Latin American political cinema
1/6/2011 al 1/7/2011
During the month of June of 2011, Natalia Taccetta carried out the cycle that had its axis set on the political cinema made in Latin America, which has stood out for accompanying the revolutionary processes without exception, and which highlights the inescapable relationship between art and politics. The course emphasized how the collective character of cinema and the power of its images became the favorite platform of militants, politicians and artists to propagate the ideology and irresistible force of revolutionary times.
Natalia Tacceta is a professor of Philosophy at the University of Buenos Aires. She is a doctoral student in Social Sciences at the same university where she is working on a project that links the philosophy of history and cinema from the perspective of Walter Benjamin. She is a graduate of the National School of Cinematographic Experimentation and Realization (ENERC-INCAA) and works as a film teacher in Image and Sound Design (UBA) and in the Audiovisual Arts career (IUNA), with a special interest in the political dimension of cinematographic representations.
Political cinema in Latin America accompanies the revolutionary processes almost without exception. Precisely Histories of the Revolution was the first feature film made in Cuba after the 1959 triumph. In relation to this process, a large number of films, fictions and documentaries, short and medium, and feature films were created and began to appear at international festivals, highlighting the inescapable relationship between art and politics. The collective character of cinema and the power of its images became the favorite platform for militants, politicians and artists to spread the ideology and irresistible force of revolutionary times. A review of the cinema since the 1960s only confirms the possibilities of cinema to account for authentic cultural transformations.
- The influence of Italian neorealism in Fernando Birri's cinema: Tire dié (1960) and Los inundados (1962)
- The revolution of January 1959 seen from fiction and documentary: Santiago Álvarez and Tomás Gutiérrez Alea.
Bolivia and Brazil
- The Ukamau Group in Bolivia: Jorge Sanjinés
- The Brazilian cinema novo: Nelson Pereira dos Santos and Glauber Rocha