing -Students will be introduced to the analysis of film art not only in terms of the film content and form, but also regarding factors of production and circulation -Students will become familiarized with key terms of film theory and lexicon, with the expectation that this knowledge would deepen their visual literacy
-Evaluation: 20% Weekly mini-essays in response to films and texts, or substantial forum discussions previous to class 20% class attendance, participation, and general preparedness for class discussion 30% Two mini-essays (4 pages each, elaborating an original reading of film/text) 30% Final paper (8 pages). Fecha de entrega, 10 de mayo
Disabilities: If you are a student with a documented disability on record at Brandeis University and wish to have a reasonable accommodation made for you in this class, please see me immediately.
Academic integrity: You are expected to be honest in all of your academic work. Please consult Brandeis University Rights and Responsibilities for all policies and procedures related to academic integrity.
Language and prerequisites: This class is conducted in Spanish, and although some of the material is available only in English, the discussions and written assignments are to be completed in Spanish. An upper-level command of the language, usually assumed of students who have successfully completed HISP 109 /100/111, is a requisite for being able to participate in the class. However, students who master the language and who demonstrate an adequate level of academic competence and interest in the class, might be able to sign up with permission of the instructor.
Recommended reference texts on reserve: Film Manifestos and Global Cinema Cultures: A Critical Anthology. Ed. MacKenzie, Scott Film art: an introduction. David. Bordwell The Social documentary in Latin America. Julianne Burton Born in Blood and Fire: A Concise History of Latin America, by John Charles Chasteen Film theory: an introduction through the senses, by Thomas Elsaesser.
Required material: All films and critical texts will be available either on Latte, or in some other website, or on library reserve
Enero 13 Definiciones. Cine político, cine militante, tercer cine. Del (neo) realismo al nuevo cine Bibliografía optativa http://www.lafuga.cl/cine-militante-i/13 18 MLK day No classes 20 Tire dié, de Fernando Birri (film) and Buenos Aires, de José Kohon (film)– Extractos de Cinema and Underdevelopment o Manifesto Tire die (latte)
25 El cine fuera del cine La hora de los hornos, de Fernando Solanas y Osvaldo Getino 27 seguimos con La hora en relación al artículo de Robert Stam “Hour of the Furnaces and the Two Avant Gardes” (Latte; lectura obligatoria)
Febrero 1 Manifiestos y películas. “Hacia un tercer cine” (selección del manifiesto de Fernando Solanas y Octavio Getino) y “Por un cine imperfecto” (selección del manifiesto de Julio García Espinosa) Por primera vez (documental corto en youtube) 3 Revolución y melodrama. Lucía, de Humberto Solás 8 Cine y revolución en Cuba Memorias del subdesarrollo de Tomás Gutierrez Alea (Latte) 10 seguimos con Memorias del subdesarrollo y discutimos también Now de Santiago Alvarez, en https://www.youtube.com/watch?v=vQ6c5n1ycoE Respuesta a lecturas críticas 15 to 19 Winter break 22 Realismo delirante Film de Glauber Rocha Terra em transe 24 Manifiestos de Glauber Rocha. Introducción a Chile y Patricio Guzmán 29 Tercer cine y derrota. La batalla de Chile, de Patricio Guzmán Entregar primer take home exam
Marzo 2 Transiciones. Memoria obstinada, de Patricio Guzmán 7 Memoria y mercado No, de Pablo Larraín 9 Memoria, nación, subjetividad. Fresa y chocolate de Tomás Gutierrez Aléa 14 Violencia y redención. Amores perros, de Alejandro González Iñarritu 16 Lecturas críticas sobre la película. Lectura sugerida: “Neoliberalism” from Born in Blood and Fire 21 Violencia, territorio, ciudadanía Cidade de Deus de Fernando Meirelles. 23 Lecturas críticas sobre la película. Lectura recomendada Mike Davis “Planet of Slums.” 28 March recess – No class 30 Entregar segundo take home exam También la lluvia, de Iciar Bollain
Abril Nuevos realismos, nuevos sujetos 4 Viaje y reparación I Diarios de motocicleta, de Walter Salles 6 Viaje y reparación II Central do Brasil, de Walter Salles 11 El bonaerense, de Pablo Trapero
13 Gigante de Adrián Biniez y Entregar propuesta del trabajo final 18 XXY de Lucia Puenzo 20 La cienaga, de Lucrecia Martel 22 to 29 Spring recess
May 2 Ultimo día. Resumen de la clase y lineas de investigación para el trabajo final
-Películas no vistas, pero que están en Latte Historias menores. Masculinidad y comunidad I. El bonaerense, de Pablo Trapero Nuevas tendencias en documental. Suite Habana, de Fernando Perez El oso rojo, de Adrian Israel Caetano