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CINE DOCUMENTAL Y COMUNICACIÓN POLÍTICA EN CONTEXTOS DE DIVERSIDAD CULTURAL: ESTUDIO DE CASO DEL DOCUMENTAL ZORROS DE ARRIBA (FORO EDUCATIVO, 2005)
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La investigación estudia el caso del documental Zorros de Arriba (DV. 28 mins. Foro Educativo, 2005) en tanto instrumento para el fomento de participación política en contextos de diversidad cultural. Para ello incorpora conceptos recientes en la teoría del cine documental, en la puesta al día del concepto de esfera pública en el escenario de alta diversidad contemporáneo - tanto de sujetos culturales como de soportes para la comunicación- y en la discusión acerca de la comunicación entre culturas. Se enfatiza en lo audiovisual en medios en línea, aplicando propuestas metodológicas derivadas de la teoría y estudios de caso previos de uso del documental en el contexto específico de internet y en particular Youtube. La investigación busca aportar al conocimiento de la representación y la participación alrededor del registro documental por parte de instituciones públicas y no gubernamentales, y propone categorías para la ponderación de su uso instrumental como herramienta para activar los espacios de deliberación democrática.
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Este texto presenta las principales disciplinas y aproximaciones teóricas que estudian el engagement en medios y adopta una comprensión interdisciplinar del término. A través de una extensa revisión bibliográfica se trata de problematizar el engagement atendiendo a los matices que aportan otros conceptos vinculados a él, como la interactividad, la economía afectiva, el compromiso y, fundamentalmente, la participación. Se apunta finalmente a la necesidad de interpretar los complejos fenómenos comunicativos que involucran a las audiencias partiendo de la base de una relación de confianza y respeto mutuo que reconozca sus desequilibrios de poder y sus implicaciones morales y afectivas.
This article aims to discuss, from a critical theory perspective, the apparent paradox between the ability to monitor and control made possible by Big Data and the belief in the latter’s emancipatory potential. The goal is to assess to what extent the data, tools and methods characteristic of Big Dataconstitute self-regulation processes that are similar to a dynamics of governance and surveillance. We will analyze this phenomenon on the basis of two concepts inherited from the critical tradition in social science, namely that of the administered world as formulated by the Frankfurt School theorists, and that of governmentality as developed by Michel Foucault.Cet article a pour objectif de discuter, du point de vue de la théorie critique, de cet apparent paradoxe entre les capacités de contrôle et de surveillance rendues possibles par le Big Data et la croyance en son potentiel émancipateur. Il s’agit d’évaluer dans quelle mesure les données, outils et méthodes caractéristiques du Big Data constituent des processus d’autorégulation qui s’assimilent à une dynamique de gouvernance et de surveillance. Nous allons analyser ce phénomène à partir de deux notions héritées de la tradition critique en science sociale, soit celle de monde administré formulée par les théoriciens de l’École de Francfort, et celle de gouvernementalité développée par Michel Foucault.
Galvanised as a result of the founding of a film institute in Cuba in 1959, the Instituto Cubano de Arte e Industria Cinematográficos or ICAIC, which fostered documentary strongly, the documentary movement began to have a significant impact in Latin America in the 1960s. One of the highlights of the 1960s was La hora de los hornos/The Hour of the Furnaces (1968), by the Grupo Cine Liberación, which provided the movement with a powerful philosophy of cinema as a form of political intervention. In the 1970s the lens of the documentary movement widened to take in national dramas; Patricio Guzmán's extraordinary three-part chronicle La batalla de Chile/The Battle of Chile (1976-1979) provided a meticulous record of the tumultuous months leading up to the military coup of 1973 in which Chile's president, Salvador Allende, was overthrown. In the mid-1980s a new movement of activists took shape with groups such as Teleanálisis providing a counter-narrative to the dominant discourse about political events provided on TV. New movements such as cine piquetero in the twenty-first century continued the political thrust of Latin American documentary by portraying the plight of the disenfranchised in the modern world.
Nearly two decades into the new millennium, Latin American documentary film is experiencing renewed vibrancy and visibility on the global stage. While elements of the combative, politicized cinema of the 1960s and 1970s remain, the region’s production has become increasingly subjective, reflexive, and experimental, though perhaps no less political. At the same time, Latin American filmmakers both respond to and shape global tendencies in the genre. This book highlights the richness and heterogeneity of Latin American documentary film, surveys a broad range of national contexts, styles, and practices, and expands current debates on the genre. Thematic sections address the "subjective turn" of the 1990s and 2000s and the move beyond it; the ethics of the encounter between the filmmaker and the subject/object of his or her gaze; and the performance of truth and memory, a particularly urgent topic as Latin American countries have transitioned from dictatorship to democracy.
This article is a theoretical discussion of the concept ‘intercultural film’. The aim is to establish a framework for sound interdisciplinary analysis of film from an intercultural perspective. Previous research from film studies and intercultural studies/intercultural communication studies is discussed with the aim to clarify how the concept intercultural film has previously been used, and a method for intercultural film analysis is proposed. The conclusion is that a multifaceted framework for film analysis has to be developed that take content, style and form, viewer position and the creation of new concepts of interculturality into consideration.
