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Cinema Comparat/Ive Cinema CINEMA COMPARAT/IVE CINEMA VOLUME IV · No.9 · 2016 Editors: Gonzalo de Lucas (Universitat Pompeu Fabra) and Albert Elduque (University of Reading). Associate Editors: Núria Bou (Universitat Pompeu Fabra) and Xavier Pérez (Universitat Pompeu Fabra). Advisory Board: Dudley Andrew (Yale University, United States), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Francisco Javier Benavente (Universitat Pompeu Fabra), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irleland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, United States), Haden Guest (Harvard University, United States), Tom Gunning (University of Chicago, United States), John MacKay (Yale University, United States), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Alejandro Montiel (Universitat de València), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Raffaelle Pinto (Universitat de Barcelona), Ivan Pintor (Universitat Pompeu Fabra), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, United States), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Glòria Salvadó (Universitat Pompeu Fabra), Yuri Tsivian (University of Chicago, United States), Vicente Sánchez Biosca (Universitat de València, Spain), Jenaro Talens (Université de Genève, Switzerland and Universitat de València, Spain), Michael Witt (Roehampton University, United Kingdom). Contributors: José Carlos Avellar, Cristina Alvares Beskow, Albert Elduque, Moira Fradinger, Maria Alzuguir Gutierrez, Bruno Hachero Hernández, Andrés Pedraza, Raquel Schefer, Alan Salvadó Romero, Carolina Sourdis. Translators: María Carbajal, Albert Elduque, Anna Piñol. Original design and layout: Pau Masaló (original design), Marta Verheyen (website and PDF layouts). Acknowledgements: María Soliña Barreiro, Michael Bunn, Fabio Camarneiro, Claudia Duarte, Alexandre Figueirôa, Victor Guimarães, Cezar Migliorin, Daniel Mourenza, Fabián Núñez, Ivan Pintor, Eryk Rocha, Jorge Sanjinés, Stefan Solomon, Juana Suárez, Fábio Uchôa, Iván Villarmea. Publisher: Colectivo de Investigación Estética de los Medios Audivisuales (CINEMA), Universitat Pompeu Fabra (UPF). This issue has been funded with the economic support of the Departamento de Comunicación (Universitat Pompeu Fabra). Place of publication: Universitat Pompeu Fabra. Departamento de Comunicación. Campus de la Comunicación – Poblenou. Roc Boronat, 138 08018, Barcelona (Spain). E-mail: [email protected] Website: www.upf.edu/comparativecinema Cinema Comparat/ive Cinema, Volume 4, No. 9, «Eztetyka», Barcelona, 2016. Depósito Legal: B.29702-2012 ISSN: 2014-8933 Some rights are reserved. Pulished by Universitat Pompeu Fabra and the Observatory of European Contemporary Cinema under a Creative Commons License. (Reconocimiento – NoComercial – Compartirigual 3.0 Unported). Cover Photo: Glauber Rocha Presentation Cinema Comparat/ive Cinema is a biannual publication founded Cinema Comparat/ive Cinema is an open access scientific in 2012. It is edited by Colectivo de Investigación Estética de los journal recognized by international indexes such as DOAJ Medios Audiovisuales (CINEMA) at the Universitat Pompeu (Directory of Open Access Journals) and Latindex (Regional Fabra (UPF), and focuses on comparative cinema and the Information System for Online Scientific Journals of Latin reception and interpretation of film in different social and America, the Caribbean, Spain and Portugal). political contexts. Each issue investigates the conceptual and formal relationships between films, material processes and Finally, each issue of the journal is complemented by production and exhibition practices, the history of ideas and documentary materials and texts published online, which film criticism. facilitate and enrich the topics studied in each volume, thus establishing links between longer research projects and Cinema Comparat/ive Cinema addresses an original area monographic focuses throughout this process. of research, developing a series of methodologies for a comparative study of cinema. With this aim, it also explores the relationship between cinema and comparative literature as well as other contemporary arts such as painting, photography, music or dance, and audio-visual media. Cinema Comparat/ive Cinema is published in three languages: Catalan, Spanish and English. The journal is biannual and the numbers are published in summer and winter. The journal is peer-reviewed and uses internal and external evaluation committees. The journal will also accept visual essays on the topic raised in the issue, both as part of a written article or as an autonomous work. Table of contents EDITORIAL Eztetyka by Albert Elduque ..........................................................................................................................................................................7 DOCUMENTS Revolution by Jorge Sanjinés ........................................................................................................................................................................ 9 Tricontinental by Glauber Rocha ............................................................................................................................................................... 11 Godard by Solanas. Solanas by Godard by Jean-Luc Godard and Fernando Solanas ......................................................................... 15 FILMS UNDER DISCUSSION. INTERVIEWS A combative cinema with the people. Interview with Bolivian filmmaker Jorge Sanjinés by Cristina Alvares Beskow ........................................................................................................................................................................ 21 Conversation with Eryk Rocha: The legacy of the eternal by Carolina Sourdis (in collaboration with Andrés Pedraza) ................................................................................................................ 29 The necessary amateur. Cinema, education and politics. Interview with Cezar Migliorin by Albert Elduque ....................................................................................................................................................................................... 36 ARTICLES Reading Latin American Third Cinema manifestos today by Moira Fradinger .................................................................................... 44 From imperfect to popular cinema by Maria Alzuguir Gutierrez .......................................................................................................... 55 The return of the newsreel (2011-2016) in contemporary cinematic representations of the political event by Raquel Schefer ........................................................................................................................................................................................ 61 ImagiNation by José Carlos Avellar ........................................................................................................................................................... 71 REVIEWS TEN BRINK, Joram and OPPENHEIMER, Joshua (eds.) Killer Images. Documentary Film, Memory and the Performance of Violence by Bruno Hachero Hernández .................................................................................................................. 81 MONTIEL, Alejandro; MORAL, Javier and CANET, Fernando (coord.) Javier Maqua: más que un cineasta. Volumes 1 and 2 by Alan Salvadó Romero ............................................................................................................................................... 83 EDITORIAL · Cinema Comparat/ive Cinema · Vol. IV· No 9 · 2016 · 7 Eztetyka Albert Elduque In the introduction to his book A Ponte Clandestina, the late It is time to ask how the theoretical vibrancy of these texts and José Carlos Avellar established a firm connection between films can be valuable in times of uncertainty, and to explore the theoretical fervor and the film production of the New how their recovery in the form of myth can bring hopes and Latin American Cinema in the 60s and 70s: the numerous utopias back, as Eryk Rocha does in Cinema Novo (2016). manifestos signed by the directors Fernando Birri, Glauber It is time to revisit their critiques of cinema as an elitist and Rocha, Fernando E. Solanas and Octavio Getino, Julio García bourgeois institution, whether in the support of popular art, as Espinosa, Jorge Sanjinés and Tomás Gutiérrez Alea were in in the case of García Espinosa, or in collective, non-professional dialogue with their films, in an exchange of words and images, acts of creation in marginalized areas, either in the indigenous text and movement, theory and practice, in which both forms communities to which Sanjinés gave a voice or in many cinema kept reinforcing one other. According to Avellar, ‘we can try projects in schools. It is time to think how this cinema can to perceive theory as a text close to the script. As a way of transform reality, either through the newsreel formula or dreaming forms that still don’t exist beyond thinking about through fiction, as suggested by a beautiful text by Avellar we
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