Stefano Tijerina, Ph.D.
3 Credit
Tuesday 4:30-7:15 p.m., 219 Little Hall
Objective: The course is designed to introduce students to the Latin American region via film, building awareness about the distinctiveness and uniqueness of the region’s social, cultural, and artistic expressions. It is expected that the student will break traditional stereotypes and move away from the “one-size fits all” approach, and build a more holistic understanding of a region that experienced nation building through cinematic expressions that paralleled each individual political, cultural, social, and economic experience.
Theme: The course will use film to center on social, cultural, and political realities that impact the region. Readings will help the students comprehend the realities of film and culture, and film and nation building. The course will begin with early guerrilla films “cine-guerrilla” emanating from Argentina and move toward post-modern expressions across the region.
Readings:
García, Marcia Orell. Las Fuentes del Nuevo Cine Latinoamericano. Valparaíso: Ediciones Universitarias de Valparaíso, 2006.
Marañón, Igor Barrenetxea. “Pensar la historia desde el cine.” Entelequia 1, primavera (2006): 99-107.
Ovalle, Liliana Paola y Corina Giacomello. “La Mujer en el ‘Narcomundo’: Imágenes, tradicionales y alternativas.” Arenas: Revista Sinaloense de Ciencias Sociales 17, otoño (2008): 32-46.
Pâquet, André. “Cine y urbanidad o el Caballo de Troya de Hollywood.” Avisora: Cuanto
Más Sepas, Mejor – Cine. Accessed June 20, 2012. http://www.avizora.com/publicaciones/cine/textos/textos_002/0002_cine_urbanidad.htm.
Purcell, Fernando. “Una mercancía irresistible: El cine norteamericano y su impacto en Chile, 1910-1930.” Historia Crítica 38, mayo-agosto (2009): 46-69.
Tal, Tzvi. “Del cine-guerrila a lo ‘grotético’ – La representación cinematográfica del Latinoamericanismo en dos films de Fernando Solanas: La hora de los hornos y El viaje.” Estudios Interdisciplinarios de América Latina y el Caribe 9, no. 1, enero-Junio (2008): 39-54.
List of Films:
1. Machuca (Andrés Wood, Chile, 2004)
2. Kamchatka (Marcelo Piñeyro, Argentina, 2002)
3. La Hora de los Hornos (Octavio Getino y Fernando E. Solanas, Argentina, 1968)
4. El Viaje (Fernando E. Solanas, Argentina, 1992)
5. El Mariachi ( Robert Rodriguez, USA, 1992)
6. La Noche de los Lápices (Héctor Olivera, Argentina, 1986)
7. La Estrategia del Caracol (Sergio Cabrera, Colombia, 1993)
8. Perder es Cuestión de Método (Sergio Cabrera, Colombia, 2004)
9. Rosario Tijeras (Emilio Maillé, Colombia, 2005)
10. El Crimen del Padre Amaro (Carlos Carrera, México, 2002)
11. Amores Perros (Alejandro González Iñarritu, México, 2000)
12. Y tu Mamá También (México, Alfonso Cuarón, 2001)
13. El Carro (Luis Orjuela, Colombia, 2003)
14. Secuestro Express (Jonathan Jakubowicz, Venezuela, 2005)
Class assignments:
-students will be responsible for a two page response on each film based on class discussion themes and the reading assignments.
-students will also be responsible for a larger research paper which will be worked on throughout the semester.
-students will also be responsible for short responses on other external readings assigned and which will be located in Fogler’s reserve desk.
Image Description:
