Yearly Archives: 2016

Pedagogical Documentaries and Praxis By: Kristi M. Wilson and Tomás Crowder-Taraborrelli (full story - click here) Alejandro Ramírez Anderson Tierralismo: Stories from a Cooperative Farm, 2013. José Cohen H2Omx, 2013. En este valle verdusco, antes corrían ríos rutilantes, cenizos, castaños y cárdenos, púrpuras, perdidos y pardos; quebrajosos, vocingleros, berreando bajaban de la mon-taña humeante, salían a los llanos lerdos, tentaban a la temprana Tenochtitlán. Hoy van mugiendo entubados, menguados, pesados de aguas negras, crecidos de mierda; ríos sin riberas, risibles, con riendas, rabiosos, rabones, ruidosos de coches; avanzando a tumbos por la ciudad desflorada, desembocando en los lagos letales, y en el marcado mar, que ya no los ama. —Homero Aridjis Part of the rich documentary film tradition includes pedagogical films. The best of these documentaries successfully incorporate the strange combination of artistic and pedagogical innovation in their efforts to educate and encourage audiences to bring about social change. In the past decade, a new type of documentary about sustainability has made itself a prominent feature of sites like YouTube, Vimeo, and Facebook. These documentaries vary in quality and length, from feature-length films about activists who oppose the depletion of natural resources to instructional videos about how to build an [...]

Art, Mentorship, and States of Siege By: Kristi M. Wilson (full story - click here) Miguel Ángel Vidaurre Marker ’72: Cartography of a Faceless Filmmaker. Chile, 2012. Marker ’72: Cartography of a Faceless Filmmaker, produced by Factoría Espectra, is an essay-style documentary about the groundbreaking French filmmaker Chris Marker’s encounter with Salvador Allende’s Chile in 1972, his subse-quent mentorship of Chilean director Patricio Guzmán (The Battle of Chile), and his impact on the Chilean film community after the military coup of 1973. A legendary recluse and the director of enigmatic film classics such as La Jetée (1962), A Grin Without a Cat (1977), Sans Soleil (1983), and AK (1985), Marker arrived in Chile as part of the production team for the filming of Costa-Gavras’s political thriller State of Siege. According to Guzmán, in spite of the fact that State of Siege turned out to be one of the largest film productions in Chilean his-tory, Marker had not come to film anything with Costa-Gavras; “he just wanted to see Chile.” Allende’s victory brought well-known people from around the world to Chile. As the documentary filmmaker and director of the Chilean School of Cinema Carlos Flores jokingly suggests in the film, Chile [...]