ORG by Fernando Birri
Dec
4
7:15 PM19:15

ORG by Fernando Birri

“Fernando Birri, an Argentinian filmmaker, poet, painter, teacher, and film school founder often considered the father of Third Cinema, or the new Latin American Cinema, passed away at 92 on December 28, 2017. ORG, a colossal, nearly three-hour long film that’s only rarely been screened since it premiered at the 1979 Venice Film Festival, is the work in which he took the next step, trying to synthesize militant cinema and formal experimentation. The story of ORG is based on the same ancient Indian legend that Thomas Mann also drew on for his story ‘The Transposed Heads.’ But above all, ORG is an experiment in perception that features over 26,000 cuts and some 700 audio tracks. The film was partly funded by leading actor Mario Girotti, better known as Terence Hill. Viewing ORG today provides a kaleidoscopic insight into the experimental, aesthetic, and political trends of the 1970s.” –LOS ANGELES FILMFORUM

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AMÉRIKA, TERRA INCÓGNITA
Dec
3
9:15 PM21:15

AMÉRIKA, TERRA INCÓGNITA

The final part in the trilogy, AMÉRIKA, TERRA INCÓGNITA comprises a series of tableaux vivants offering a visual journey into the reverse perspective of European colonialism – the journey of a captive Indian into the Spanish court.

“Rísquez eschews (not without humor) the hagiographic dimension of the ‘myth of the noble savage’ to focus on the mutual fascination between two different cultures, two different ways of seeing and understanding the world. Rather than a humanist, progressive work, filled with good intentions, AMÉRIKA is a long waking dream, baroque, flamboyant, and uncannily astonishing… Rísquez achieves a strange surreal synthesis – of colors and movement, with a powerful ‘return of the past’ (accentuated by a tilted, increasingly oneiric framing).” –CAHIERS DU CINÉMA

“From one scene to the next, the film oscillates between a kitsch version of Méliès and a lyrical vision that often reaches real greatness, with breathtaking flashes of beauty.” –Alain Bergala

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ORINOKO, NEW WORLD
Dec
3
6:45 PM18:45

ORINOKO, NEW WORLD

Surreal and multi-faceted, ORINOKO presents a speechless vision of the history of Venezuela and the Orinoco River basin before and after conquest. Among the participating figures are Europeans such as Columbus, Walter Raleigh, and Alexander von Humboldt, but seen through the eyes of the indigenous peoples whose lives were upended by colonization.

“ORINOKO inverts the logic seen in illustrations that appear in books documenting the expeditions of the 16th century, such as those by Theodor de Bry, whose frontispieces featured images of indigenous people. The frontispieces of ORINOKO feature the colonizers and their myths. America, represented in the form of its landscape (the Amazonian jungle), collects European myths and objects. Conceptual art, performance, and Super 8 reverse the structures of power, giving us an image of Europe as seen from America.” –Isabel Arredondo, “The Performative in Venezuelan Experimental Film,” from ISM, ISM, ISM: EXPERIMENTAL CINEMA IN LATIN AMERICA

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ORG by Fernando Birri
Dec
2
7:15 PM19:15

ORG by Fernando Birri

“Fernando Birri, an Argentinian filmmaker, poet, painter, teacher, and film school founder often considered the father of Third Cinema, or the new Latin American Cinema, passed away at 92 on December 28, 2017. ORG, a colossal, nearly three-hour long film that’s only rarely been screened since it premiered at the 1979 Venice Film Festival, is the work in which he took the next step, trying to synthesize militant cinema and formal experimentation. The story of ORG is based on the same ancient Indian legend that Thomas Mann also drew on for his story ‘The Transposed Heads.’ But above all, ORG is an experiment in perception that features over 26,000 cuts and some 700 audio tracks. The film was partly funded by leading actor Mario Girotti, better known as Terence Hill. Viewing ORG today provides a kaleidoscopic insight into the experimental, aesthetic, and political trends of the 1970s.” –LOS ANGELES FILMFORUM

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BOLÍVAR, TROPICAL SYMPHONY
Dec
2
5:15 PM17:15

BOLÍVAR, TROPICAL SYMPHONY

In the 1980s, the multifaceted Venezuelan artist, painter, and filmmaker Diego Rísquez (who passed away in January 2018) undertook the daunting project of creating a trilogy of films about the real and mythical histories of the Latin American continent. The first part of the trilogy, and Rísquez’s feature debut, was BOLÍVAR, TROPICAL SYMPHONY, which became the first Super 8 film to be selected for the Directors’ Fortnight at the Cannes Film Festival. Rísquez here foregoes dialogue to create an unconventional and highly allusive cinematic exploration of the life and death of South America’s famed libertador, Simón Bolívar, in which two separate actors embody dueling conceptions of this historical figure.

“With stunningly rich and complex visual images, Rísquez’s films eschew all dialogue yet present a coherent and critical reinterpretation of Venezuelan history.” –Ana M. López

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ISM, ISM, ISM: EXPERIMENTAL CINEMA IN LATIN AMERICA, PGM 5: MISREADINGS / MALAS LECTURAS
Dec
2
3:15 PM15:15

ISM, ISM, ISM: EXPERIMENTAL CINEMA IN LATIN AMERICA, PGM 5: MISREADINGS / MALAS LECTURAS

n the era of silent cinema, the interplay between text and image was a constant. Humberto Mauro, a major figure in the Brazilian avant-garde who believed that spoken dialogue and intertitles detracted from the moving image, integrated text in the form of speech bubbles in his experimental cinematic melodrama, GANGA BRUTA (1932). By the late 1960s, the use of text on screen finds a master of ambiguity and irony in the Cuban Nicolás Guillén Landrián. Following Santiago Álvarez’s tradition, Guillén Landrián, nephew of the poet laureate Nicolás Guillén, playfully intermingles text and images on many different levels, generating a corrosive sense of irony and confusion in allegedly ‘didactic’ documentaries. The starting point of this program is Guillén Landrián’s masterpiece, COFFEA ARÁBIGA (1968), a parody of the utopian 1968 Greenbelt agricultural project. The selection continues with more contemporary explorations of the combination of typography and film syntax.

Nicolás Guillén Landrián COFFEA ARÁBIGA (Cuba, 1968, 18 min, 35mm-to-digital)
Salvador Díaz Zubieta & Oscar Santos JÍCAMA (Mexico, 1970, 6.5 min, Super-8mm-to-digital)
Jorge Honik & Laura Abel EL INMORTAL (Argentina, 1968, 7 min, Super-8mm-to-digital)
Francisca Duran EVEN IF MY HANDS WERE FULL OF TRUTHS (Canada/Chile, 2012, 7.5 min, digital)
Leticia Obeid JANO (JANUS) (Argentina, 2015, 2.5 min, digital, silent)
Juan Carlos Alom DIARIO (Cuba, 2009, 13.5 min, 16mm-to-digital)
Poli Marichal UNDERWATER BLUES (Puerto Rico, 1981, 6 min, Super-8mm-to-35mm)
Paulo Bruscky POEM / POEMA (Brazil, 1979, 2 min, Super-8mm-to-digital)
Total running time: ca. 70 min.

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AMÉRIKA, TERRA INCÓGNITA
Dec
1
9:00 PM21:00

AMÉRIKA, TERRA INCÓGNITA

The final part in the trilogy, AMÉRIKA, TERRA INCÓGNITA comprises a series of tableaux vivants offering a visual journey into the reverse perspective of European colonialism – the journey of a captive Indian into the Spanish court.

“Rísquez eschews (not without humor) the hagiographic dimension of the ‘myth of the noble savage’ to focus on the mutual fascination between two different cultures, two different ways of seeing and understanding the world. Rather than a humanist, progressive work, filled with good intentions, AMÉRIKA is a long waking dream, baroque, flamboyant, and uncannily astonishing… Rísquez achieves a strange surreal synthesis – of colors and movement, with a powerful ‘return of the past’ (accentuated by a tilted, increasingly oneiric framing).” –CAHIERS DU CINÉMA

“From one scene to the next, the film oscillates between a kitsch version of Méliès and a lyrical vision that often reaches real greatness, with breathtaking flashes of beauty.” –Alain Bergala

View Event →
ORINOKO, NEW WORLD
Dec
1
6:30 PM18:30

ORINOKO, NEW WORLD

Surreal and multi-faceted, ORINOKO presents a speechless vision of the history of Venezuela and the Orinoco River basin before and after conquest. Among the participating figures are Europeans such as Columbus, Walter Raleigh, and Alexander von Humboldt, but seen through the eyes of the indigenous peoples whose lives were upended by colonization.

“ORINOKO inverts the logic seen in illustrations that appear in books documenting the expeditions of the 16th century, such as those by Theodor de Bry, whose frontispieces featured images of indigenous people. The frontispieces of ORINOKO feature the colonizers and their myths. America, represented in the form of its landscape (the Amazonian jungle), collects European myths and objects. Conceptual art, performance, and Super 8 reverse the structures of power, giving us an image of Europe as seen from America.” –Isabel Arredondo, “The Performative in Venezuelan Experimental Film,” from ISM, ISM, ISM: EXPERIMENTAL CINEMA IN LATIN AMERICA

View Event →
BOLÍVAR, TROPICAL SYMPHONY
Dec
1
4:30 PM16:30

BOLÍVAR, TROPICAL SYMPHONY

In the 1980s, the multifaceted Venezuelan artist, painter, and filmmaker Diego Rísquez (who passed away in January 2018) undertook the daunting project of creating a trilogy of films about the real and mythical histories of the Latin American continent. The first part of the trilogy, and Rísquez’s feature debut, was BOLÍVAR, TROPICAL SYMPHONY, which became the first Super 8 film to be selected for the Directors’ Fortnight at the Cannes Film Festival. Rísquez here foregoes dialogue to create an unconventional and highly allusive cinematic exploration of the life and death of South America’s famed libertador, Simón Bolívar, in which two separate actors embody dueling conceptions of this historical figure.

“With stunningly rich and complex visual images, Rísquez’s films eschew all dialogue yet present a coherent and critical reinterpretation of Venezuelan history.” –Ana M. López

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Contracultura y Undergrounds at Princeton University
Nov
27
12:00 PM12:00

Contracultura y Undergrounds at Princeton University

Jesse Lerner & Luciano Piazza: “Ismo, Ismo, Ismo: Experimental Cinema in Latin America” --- Ism, Ism, Ism is the first comprehensive, U.S.-based project, film program and catalogue to treat the full breadth of Latin America’s vibrant experimental film production. The film series features key historical and contemporary works from Argentina, Brazil, Bolivia, Chile, Colombia, Cuba, Ecuador, Mexico, Paraguay, Peru, Uruguay, Venezuela, Puerto Rico and the United States. Revisiting classic names and forms from the experimental canon, the exhibition daringly places them within a completely novel scope and breadth. From innovative works by Brazilian artist Hélio Oiticica and Mexican photographer Manuel Álvarez Bravo to the breathtaking, yet practically unknown, oeuvre of queer Ecuadorian filmmaker Eduardo Solá Franco, the project takes both the aficionado and open-minded viewer through a journey into a wealth of materials culled from the forgotten corners of Latin American film archives.---Jesse Lerner is a filmmaker, curator, and writer living in Los Angeles. He teaches in the Intercollegiate Media Studies program at the Claremont Colleges.--- Luciano Piazza is an Argentine filmmaker, critic, and writer based in Los Angeles. He studied literature at the University of Buenos Aires, creative writing at New York University, and film and video at the California Institute of the Art.--- Speaker(s): Jesse Lerner--Filmmaker, curator, and writer (Los Angeles, CA)---Luciano Piazza--Argentine filmmaker, critic, and writer (Los Angeles, CA)---Event webpage: https://plas.princeton.edu/events

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Ism Ism Ism at Rutgers, The State University of New Jersey
Nov
26
to Nov 27

Ism Ism Ism at Rutgers, The State University of New Jersey

LATIN AMERICAN EXPERIMENTAL FILM EVENTS

Two filmmaker-scholars of Latin American cinema, Luciano Piazza and Jesse Lerner, will be visiting Rutgers to screen and discuss some of the short experimental films analyzed in their 2018 bilingual volume, Ism, ism, ism: Experimental Cinema in Latin America.

Piazza and Lerner will explain how Latin American filmmakers have mobilized the film medium in innovative ways to prompt audiences to consider pressing socio-political issues, especially the legacy of political violence in the region (from the “dirty wars” of the Southern Cone, to the Colombian Conflict, to the assassination of students in Mexico), and the role of visual and print media in shaping perspectives of and about Latin Americans. 

In advance of their visit, we will be showing additional short experimental films treated in their book, at 9:50 AM on Monday, November 26 in AB-4140.

Come and join us for one or both of these events!

 

Location : AB West, 4th Floor, Rooom 4140

Sponsored by Center for Latin American Studies, Department of Spanish and Portuguese and Cinema Studies Program

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UMBRALES at MUTA
Nov
21
8:00 PM20:00

UMBRALES at MUTA

  • Centro Cultural de España, Lima, Perú (map)
  • Google Calendar ICS

Date: November 21, 2018
Time: 8 pm
Location: Centro Cultural de España, Lima, Perú
About MUTA: MUTA is an international festival of audiovisual
appropriation that takes place once a year. We showcase a variety of
films, mostly short films from all over the world that use the
appropriation of existing audiovisual material (or other) as its main
method. The program is accompanied by several activities that include
film performances, workshops, master classes and laboratories all of
them free of cost to our public. This year’s second edition will go
from the 15th to the 24th of November in Lima, Peru, and will have
several showcases later on in other cities of Peru and nearby
countries.

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