El proposito del video etnografico y experimental fue generar un espacio publico donde los partic... more El proposito del video etnografico y experimental fue generar un espacio publico donde los participantes de la Comuna Engabao, pudiesen dialogar sobre su pasado y presente y de esta manera, participar activamente en la construccion de su futuro, no solo sobre las luchas territoriales de la comunidad, sino tambien sobre las cotidianas de supervivencia. De esta manera, el cine y el formato audiovisual tienen la capacidad de acompanar un debate, no para definirlo ni limitarlo, sino para expandirlo tanto en el pensamiento del espectador como del participante; (es parte de) un proceso para recordar a traves de la imagen y del sonido, en la que tanto la memoria como la forma que esta adquiere van cambiando segun el contexto del espectador-participante.
In Andy Warhol Eating a Hamburger, Warhol looks at the camera and quickly away, trying to avoid e... more In Andy Warhol Eating a Hamburger, Warhol looks at the camera and quickly away, trying to avoid eye contact, and yet, finding it difficult not to look.
This article will analyse the use of voice in this video essay and how the authors’ voice, spoken... more This article will analyse the use of voice in this video essay and how the authors’ voice, spoken by Martin, engages with the images and sounds of Erice’s films, most importantly, with Erice’s voice. How do the voice of the video essayist and the voice of the director differ? And what do these voices teach us about the possibilities of speaking with, over and about images?
Sound and image compete in It Can Pass Through the Wall, as in Fritz Lang’s M (1931), to create t... more Sound and image compete in It Can Pass Through the Wall, as in Fritz Lang’s M (1931), to create tension between what is seen and what is heard. This disconnect between image and sound draws attention to the limits of the visual and the possibilities of the audible.
Resumen:
El Primer Encuentro de Cine Casero de Guayaquil se desarrolló el 22 de noviembre de 2018... more Resumen: El Primer Encuentro de Cine Casero de Guayaquil se desarrolló el 22 de noviembre de 2018 en la Universidad de las Artes de Ecuador. En este encuentro, el público tuvo la oportunidad de traer sus películas caseras en 8mm y súper 8mm para ser proyectadas. Este artículo compartirá las características y los resultados de esta proyección para reflexionar sobre las posibilidades que ofrece la proyección analógica del cine casero para Guayaquil y para la experiencia colectiva del espectador. Palabras claves: cine casero, cine amateur, cine huérfano, proyección, Ecuador.
Abstract: Home Movie Day was celebrated in Guayaquil at the Universidad de las Artes for the first time last year (November 22nd, 2018). This celebration took the form of an encuentro, or meeting, in which people were invited to bring their 8mm and Super 8mm films to be projected. This article will share the characteristics and results of this projection in order to reflect on the possibilities of home movie projection -on celluloid- in Guayaquil and on the spectator’s collective experience. Keywords: Home movies, Amateur cinema, Orphan films, Projection, Ecuador.
In "Andy Warhol Eating a Hamburger", Warhol looks at the camera and quickly away, trying to avoid... more In "Andy Warhol Eating a Hamburger", Warhol looks at the camera and quickly away, trying to avoid eye contact, and yet, finding it difficult not to look.
This article will analyse the use of voice in this video essay and how the authors’ voice, spoken... more This article will analyse the use of voice in this video essay and how the authors’ voice, spoken by Martin, engages with the images and sounds of Erice’s films, most importantly, with Erice’s voice. How do the voice of the video essayist and the voice of the director differ? And what do these voices teach us about the possibilities of speaking with, over and about images?
Sound and image compete in It Can Pass Through the Wall (Radu Jude, 2014), as in Fritz Lang’s M, ... more Sound and image compete in It Can Pass Through the Wall (Radu Jude, 2014), as in Fritz Lang’s M, to create tension between what is seen and what is heard. This disconnect between image and sound draws attention to the limits of the visual and the possibilities of the audible.
De Tábara (2003), un retrato institucional de uno de los pintores mas reconocidos del Ecuador, a ... more De Tábara (2003), un retrato institucional de uno de los pintores mas reconocidos del Ecuador, a Persistencia (2016), un film experimental que medita sobre el trabajo de un artista y amigo, el cineasta guayaquileño Fernando Mieles ha recorrido, como narrador y cineasta, una trayectoria marcada por transformaciones clave. Este artículo se enfoca en los films sobre arte realizados por Mieles para mostrar cómo este género particular y un diálogo permanente con otros artistas le han abierto la oportunidad de explorar una amplia gama de posibilidades de realización cinematográfica, que oscilan entre el documental y la ficción, entre la escritura y el error. Con este texto sobre el trabajo de Fernando Mieles, uno de los cineastas más prolíficos del país, la autora espera contribuir a la escritura académica sobre el cine ecuatoriano, particularmente en el campo poco explorado del cine sobre arte.//
From Tábara (2003), an institutional portrait of one of Ecuador’s most well-known painters, to Persistencia (2016), an experimental film which meditates on the work of a fellow artist and close friend, filmmaker Fernando Mieles has gone through many key transformations as a storyteller and filmmaker. This article focuses on Mieles’ films on art to show how this particular genre, and a permanent dialogue with fellow artists have allowed Mieles to explo- re different possibilities of filmmaking: between documentary and fiction, between scripted scenes and so-called “mistakes”. With this text about the work of Fernando Mieles, one of the country’s most prolific filmmakers, the author hopes to contribute to academic writing on Ecuadorian filmmaking, especially concerning films on art.
Since the beginning of ethnographic film, filmmakers have experimented with the projection of the... more Since the beginning of ethnographic film, filmmakers have experimented with the projection of the final film to the participants. Different anthropological and humanist explanations have been argued elsewhere; this conference is concerned with the potential transformative effects of the awareness of time passing on the spectator-participant.
Cuadernos de Crítica 01 - Un nuevo mapa latinoamericano , 2019
Publicación del Festival de Cine de Mar del Plata.
Marcelo Alderete y Cecilia Barrionuevo (Compi... more Publicación del Festival de Cine de Mar del Plata. Marcelo Alderete y Cecilia Barrionuevo (Compiladores).
El proposito del video etnografico y experimental fue generar un espacio publico donde los partic... more El proposito del video etnografico y experimental fue generar un espacio publico donde los participantes de la Comuna Engabao, pudiesen dialogar sobre su pasado y presente y de esta manera, participar activamente en la construccion de su futuro, no solo sobre las luchas territoriales de la comunidad, sino tambien sobre las cotidianas de supervivencia. De esta manera, el cine y el formato audiovisual tienen la capacidad de acompanar un debate, no para definirlo ni limitarlo, sino para expandirlo tanto en el pensamiento del espectador como del participante; (es parte de) un proceso para recordar a traves de la imagen y del sonido, en la que tanto la memoria como la forma que esta adquiere van cambiando segun el contexto del espectador-participante.
In Andy Warhol Eating a Hamburger, Warhol looks at the camera and quickly away, trying to avoid e... more In Andy Warhol Eating a Hamburger, Warhol looks at the camera and quickly away, trying to avoid eye contact, and yet, finding it difficult not to look.
This article will analyse the use of voice in this video essay and how the authors’ voice, spoken... more This article will analyse the use of voice in this video essay and how the authors’ voice, spoken by Martin, engages with the images and sounds of Erice’s films, most importantly, with Erice’s voice. How do the voice of the video essayist and the voice of the director differ? And what do these voices teach us about the possibilities of speaking with, over and about images?
Sound and image compete in It Can Pass Through the Wall, as in Fritz Lang’s M (1931), to create t... more Sound and image compete in It Can Pass Through the Wall, as in Fritz Lang’s M (1931), to create tension between what is seen and what is heard. This disconnect between image and sound draws attention to the limits of the visual and the possibilities of the audible.
Resumen:
El Primer Encuentro de Cine Casero de Guayaquil se desarrolló el 22 de noviembre de 2018... more Resumen: El Primer Encuentro de Cine Casero de Guayaquil se desarrolló el 22 de noviembre de 2018 en la Universidad de las Artes de Ecuador. En este encuentro, el público tuvo la oportunidad de traer sus películas caseras en 8mm y súper 8mm para ser proyectadas. Este artículo compartirá las características y los resultados de esta proyección para reflexionar sobre las posibilidades que ofrece la proyección analógica del cine casero para Guayaquil y para la experiencia colectiva del espectador. Palabras claves: cine casero, cine amateur, cine huérfano, proyección, Ecuador.
Abstract: Home Movie Day was celebrated in Guayaquil at the Universidad de las Artes for the first time last year (November 22nd, 2018). This celebration took the form of an encuentro, or meeting, in which people were invited to bring their 8mm and Super 8mm films to be projected. This article will share the characteristics and results of this projection in order to reflect on the possibilities of home movie projection -on celluloid- in Guayaquil and on the spectator’s collective experience. Keywords: Home movies, Amateur cinema, Orphan films, Projection, Ecuador.
In "Andy Warhol Eating a Hamburger", Warhol looks at the camera and quickly away, trying to avoid... more In "Andy Warhol Eating a Hamburger", Warhol looks at the camera and quickly away, trying to avoid eye contact, and yet, finding it difficult not to look.
This article will analyse the use of voice in this video essay and how the authors’ voice, spoken... more This article will analyse the use of voice in this video essay and how the authors’ voice, spoken by Martin, engages with the images and sounds of Erice’s films, most importantly, with Erice’s voice. How do the voice of the video essayist and the voice of the director differ? And what do these voices teach us about the possibilities of speaking with, over and about images?
Sound and image compete in It Can Pass Through the Wall (Radu Jude, 2014), as in Fritz Lang’s M, ... more Sound and image compete in It Can Pass Through the Wall (Radu Jude, 2014), as in Fritz Lang’s M, to create tension between what is seen and what is heard. This disconnect between image and sound draws attention to the limits of the visual and the possibilities of the audible.
De Tábara (2003), un retrato institucional de uno de los pintores mas reconocidos del Ecuador, a ... more De Tábara (2003), un retrato institucional de uno de los pintores mas reconocidos del Ecuador, a Persistencia (2016), un film experimental que medita sobre el trabajo de un artista y amigo, el cineasta guayaquileño Fernando Mieles ha recorrido, como narrador y cineasta, una trayectoria marcada por transformaciones clave. Este artículo se enfoca en los films sobre arte realizados por Mieles para mostrar cómo este género particular y un diálogo permanente con otros artistas le han abierto la oportunidad de explorar una amplia gama de posibilidades de realización cinematográfica, que oscilan entre el documental y la ficción, entre la escritura y el error. Con este texto sobre el trabajo de Fernando Mieles, uno de los cineastas más prolíficos del país, la autora espera contribuir a la escritura académica sobre el cine ecuatoriano, particularmente en el campo poco explorado del cine sobre arte.//
From Tábara (2003), an institutional portrait of one of Ecuador’s most well-known painters, to Persistencia (2016), an experimental film which meditates on the work of a fellow artist and close friend, filmmaker Fernando Mieles has gone through many key transformations as a storyteller and filmmaker. This article focuses on Mieles’ films on art to show how this particular genre, and a permanent dialogue with fellow artists have allowed Mieles to explo- re different possibilities of filmmaking: between documentary and fiction, between scripted scenes and so-called “mistakes”. With this text about the work of Fernando Mieles, one of the country’s most prolific filmmakers, the author hopes to contribute to academic writing on Ecuadorian filmmaking, especially concerning films on art.
Since the beginning of ethnographic film, filmmakers have experimented with the projection of the... more Since the beginning of ethnographic film, filmmakers have experimented with the projection of the final film to the participants. Different anthropological and humanist explanations have been argued elsewhere; this conference is concerned with the potential transformative effects of the awareness of time passing on the spectator-participant.
Cuadernos de Crítica 01 - Un nuevo mapa latinoamericano , 2019
Publicación del Festival de Cine de Mar del Plata.
Marcelo Alderete y Cecilia Barrionuevo (Compi... more Publicación del Festival de Cine de Mar del Plata. Marcelo Alderete y Cecilia Barrionuevo (Compiladores).
Uploads
Papers
El Primer Encuentro de Cine Casero de Guayaquil se desarrolló el 22 de noviembre de 2018 en la Universidad de las Artes de Ecuador. En este encuentro, el público tuvo la oportunidad de traer sus películas caseras en 8mm y súper 8mm para ser proyectadas. Este artículo compartirá las características y los resultados de esta proyección para reflexionar sobre las posibilidades que ofrece la proyección analógica del cine casero para Guayaquil y para la experiencia colectiva del espectador.
Palabras claves: cine casero, cine amateur, cine huérfano, proyección, Ecuador.
Abstract:
Home Movie Day was celebrated in Guayaquil at the Universidad de las Artes for the first time last year (November 22nd, 2018). This celebration took the form of an encuentro, or meeting, in which people were invited to bring their 8mm and Super 8mm films to be projected. This article will share the characteristics and results of this projection in order to reflect on the possibilities of home movie projection -on celluloid- in Guayaquil and on the spectator’s collective experience. Keywords: Home movies, Amateur cinema, Orphan films, Projection, Ecuador.
From Tábara (2003), an institutional portrait of one of Ecuador’s most well-known painters, to Persistencia (2016), an experimental film which meditates on the work of a fellow artist and close friend, filmmaker Fernando Mieles has gone through many key transformations as a storyteller and filmmaker. This article focuses on Mieles’ films on art to show how this particular genre, and a permanent dialogue with fellow artists have allowed Mieles to explo- re different possibilities of filmmaking: between documentary and fiction, between scripted scenes and so-called “mistakes”. With this text about the work of Fernando Mieles, one of the country’s most prolific filmmakers, the author hopes to contribute to academic writing on Ecuadorian filmmaking, especially concerning films on art.
Conference Presentations
Books
Marcelo Alderete y Cecilia Barrionuevo (Compiladores).
El Primer Encuentro de Cine Casero de Guayaquil se desarrolló el 22 de noviembre de 2018 en la Universidad de las Artes de Ecuador. En este encuentro, el público tuvo la oportunidad de traer sus películas caseras en 8mm y súper 8mm para ser proyectadas. Este artículo compartirá las características y los resultados de esta proyección para reflexionar sobre las posibilidades que ofrece la proyección analógica del cine casero para Guayaquil y para la experiencia colectiva del espectador.
Palabras claves: cine casero, cine amateur, cine huérfano, proyección, Ecuador.
Abstract:
Home Movie Day was celebrated in Guayaquil at the Universidad de las Artes for the first time last year (November 22nd, 2018). This celebration took the form of an encuentro, or meeting, in which people were invited to bring their 8mm and Super 8mm films to be projected. This article will share the characteristics and results of this projection in order to reflect on the possibilities of home movie projection -on celluloid- in Guayaquil and on the spectator’s collective experience. Keywords: Home movies, Amateur cinema, Orphan films, Projection, Ecuador.
From Tábara (2003), an institutional portrait of one of Ecuador’s most well-known painters, to Persistencia (2016), an experimental film which meditates on the work of a fellow artist and close friend, filmmaker Fernando Mieles has gone through many key transformations as a storyteller and filmmaker. This article focuses on Mieles’ films on art to show how this particular genre, and a permanent dialogue with fellow artists have allowed Mieles to explo- re different possibilities of filmmaking: between documentary and fiction, between scripted scenes and so-called “mistakes”. With this text about the work of Fernando Mieles, one of the country’s most prolific filmmakers, the author hopes to contribute to academic writing on Ecuadorian filmmaking, especially concerning films on art.
Marcelo Alderete y Cecilia Barrionuevo (Compiladores).