1. No category

Note: Locators followed by the letter ‘n’ refer to notes.
Los 80 (The 80s, TV series), 181n6
ABC Africa (Abbas Kiarostami,
2001), 188
ABC da greve (Leon Hirszman,
1979–1990), 20n10
Abraham, Nicolas, 101
Abreu, Alina Rodríguez, 16
Abuelas de Plaza de Mayo (Plaza de
Mayo’s grandmothers), 19n2
activist video collectives
Cámara en Mano (Handy Camera),
127, 168, 170–1
Chiapas Media Project, 13, 146,
149, 151
in Chile, 169–73
Grupo Proceso (Process Group),
168, 170, 178–81, 181–2n8
production and distribution by, 181
Teatro Popular Ictus (Ictus People’s
Theatre), 173–8, 183n17
women’s collectives, 175, 182n11
see also indigenous and community
media
activist videos
affect and political action, 145–5,
157–61, 162
as alternative news source, 12, 13–14,
149, 150–5, 173–4, 178–9
archives of as evidence, 147, 181
creativity in, 152, 156
crowd-sourced video footage,
150–2, 159
democratic communication
processes, 178–81
distribution of, 14, 149–50, 162n3,
169–70, 174, 178–9, 181
documentaries of return, 179–80,
182n15
militant documentaries, influence
on, 167
narrative in, 181
Oaxaca Uprising, 139, 146–53
actors
nonfiction actors, 80–2
reenactments, 33–5, 85
social actors, 11, 16, 77, 148, 153,
158, 226, 228
see also performance
Adair, John, 127
Adorno, Sérgio, 80
aesthetics, 3, 6, 7–9, 10, 14, 17
Coutinho, 31–3
Cuban innovation, 61, 62–4
European, influence of, 60, 61
Guillén Landrián, 60
in hybrid documentaries, 124–5
internet documentaries, 235–6
“rasquache aesthetic,” 237
suggestive qualities of symbolism,
191, 196–7
transnational aesthetic, 200
affect
autonomy of, 160–1
documentary as medium for, 14, 25,
26–7, 42
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affect—continued
emotion vs., 10, 27
fiction and nonfiction, blurring, 37
meaning and, 41
optimism, 159–62
political action and motivation,
145–5, 157–61, 162
political mimicry, 145–6
Rancière on, 147–8, 150, 152–4, 156,
159, 161, 162
Spinoza, 160
theories of, 160–1
thought and feeling, 160–1
affective realm, 25, 26–7, 42
affective sharing, 88–9n7
The Affective Turn (Hardt), 160
Agosto (Armando Capó), 73n11
Aguas Baldías (Water Wasteland,
Manuel Piña, photo series), 209
Agüero, Ignacio, 16, 119n3
Aguilar, Gonzalo, 5
Aguirre, The Wrath of God (Werner
Herzog, 1972), 130
Alamar (Pedro González-Rubio, 2009),
10, 27, 36–42
Albertani, Claudio, 154
Alcaraz, Lalo, 237
Alfonsín, Raúl Ricardo, 57n5
Al Jazeera, 188
allegory
fictional films, 66
fragmented self and, 49
national allegory and Cuban identity,
63–4, 70
Allende, Salvador, 2, 108, 113, 115, 173
Allpamanda Causaimanda Jatarishun
(For Land, For Life—Let’s Rise Up,
Alberto Muenala, 1992), 141n5
Almendros, Néstor, 214
Alonso, Lisandro, 37
Altberg, Marco, 126
alternative news sources, 13–14, 149,
150–5, 173–4, 178–9
Alvaray, Luisela, 5
Álvarez, Santiago, 2, 8, 18, 26, 189,
195, 214
Amazon
contact with indigenous
communities, 135–40
deforestation and displacement,
133–4
indigenous media projects, 13, 14,
124, 128–31, 135–40, 146
multinational threats to biosphere,
126–7
Native Indians, mischaracterizations
of, 126–7, 134–6
Sarayaku community, Ecuador,
141n4
see also Brazil; indigenous
communities
America (João Moreira Salles, 1989), 27
América tiene alma (America Has Soul,
Carlos Azpúrua, 2009), 17–18,
189, 193–6
Amor, mujeres y flores (Marta
Rodríguez and Jorge Silva, 1989),
20n10
Análisis magazine, 170
Anchou, Goyo, 52
Andean communities
Bolivian carnival, culture of, 18,
189–90, 193–6
coca-growers and coca leaves, culture
of, 133, 193–5
indigenous media training, 130–1
Andermann, Jens, 47, 50, 52
Andrade, João Batista de, 16
Andrés de La Victoria (Claudio di
Girólamo, 1984), 174, 182n10
Los Ángeles de la Tierra (Angels of the
Earth, Patricio Luna,
2001/2003), 133
anthropologists, 12, 123, 125, 127–9,
135, 141n2
anthropology, 18, 127, 196
anti-dictatorship activist videos, 167–8,
170, 181n6, 183nn17–18
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anti-immigration sentiments, 237–48,
248n3
anti-North ideologies, 189–90, 191
Appadurai, Arjun, 82, 204, 212
APPO (Asamblea de los Pueblos de
Oaxaca), 150, 152–9
Aquí se construye (Ignacio Agüero,
2001), 16
Archibold, Randal, 248n3
archival footage
activist videos, 156
crowd-sourced video footage,
150–2, 159
digital color footage, 153
in fictional films, 92–3, 99–100
indigenous media, 124–5, 134–5,
138–40
newsreels, 8, 125
Oaxaca Uprising, 147, 149–50
protests and demonstrations, 134,
147, 149–50, 156, 171–8, 193
television images, 11, 83, 92,
97, 100
urban violence, 80–4
archives
activist videos, 147, 181
Chilean dictatorship, 182n12
Cuban filmmaking, 72n7
Los Archivos del Cardenal (The
Cardinal’s Archives, TV series),
182n12
Argentina
Bolivian migrants in, 17, 191–2, 196
Buenos Aires 2001 street revolts, 47,
51, 56n1
children of disappeared, 4, 19n2,
48–51, 57n3
dictatorships in, 4–5, 19n2, 50–4,
57n3, 168
financial crisis and recessions, 47, 51,
56n1, 57n6
left-leaning governments,
189–90
Menem presidency, 56n1, 57n5
political discourse in, 195–6
257
Argentine filmmaking
auteur documentaries, 47, 55–6
depictions of the present, 51–4
indigenous and community media,
13–14
militant documentaries, 167
political discourse in, 195–6
post-dictatorial documentaries, 5–6,
19n2, 208–9
self in, 47–55, 57n6
subjectivity in, 26, 40, 45–6, 47, 50–2
video technology used for activism
in, 12–13, 168–9
Arizona S.B. 1070 anti-immigration
law, 241, 248n3
Arrieta, Julio, 55
art house cinema, 61
Aruanda (Linduarte Noronha, 1960),
2, 88n2
Asamblea de los Pueblos de Oaxaca
(APPO), 150, 152–9
Asociación Nómadas, 131, 141n7
audience and viewers
collaboration with, 46–8
internet users, 235–6
local and transnational audiences,
155–6
Aufderheide, Patricia, 12, 128–9
Auge, Marc, 226
Auke (Oswaldo Caldeira, 1976), 126
auteur documentaries, 47, 55–6
authenticity, 140
displaced, 35
emotional, 41
authorial expression, 6, 11, 47, 60, 76
collective authorship, 171
hybrid authorship, 132–4
shared authorship, 138
authority, 3, 6, 12, 19n5, 51, 55, 57n6,
76, 77, 79, 82, 88, 152
autobiographical documentaries, 7, 9
fact and fiction in, 101–4, 104n4
narratives, 45, 194–5
postmemory and facts, 49–50
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automobility
elements of, 219, 222–3, 232–3
human body and, 226–8
moving images and transportation
flows, 219, 220, 230–1
systems of, 222–6
traffic jams and, 221
see also car culture
autonomy
of affect, 160–1
struggle for, 153
Avaeté: Semente de Vingança (Zelito
Viana, 1985), 126
Avellar, José Carlos, 126
Ávila, Benjamín, 56
Ávila López, Enrique, 21nn6–7, 209,
216nn6–7
Ay Taquicgu (My Little Music, Alberto
Muenala, 1991), 141n5
Azpúrua, Carlos, 17–28, 189, 191,
193, 197
Bachelet, Michelle, 119n2
Back, Sylvio, 125, 126
Badariotti Merlo, Santiago, 27–8
Bajo Juárez, la ciudad devorando a sus
hijas (Alejandra Sánchez Orozco
and José Antonio Cordero,
2006), 9
Bakhtin, Mikhail, 85–7, 196,
220–1, 225
Balaisis, Nicholas, 201–2
Balseros (Carles Bosch and Josep Maria
Domènech, 2002), 16, 20n7
Baltar, Mariana, 88n7
Banco Chinchorro, Mexico, 37–40
Barea, Batato, 53
Barreto, Bruno, 99–100, 104n4
Barriga, Susana, 18, 61, 66, 199, 200,
201, 203, 205–7, 214
Barthes, Roland, 25, 110–11, 114–15
Basulto, Pablo, 178
La batalla de Chile (The Battle of Chile,
Patricio Guzmán and Grupo
Tercer Año, 1975–1979), 2, 3, 95,
108, 112, 113, 115, 153, 158
Battleship Potemkin (Sergei M.
Eisenstein, 1925), 173
Bazin, André, 25, 110
BBC documentaries, 127, 128
BBC News, 195
Beattie, Keith, 206, 211, 226
Belmont, Luanna, 98
Beltrán, Sergio, 153
Beltrão, Andréa, 34, 35
Benjamin, Walter, 114, 119n4, 228
Bermúdez, Beatriz, 127, 141n2
Bernal, Gael García, 182n13
Bernardet, Jean-Claude, 6, 25, 79, 93
Bernaza, Luis Felipe, 10, 19n3
Beverley, John, 57n5
Bezerra, Yvonne, 93, 94, 98
Bhabha, Homi, 204
Birri, Fernando, 2, 199, 201
black-and-white images, 38, 64, 146
Blanco y carmín: la murga según Pasión
Quemera (Paula Horman and
Dañel Vidal, 2008), 17
Blaustein, David, 19n2
The Blonds (Los rubios, Albertina
Carri, 2003), 4, 9, 10, 11, 48–56,
57n6
Boca do lixo (Scavengers, Eduardo
Coutinho, 1993), 32
body. see human body
body/machine matrix, 238, 240
body politic, 206
Bolivia
carnival, culture of, 18, 189–90,
193–6
indigenous and community media
in, 13–14, 124, 131–3, 140, 146
indigenous respect for nature,
190–1
March for Land and Dignity, 134
migrants in Buenos Aires from, 17,
191–2, 196
Morales presidency, 18, 133, 189,
191, 194–5
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“Octubre Negro” protests, 193–4
political changes in, 189–90
Bonanza, en vías de extinción (Ulises
Rosell, 2001), 54, 55
Borchmeyer, Florian, 20n9
border-crossing plots, 18–19, 190,
200, 204
borders, 5, 6, 15–16, 126, 135, 139, 191,
192, 206, 209, 240, 241, 244
cinematic production and, 61
generic borders, 61
Bosch, Carles, 16
El Bosque de Sherwood (Sherwood
Forest, Jorge De León, 2008), 11,
63, 67–70, 71
Botín de guerra (David Blaustein,
2000), 19n2
Bourdieu, Pierre, 187
Bracero Program, 18, 239–40
Brazil
Candelária massacre, 93, 94, 98
Collor presidency, 27, 42n4
dictatorships in, 1, 79–80, 125, 168
favelas (communities), 32, 80–3,
88n5
Goulart presidency, 1, 79
indigenous and community media
in, 12–13, 128–31
left-leaning governments, 189
mass media, growth of, 4, 78, 79–80,
125
penal system, 96, 103
political changes in, 1960s, 78–9
street children, 93–4, 98
urban violence and crime in, 80–4,
94, 98
Brazilian filmmaking
changes in, 78–9
Cinema Novo, 78–9, 88n2
dialogical strategies, 76–8, 85–7
individual subjects, emphasis on,
76, 78
national identity in, 79–80
Native Indians, depictions of, 125–6
socially-oriented films, 76–7
259
Vídeo nas Aldeias (VNA)/Video in
the Villages project, 13, 14, 124,
128–31, 135, 140, 146
video technology for activism in,
12–13, 168–9
see also Amazon; Brazil; Coutinho,
Eduardo; Moreira Salles, João
Brewer, Jan, 248n3
Brottman, Mikita, 233
Bruno, Giuliana, 220
Bruzzi, Stella, 11, 47–8, 77, 98
Buenos Aires. see Argentina
Burton, Julianne, 19, 25, 156
Buscándote Habana (Alina Rodríguez
Abreu, 2006), 16
Bus 174 (Ônibus 174, José Padilha,
2002), 4–5, 11–12, 83–4, 88n6,
91–104
Butler, Judith, 101, 102
Cabra marcado para morrer (Twenty
Years After, Eduardo Coutinho,
1984), 1–4, 26–7, 32, 42n2
Cacharreando La Habana (Jorge Grez,
2007), 232
Café con Leche (Manuel Zayas,
2003), 60
Caldeira, Oswaldo, 126
Calle Santa Fé (Carmen Castillo, 2007),
15, 182n15
Cámara en Mano (Handy Camera),
127, 168, 170–1
Las camas solas (Sandra Gómez, 2006),
16, 208
camera/camerawork, 28–33, 38–9, 49,
55, 67, 68, 70–1, 75, 95, 116, 129,
148, 152, 153, 191–2, 206–7, 220
in activist videos, 156–7, 158
aerial shots, 93, 103
camera as political weapon, 4, 169
car-camera rigging, 222, 230–1
close-up shots, 30–1, 35, 38, 107,
138, 157–9, 171, 191–3, 193, 209
fragments, filming, 26, 30–1
framing, 38–40
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camera/camerawork—continued
hand-held video, 116, 148, 151, 155,
206–7
long static shots, 70
nighttime shots, 148
presence of the camera, 92, 98
slow-motion images, 71, 83, 95–6,
100, 112, 176
sound and exaggerated realism, 68
spectacle and, 99
Canal Seis de Julio, 13, 14
Candelária massacre, 93, 94, 98
capitalism, 67, 73n13, 221
Capó, Armando, 11, 59, 62–7, 71–2,
73nn10–11
car-camera rigging, 222, 230–1
car culture
“American way of life” values and,
220, 221
automobility and, 219, 221, 222–6,
232–3
cars as mirrors, 229
in contemporary documentary,
232–3
documentaries on wheels and,
219–20
human body and automobility,
226–8
Isla Chatarra (Karen Rossi, 2007), 18,
219, 221–6, 228–32
moving images and transportation
flows, 219, 220, 230–1
in Puerto Rico, 219, 220–2
sexual fantasies and gender roles,
228–30
social role of cars, 220–1, 225, 232–3
taxi drivers, 232
toy car collectors, 228–9
traffic jam chronotope, 220–1
Carelli, Vincent, 13, 129, 135–6, 139
Carri, Albertina, 4, 9, 10, 11, 48–56,
57n3, 57n6
Carroll, Noël, 147, 158–9
cartographic conception, 199–200,
219, 222
Carvalho, Luciana, 98
Carvalho, Vladimir, 17, 126
CASA Collective, 150
El caso Pinochet (Patricio Guzmán,
2001), 182
Castells-Talens, Antoni, 124
Castillo, Carmen, 15, 119n3, 182n15
Castillo, Debra A., 18–19, 235, 251
Castillo, Tanya María Valette, 202
casting call ads, 32–6
Castro, Fidel, 64, 69
Catholicism, 182n12, 193
CEFREC-CAIB, 13–14, 124, 132–3,
140, 146
Centro de Formación y Realización
Cinematográfica
(CEFREC)/Center for Film
Education and Production, 13–14,
124, 132–3, 140, 146
Centro de Trabalho Indigenista, CTI
(Center for Indigenous Advocacy),
13, 128–9
La Certeza (Certainty, Armando Capó,
2012), 66–7
Céspedes, Marcelo, 4
El Chacal de Nahueltoro (Miguel Littín,
1969), 157
Chambi, Manuel, 141n8
Chanan, Michael, 3–4, 17–18, 19, 26,
47, 187, 199–200, 219, 222,
230, 251
Channel 9 (Mexico), 147, 149, 150, 159
characters, 79, 81–2, 84, 86–7, 102,
158–9, 210, 211, 213
constructing, 93–4, 103
filmmakers as, 9, 29–31
focus on, 32
Chávez, Hugo, 189–90, 191
Chekhov, Anton, 85
Chiapas Media Project, 13, 146,
149, 151
Chile
Allende presidency, 2, 108, 113,
115, 173
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Concertación government
(1990–2010), 108, 113, 119n2, 179
democracy, transition to, 114–15,
118–19, 119n4
disappeared (detained-disappeared)
persons, 48–51, 57n3, 107–8,
111–15, 175–6
exiles from, 179–80
indigenous and community media,
14–15
militant documentaries, 167
military coup of 1973, 173, 182n16
military dictatorships, 2, 108,
114–18, 119n2, 153, 168–9, 169,
170, 175–8, 182n12, 182n16
peasant communities in, 115–18
Pinochet dictatorship, 2, 108,
114–18, 119n2, 153, 169, 182n16
postdictatorship, 208, 209
referendum of 1988, 113, 114
television technology in, 168–9
torture practices, 170, 175–8, 182n11
Unidad Popular government, 108,
113, 153
Chile, la memoria obstinada (Chile,
Obstinate Memory, Patricio
Guzmán, 1997), 2–4, 12, 108–15,
118–19, 182n15
Chilean filmmaking
activist video collectives, 169–73
anti-dictatorship activist videos,
167–70, 170, 181n6, 183nn17–18
video technology for activism in,
12–13, 168–9
Chipaya people, 131
Chirapac, 131
Christensen, Theodor, 60
chronotopes, 196, 220–1, 223, 225
Ciclón (Santiago Álvarez, 1963), 2
Cidade de Deus (City of God, Fernando
Meirelles and Kátia Lund, 2002),
80–2
O Cineasta da Selva (Aurélio Michiles,
1997), 125
Cine-club of Cusco, 141n8
261
Cine de la Base, 167
Cinema Novo, 78–9, 88n2
Cine Mujer, 12
CINERGIA, 202
cities, 16–17, 18, 87, 93, 206
Buenos Aires, 17, 47, 53–5, 56n1,
189, 191–2
Córdoba, 172
in documentary, 174–6, 192, 215,
224, 225
Havana, 10, 16, 61, 67, 68, 70, 208,
209–11, 232
La Paz, 132, 134, 194
Oaxaca, 146, 156
Oruro, 18, 189
Rio de Janeiro, 11, 29, 32, 80–1, 83,
86, 91–3, 96, 103
San Juan, 224, 225
Santiago de Chile, 115, 170, 174,
175, 178
citizen journalism, 188
see also activist videos
Citizen Kane (Orson Welles, 1941), 100
citizenship, globalization and, 15–16,
205–6, 210, 214
Citröen, 220
city films, 211, 220, 226
see also urban documentaries
city symphony documentaries, 18, 206,
208–9, 211
La ciudad de los fotógrafos, (City of
Photographs, Sebastián Moreno,
2006), 12, 109, 115–18
CLACPI, 127, 132, 141n2
Claros, Humberto, 133
class struggles, 54, 55
close-up shots, 30–1, 35, 38, 107, 138,
157–9, 171, 191, 193, 209
coca leaves, culture of, 193, 194, 195
cocaleros (coca-growers), 133, 194–5
Cocanchej Sutimpy (In the Name of
Our Coca Leaves, Humberto
Claros, 2005), 133
Cocolos y rockeros (Ana María García,
1992), 17
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INDEX
INDEX
Coffea Arabiga (Nicolás Guillén
Landrián, 1965), 72n1
Colbert Report (TV show), 248n3
Cold War, 6, 239
Colina, Enrique, 19n3
collaborative media training. see
indigenous media training
organizations
collective authorship and production,
132–4, 171
collective enunciation, 46, 51–4, 56
collective identity, 16, 48, 49–51, 88n7,
200, 201–4
collective memories, 2, 3, 88n7,
117–18, 141, 152, 153
collective scriptwriting and
production, 133–4
collectors, 228–9
Collor de Mello, Fernando, 27, 42n4
Colombia
hybrid documentaries, 141n3
indigenous and community
media, 130
colonialism
neocolonialism, 6, 57n3, 146,
162, 181
post-colonial history, 30, 123–4,
155, 211
techno-scientific consequences
of, 222
color footage, digital, 153
commentary voices, 194–5
community, notion of, 5, 10, 14, 86–7,
88n7, 178, 181
community media. see activist video
collectives; indigenous and
community media
Compromiso cumplido (True to My
Pledge, MaldeOjo TV, 2007), 14,
147, 148, 151, 152, 153, 155–60,
162n2
Comunicación de los Pueblos
Indígenas (CLACPI or Latin
American Council of Indigenous
Peoples’ Film and
Communication), 127, 132, 141n2
Concertación (1990–2010), 108, 113,
119n2, 179
consciousness, 20, 25, 27, 100, 145
diaspora, 211
gendered, 200
of the self, 49
consciousness-raising
documentaries, 126
consumerism
car culture, 219, 223–7
new technology and shifts to, 220
as Western value, 221
Contreras, Andrés, 156
Conversations with the Earth, 131,
142n10
“Conversations with the Pachamama”
videos, 131
Cooper Bates, 151
Coordinadora Audiovisual Indígena
Originaria de Bolivia
(CAIB)/Indigenous Audiovisual
Association of Bolivia, 13–14, 124,
132–3, 140, 146
Copacabana (Martín Rejtman, 2006),
17, 54, 55, 189, 191–2, 196
El coraje del pueblo (Ukamau Group,
1971), 158
Cordero, José Antonio, 9
Córdova, Amalia, 14, 123, 141n4, 251
corporate media. see media (corporate
and state)
Corrêa, Mari, 129–30, 137–9
Correa, Rafael, 189
El corredor (Cristián Leighton,
2004), 17
Corrugated Films, 14, 147, 151
Cortázar, Octavio, 20n7
Coutinho, Eduardo
abstract categories, suspicion of,
76, 78
aesthetic style, 31–3
background and work, 1–6, 19n1,
31–2, 42n5, 80
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Boca do lixo (1993), 32
Cabra marcado para morrer (Twenty
Years After, 1984), 1–4, 26–7, 32,
42n2
camerawork, 32–3
characters, focus on, 32
dialogical dynamic of documentary
performance, 76–7, 85–7, 88n7
documentary framework and style,
32–3
Edificio Master ( 2002), 32, 86–7
editing, 85
O fim e o princípio (2005), 75–6, 86
individualizing vs. generalizing,
focus on, 76, 85, 88
interviews, use of, 42n5, 75–6
Jogo de cena (2007), 10, 27, 31, 32,
35, 36, 37, 40, 41, 85
Moscou (2010), 85
ordinary people, focus on, 76, 85
Peões (2004), 88–9n7
performances, 85–6
production processes, 32–3, 75–6
reenactments of testimonies, 85
Santa Marta: Duas semanas no morro
(1987), 32
Santo Forte (1999), 32
Cowie, Elizabeth, 95–6
creative action, 157–61
creativity
EICTV as space for, 16, 200, 201–4
filmic creativity, 152
imagination, 81–2
performative creativity, 152
crowd-sourced video, 150–2, 159
Cuba
migrant communities, gender and
identity, 211–14
patriarchal nationalism, 205
political discourse in, 195–6
Special Period, 16, 199–205, 207,
209–10
urbanism, crisis of, 16–17, 20n9
Cuban Film Institute (ICAIC), 10, 60,
61–2, 72n1, 199, 200, 202
263
Cuban filmmaking
archives of, 72n7
Capó, Armando, 11, 59, 62–7, 71–2,
73nn10–11
car culture, 232
changes and innovation in, 59, 61–4,
70–2, 204–5
Cuban cinema vs. Cuban audiovisual
culture, 59, 62, 70, 71
cultural narrative in, 11, 71–2
documentary reportage, 195
European filmmakers, influence on,
60, 61
experimental documentaries, 11,
19n3, 63, 67–70
historical identities, 68–70
homosexual representations, 11,
67–70
humor in, 8, 19n3
migration in, 16, 20n7
national allegory in, 63–4, 70, 221
national identity in, 61, 63
new media in, 204–5
nonfiction and fiction, 6, 62
uniqueness of, 62
visual culture and imagery, 205–6
Young Directors Festival, 60, 61–2,
67, 72n3
young filmmakers, 61–2
Cuban Revolution, 11, 16, 60, 68–70,
145, 201–2, 205, 210
cultural advocacy, 13–14, 123–4,
126–31, 132, 139–41, 141n4,
142n13
cultural narratives, 11, 71–2
Cultural Residues: Chile in Transition
(Richard), 107
Cumaná, María Caridad, 202, 215n1
cybraceros, defined, 246
Cybracero website, 235–41, 248n1
daily life, 37–8, 192, 193
Dalton, Scott, 17
dancing, 71, 192–4
Dant, Tim, 220
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INDEX
da Silva, Elza, 93, 104n4
Davidson, Joyce, 204
de Araújo, Agesilau, 125
De Castro, Sergio, 158
Decena, Carlos Ulises, 237, 248
Défossé, Nicolás, 162
deixis and trace, 111–13, 118
De León, Jorge, 11, 59, 62–3, 67–8,
70–2, 73n10
De los Reyes, Aurelio, 15
del Rio, Patricia, 180
democracy, 2, 3, 6, 12
activist documentary questioning,
152–3
Chilean transition to, 114–15,
118–19, 119n4
political action and, 154–5
as Western value, 221
democratic communication processes,
178–81
demonstrations. see protests and
demonstrations
De Nadie (Tin Dirdamal, 2005), 16
Denham, Diana, 150
De Queiroz, Ruben Caxeita, 129
deterritorialization, imagery of, 205–6
Detroit: Ruin of a City (George
Steinmetz and Michael Chanan,
2005), 230
De Volta à Terra Boa (Back to the Good
Land, Mari Corrêa and Vincent
Carelli, 2008), 135, 139
dialectical images, 119n4
dialogical strategies
in Brazilian filmmaking, 76–8, 85–7
dialogue vs., 86–7
fragmentary structure, 223
listening, notion of, 76–7
retelling traumatic events, 133
social realities and performance,
76–8
Diamandaki, Katerina, 238
diasporic filmmakers, 199–201, 213–14
dictatorships. see military dictatorships
Diéguez, Danae, 67
Dieleke, Edgardo, 9, 78
Diez, Daniel, 132
di Girólamo, Claudio, 174, 182n10
digital technology. see internet; media
(new media and technology);
video technology
Dinamarca, Hernán, 168
Dirdamal, Tin, 16
disappeared (detained-disappeared)
persons, 48–51, 57n3, 107–8,
111–15, 175–6
children of disappeared, 4, 19n2,
48–51, 57n3
discrimination
anti-immigration sentiments,
237–48, 248n3
class struggles, 54, 55
outsourced migrant labor, 237–48
race/racial issues, 5, 7, 10, 126, 162,
214, 238, 239, 241, 242–5, 248n3
sexual minorities, 10, 11, 67–70
stereotypes, 99, 243–7
virtual identity and racism, 238–41
displacement
effects of, 187, 188
emotional geography, 204, 205,
206, 208
emotion and imagery, 206–8, 210–11
indigenous communities, 133–4,
138–9
time/space and, 196
distribution processes
activist videos, 14, 149–50, 162n3,
169–70, 174, 178–9, 181
in Cuba, 61
Hollywood and North American
control of, 187–8
informal methods, 204
internet and digital technology for,
149–50, 188, 204, 236, 247
Di Tella, Andrés, 4, 9, 11, 52, 53
Dittborn, Eugenio, 175
Doane, Mary Ann, 112–13
docudramas, 14, 124–6, 133, 140–1,
145–6, 157–9
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Doculab, 203
documentaries of return, 179–80,
182n15
documentaries on wheels, 219–20
see also car culture
documentary displays, 206, 210–11,
214, 226–30
documentary realism, 150–2
documentary reportage, 18, 189, 194–6
Domènech, Josep Maria, 16
Domínguez, Ricardo, 247
do Nascimento, Julieta, 93, 94
do Nascimento, Sandro, 83, 91–100,
102–4, 104n3
Donde nació un imperio (Jorge Ruiz
and Augusto Roca, 1949), 131
Donoso, Mariano, 52
Downey, Juan, 127
dreams, 64–7
drug trafficking, 17, 80–2
Dueñas Becerra, Jesús, 72n1
Dutilleux, Jean-Pierre, 126–7
Echevarría, Nicolás, 19n5
Eco, Umberto, 46
Ecos del desierto (Andrés Wood, TV
series), 182n16
Ecuador
anti-neoliberal ideology, 189
Correa presidency, 189
indigenous and community media
in, 130, 141n4
Sarayaku community, 141n4
Edificio Master (Master, a Building in
Copacabana, Eduardo Coutinho,
2002), 32, 86–7
editing, 28, 85, 96, 103, 128, 135, 150,
156, 159, 162n2, 170, 173, 191
Eduardo, Luís, 98, 103
EICTV. see Escuela Internacional de
Cine y Televisión
Eiland, Howard, 115
Eisenstein, Sergei M., 146, 173
Ejército Zapatista de Liberación
Nacional (EZLN)
265
Other Campaign, 154, 162n3, 163n9,
163n11
zapatismo as indigenous movement,
163n11
Elena (Marcelo Martín, 2012), 16
Elsaesser, Thomas, 220
El Salvador, 189
emerging filmmakers, programs for,
203–4
emotion
affect vs., 27
displacement and, 206–8, 210–11
indeterminacy and, 10, 26, 27, 33,
39, 41
mourning and loss, 101–4, 109, 223
music in films, impact on, 153, 160,
171–3, 175, 181n8, 193, 240
nostalgia, 137, 179–80, 232
political documentaries, 157–61
sensation and trace, 41–2
thought and feeling, 160–1
see also affect
emotional geography, 204, 205,
206, 208
En el hoyo (Juan Carlos Rulfo, 2006), 16
Engardio, Pete, 243
Engler, Mark, 241
enunciation, 46, 48–54, 56
environment and nature
Amazonian deforestation and
displacement, 133–4
explorations of, 38–9
indigenous respect for, 190–1
Eran unos que venían de Chile (Claudio
Sapiaín, 1987), 182n15
Ereira, Alan, 127
Escenas de los muelles (Oscar Valdés,
2012), 6
Escuela Documental de Santa Fé, 167
Escuela Internacional de Cine y
Televisión [EICTV]
collective spaces and identity
formation, 16, 88n7, 200, 201–4
curricula and cultural education
projects, 62–3, 72n6, 201, 203–4
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Escuela Internacional de Cine y
Televisión [EICTV]—continued
establishment of, 199–201
experimental documentaries, 62,
72n7
fiction and nonfiction boundaries,
blurring, 62, 72n6
funding for, 200, 202–3
gender equity for female filmmakers,
199, 202, 205
graduates from, 63, 201–2, 215
indigenous media training, 132
international collaborations and
academic exchanges, 199–204,
215n3
international student body,
201–2
uncertain future of, 199–200
Espejo para cuando me pruebe el
smoking (Alejandro Fernández
Mouján, 2005), 54, 55, 56
Espinosa, Julio García, 155, 201
Estadio Nacional (Carmen Luz Parot,
2003), 15
Esteva, Gustavo, 152–3, 154
Estrellas (Stars, Federico León and
Marcos Martínez), 54–5
ethics
of filmmaking, 6–8, 28, 31,
41, 76
indexical truth, 156–7, 158
subjectivity and, 50
ethnicity, 5, 7, 12, 19, 123–44, 190, 194,
195, 212, 239, 240
virtual ethnicity, 238–41
ethnographic approach, 19n5, 47, 55,
72n7, 125, 127–8, 210–11
ethnographic films. see indigenous and
community media
ethnographic repatriation, 137
European filmmaking, 60, 61
evidence, 30, 54, 92, 100, 102, 111–12,
116, 149, 150, 151, 155, 167, 168,
181, 222
exclusion, effects of, 187, 188
exiles
Chilean filmmakers, 181
Cuban migrants, 205, 211–14
documentaries of return, 179–80,
182n15
nostalgic feelings of, 137,
179–80, 232
traveling filmmakers, 17–18, 187–9
Existen (Esteban Insausti, 2005), 61
experimental documentaries
Cuban films, 11, 19n3, 63, 67–70
humor in, 8, 19n3
indigenous and community media,
123–5
see also hybrid documentaries
Extravío (Daniellis Hernández,
2008), 203
Eyerman, Ron, 157
Facultad de Arte de los Medios de
Comunicación Audiovisual
(FAMCA), 204
Falcón, Ada, 52–3
family/family relationships, 9, 16, 25,
27, 28, 29, 36–40, 38, 48, 49, 64–6,
70, 71, 76, 83, 87, 94, 100, 104n4,
108, 117, 205, 207–8, 209, 212,
214, 225
El Fanguito (Jorge Luis Sánchez,
1990), 16
Fasic, 170
favelas (communities), 32, 80–3, 88n5
Featherstone, Michael, 220
female sterilization, 222
Fernández Mouján, Alejandro, 54,
55, 56
Festival of Three Continents of
Nantes, 131
fictional films
allegorical use of, 66
documentary footage in, 92–3,
99–100
historical events, 182n13
narrative fiction film, 66
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fiction and nonfiction
archival footage in fictional films,
92–3, 99–100
blurring boundaries between, 10, 27,
36–42, 42n1, 62, 72n6, 92–3, 96
in Cuban films, 6, 62
docudramas, 14, 124–6, 133, 140–1,
145–6, 157–9
historical reenactments and
docudramas, 140–1
meaning and, 95–7, 109
in mockumentaries, 235–48
narration and balance, influence on,
94–7
original vs. reenacted, 85
transparency in films, 77, 155
truth claims, 111–13
Figueroa, Luis, 130, 141n8
film festivals. see international film
festivals
filmic creativity, 152
O fim e o princípio (The End and the
Beginning, Eduardo Coutinho,
2005), 75–6, 86
Final Cut Pro, 236
first-person documentaries, 10, 45–6
depictions of the present, 54–6
first-person plural vs. first-person
singular, 46–8, 50, 55–6
fragmented “I” and, 48–51
indigenous and community media,
140–1
investigations of recent history, 51–4
postmemory and recent history,
49–50
testimonial documentaries, 50
first-person voice-over narration, 109
Fitzcarraldo (Werner Herzog,
1982), 130
La flaca Alejandra (Carmen Castillo,
1994), 119n3
flashbacks, 94
Fliman, Hernán, 170
Forest of Bliss, (Robert Gardner,
1986), 211
267
Fotografías (Andrés Di Tella, 2007), 52
fragmentary structure, 223
Fragmento de un sueño (Fragment of a
Dream, Grupo Proceso, 1989),
179–80, 181–2n8
framing, 38–40
freeze frames, 107, 108, 110–14, 154
Frei, Eduardo, 119n2
Freidberg, Jill Irene, 150, 151, 153
Fresa y Chocolate (Strawberry and
Chocolate, Tomás Gutiérrez Alea,
1994), 67
Freud, Sigmund, 101
From the Heart of The World: Elder
Brother’s Warning (Alan Ereira,
1990), 127
Frota, Monica, 12, 128
Furtado, Jorge, 8
Fusco, Coco, 237, 245
El futuro es hoy (The Future is Today,
Sandra Gómez, 2009), 16, 208
Gaines, Jane M., 145
Galaz, Cristián, 183n17
La gallinita ciega (The Blind Hen,
Tatiana Gaviola, 1987), 175
Gallois, Dominique, 129
Gandini, Erik, 63
García, Alfredo, 37
García, Ana María, 17, 222
García Borrero, Juan Antonio, 72n1,
72n4
García Canclini, Néstor, 196
García Yero, Olga, 60
Garibotto, Verónica, 54
Gaviola, Tatiana, 174–8
Gelpí, Juan, 225
gender. see sexuality; women
gendered positionality, 205
Genpact, 243–4
genre, 8, 31, 54, 62, 80, 140, 156, 235
generic fossilization, 53
geography/geographical, 15, 18, 245
“affective geography of
return,” 180
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geography/geographical—continued
“emotional geography,” 204, 205,
206, 208
intimate geography, 206
physical geography, 68
Getino, Octavio, 3, 8, 46, 145–6, 158
Gilpin, Margaret, 10
Ginsburg, Faye, 124
Giucci, Guillermo, 220, 221, 225
Gleyzer, Raymundo, 17, 158, 188–9
globalization
citizenship and belonging, 15–16,
205–6, 210, 214
citizenship and identity, 214
Cuban experience of, 205
new media in filmmaking, 204–5
outsourced migrant labor, 237–48
Puerto Rico, effect on, 18, 220, 221
U.S. cultural dominance and, 243–5
Goldberg, Ruth, 11, 59, 71, 251
Gómez, Antonio, 10, 45, 54, 252
Gómez, Sandra, 16, 18, 199–201,
205–6, 208–11, 214
Gómez, Sara, 7, 10
Gómez-Peña, Guillermo, 237, 245, 247
Gonçalves, Geísa Firmo, 92, 93, 95, 96
Góngora, Augusto, 183n17
González, Elián, 210
González-Day, Ken, 248
González Rojas, Alberto, 154
González-Rubio, Pedro, 10, 27, 36–9
Goulart, João, 1, 79
Granada Television International, 127
grassroots videos. see activist
documentaries; indigenous and
community media
Greengrass, Paul, 99
Grez, Jorge, 232
Gringoyo Productions, 151
El Grito de la Selva (Cry of the Forest,
Nicolás Ipamo, Alejandro Noza
and Iván Sanjinés, 2008), 133–4
Grosfóguel, Ramón, 221
Grupo Alavío, 13–14, 17
Grupo Cine Liberación, 145–6,
146, 167
Grupo Galpão, 85
Grupo Proceso (Process Group), 168,
170, 178–80, 181–2n8
Grupo Ukamau, 145–6, 158
Gualinga, Eriberto, 141n4
Guanabacoa: Crónica de mi familia
(Sara Gómez, 1966), 7
La guaracha de Macho Camacho
(Macho Camacho’s Beat, Sánchez),
220–1
Guarani people, 126
Os Guaranis (Regina Jehá, 1975), 126,
141n1
Guarini, Carmen, 4
Guerra, Ruy, 126
Guevara, Che, 68, 69, 73n13, 210
Guilbe, Carlos, 226–7
Guillen, Michael, 237
Guillén Landrián, Nicolás, 10–11, 19,
59–61, 65–7, 70–2
background and work, 10–11, 19,
59–61, 72nn1–3
Coffea Arabiga (1965), 72n1
foreign quality of films, 60, 61
humor in experimental
documentaries, 19n3
influence on young filmmakers,
59–61, 63
Ociel del Toa (1965), 70–1, 72n1
production and style techniques,
60–1, 65–7
Reportaje (1966), 66, 70–1
Gunning, Tom, 112
Gutiérrez Alea, Tomás, 63, 67, 157, 209
Guzmán, Patricio, 2–6, 25–6, 95,
108–9, 112–15, 182nn15–16
La batalla de Chile (1975–1979), 2, 3,
108, 112, 113, 115, 153, 158
El caso Pinochet (2001), 182
Chile, la memoria obstinada (1997),
2–4, 12, 108–15, 118–19, 182n15
Nostalgia de la luz (2010), 182n16
Salvador Allende (2004), 182n15
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Habegger, Andrés, 4, 52
Hachazos (Andrés Di Tella, 2011),
52, 53
Halbwachs, Maurice, 117
Halkin, Alexandra, 149
Hall, Stuart, 212
Hamburger, Esther, 81, 84
hand-held video, 116, 148, 151, 155,
206–7
Haraway, Donna, 245
Hardt, Michael, 147, 160–1
Hassan, Heidi, 18, 199, 200, 201,
205–6, 211, 213–14
Havana Film Festival, 132, 203
Hayles, N. Katherine, 238
hegemony, 3, 151, 168, 169
Henrichsen, Leonardo, 95, 153
Hentschler, Matthias, 20n9
heritage recovery, 135–6, 139, 141n3
Herzog, Werner, 30, 130
(h) historias cotidianas (Andrés
Habegger, 2000), 4, 52
H.I.J.O.S. (Hijos por la Identidad y la
Justicia contra el Olvido y el
Silencio), 56, 57n3
“hinge” films, 26
Hirsch, Marianne, 49
Hirszman, Leon, 20n10
historical documentaries
disappeared (detained-disappeared)
persons, 4, 19n2, 48–51, 57n3,
107–8, 111–15, 175–6
investigations and narrator
detectives, 52–3
post-colonial history, 30, 123–4,
155, 211
postmemory and reenactments,
49–50
self and recent history, 51–4
historical identities, 68–70
historical narratives, 132–4
historical present, 196
Hollywood, 84, 187–8
Hombres de mal tiempo (Alejandro
Saderman, 1968), 6
269
home and family
documentaries of return, 179–80,
182n15
“portable homelands,” 204–6
returning to, 205, 206
as space, 204–6, 214
homeland narratives, 204, 206–14
homeless children, 93–4, 98
home video footage, 38, 244
homosexuality, 11, 67–70
Honigmann, Heddy, 16–17, 232
La hora de los hornos (The Hour of the
Furnaces, Fernando Solanas and
Octavio Getino, 1968), 3, 8,
46, 158
Horman, Paula, 17
Hotel Bauen (Grupo Alavío, 2008), 17
Huellas de sal (Traces of Salt, Andrés
Vargas, 1990), 180
human body, 29, 35, 107, 112, 113, 118,
148, 152, 160, 240, 247
automobility and displays of, 226–8
body/machine matrix, 238, 240
body of the other, 237
human rights abuses. see military
dictatorships; violence
human rights movements. see activist
videos; social movements
humor
in experimental documentaries, 8,
19n3
in indigenous films, 137
mockumentaries, 18–19, 235–48
as social commentary, 229, 242–3
in socio-political films, 156
Humphreys, Laura-Zöe, 202, 208
Hunikui people, 139
hybrid documentaries
aesthetics, 124–5
Colombian, 141n3
docudramas, 14, 124–6, 133, 140–1,
145–6, 157–9
experimental documentaries, 11,
19n3, 63, 67–70
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hybrid documentaries—continued
indigenous video projects as, 14,
124–6, 140
political documentaries, 156–7
Iauaretê, Cachoeira das Onças
(Waterfall of the Jaguars, Vincent
Carelli, 2006), 135–6
IBERMEDIA, 202
ICAIC (Cuban Film Institute), 10, 60,
61–2, 72n1, 199, 200, 202
Ictus People’s Theatre (Teatro Popular
Ictus), 173–8, 183n17
Ictus TV (Chile), 168, 170, 173–4, 178,
182n9, 183n17
identity
authorial directors, 47, 51
Brazilian national identity, 79–80
collective vs. individual identity, 16,
48, 49–51, 88n7, 200, 201–4
Cuban national identity, 61, 63
cultural identity, promoting, 13–14,
123–4, 126–31, 132, 140, 142n13
first-person plural vs. first-person
singular, 46–8
gender and migration, 211–14
historical identities, 68–70
homosexuality and identity, 10, 11,
67–70
national identity, 17, 61, 63,
79–80, 126
new identities in American
post-modern films, 45–7
self-inscription, 45–7
shared experiences and, 84–7, 88n7
shared identity complex, 188–91
virtual identity and racism, 238–41
Ikpeng, Kumaré, and Karané (Txicão),
137–9, 142n16
Ikpeng people, 137–9, 140, 142n16
Ilha das Flores (Isle of Flowers, Jorge
Furtado, 1989), 8
Illapu (musical band), 179
The Illusion (Susana Barriga, 2008), 61,
203, 206–7
imagery and images
in activist videos, 171–8, 181
affect and political action, 145–5,
157–61, 162
black-and-white images, 38, 64, 146
cars and moving vehicles, 220
chronology and, 32
crowd-sourced photos, 150–2, 159
in Cuban films, 64–5
Cuban visual culture, 205–6, 214
cultural image collages, 237
deixis and trace, 111–13, 118
dialectical images, 119n4
displacement and emotion, 205–8,
210–11
dreams and visions, 64–7
framing, 38–40
freeze frames, 107, 108, 110–14, 154
identity and gender in migrant
communities, 211–14
in media, effect of, 80–4
melodramatic images, 35–6
political time and, 111, 113–15, 117,
118, 119n4
protests and demonstrations, 134,
147, 149–50, 156, 171–8, 193
slow-motion images, 71, 83, 95–6,
100, 112, 176
space/time and, 110–11, 209
urban violence, 80–4
Images of the Repression (MaldeOjo TV,
2007), 149
imagination, 81–2
immigration, 16, 237–48, 248n3
independent video organizations. see
activist video collectives;
indigenous media training
organizations
indeterminacy, 10, 26, 27, 33, 39, 41
index, 25–6, 47, 50, 129, 151, 152
deixis and trace, 111–13, 118
indexical emphasis, 156
indexical truth, 156–7, 158
India Cabaret (Mira Nair, 1985), 82
Indian off-shore facilities, 243–4
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indigenismo, 19
indigenous and community media
advocacy promoted by, 13–14,
123–4, 126–31, 132, 139–41,
141n4, 142n13
Andean communities, 130–1
archival footage, 124, 134–5, 138–40
Argentina, 13–14
Bolivia, 13–14, 124, 131–3, 140, 146
Brazil, 12–13, 128–31
Cuba, 132
emergence of, 123–5
ethnographic, focus of, 37–8
exclusion from corporate media,
127, 187, 188
heritage recovery, 135–6, 139
historical reenactments and
docudramas, 140–1
Mekaron Opoi D’joi (He Who
Creates Images) project,
13–14, 128
other, concept of, 37–8
Peru, 130–1, 141nn6–8
indigenous communities
anticolonial struggle of, 153–4
contact with, 135–40
displacement of, 133–4, 138–9
documentaries embracing issues
of, 126
environment and nature, respect for,
190–1
in Mexico, 146, 153–4, 154
missionization of, 126, 136
Morales as indigenous president, 18,
133, 189, 191, 194–5
multicultural and shared histories of,
5–6
zapatismo as indigenous movement,
163n11
indigenous languages, 131, 135, 188
indigenous media training
organizations
Brazil, 13, 14, 124, 128–31, 135,
140, 146
271
CEFREC-CAIB, 13–14, 124, 132–3,
140, 146
Chirapac, 131
Comunicación de los Pueblos
Indígenas (CLACPI or Latin
American Council of Indigenous
Peoples’ Film and
Communication), 127, 132, 141n2
Conversations with the Earth, 131,
142n10
Coordinadora Audiovisual Indígena
Originaria de Bolivia
(CAIB)/Indigenous Audiovisual
Association of Bolivia, 13–14, 124,
132–3, 140, 146
InsightShare Hubs, 131, 142n10
Sallqavideastas, 131, 142n10
Vídeo nas Aldeias (VNA)/Video in
the Villages project, 13, 14, 124,
128–31, 135, 140, 146
indigenous misrepresentations, 124–5
individualism, 221
Indymedia Oaxaca, 149, 151
Infancia clandestina (Benjamín Ávila,
2011), 56
Insausti, Esteban, 19n3, 61
InsightShare Hubs, 131, 142n10
Instituto Cubano del Arte e Industria
Cinematográficos (ICAIC), 10, 60,
61–2, 72n1, 199, 200, 202
Instituto Nacional de Cine y Artes
Audiovisuales (INCAA), 57n6
Instituto Nacional Indigenista, 124
Instituto Profesional Arcos, 170–1
international film festivals
academic exchanges and
collaborations, 202–4
Bolivian films, 131–2, 132, 134, 190
Cuban films, 72n3, 203–4
for distribution, 187, 236
Festival of Three Continents of
Nantes, 131
Havana Film Festival, 132, 203
indigenous and community media,
131–6, 139
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international film festivals—continued
International Indigenous Peoples’
Film and Video Festival, 139,
146, 149
V American Festival of Indigenous
Peoples’ Film and Video, 135
Young Directors Festival, 60, 61–2,
67, 72n3
International Indigenous Peoples’ Film
and Video Festival, 139, 146, 149
internet
digital and internet technology, 5–6,
13–14, 18–19
digital technologies of place, 204–6
for distribution, 149–50, 188, 204,
236, 247
for performance projects, 247
social media networks, 202, 204
uses of for filmmaking, 5–6, 13–14
virtual identity and racism, 238–41
see also media (new media and
technology)
internet documentaries, 235–6
intertitles, 148, 149
interviews and testimonies, 1, 2, 3, 9,
10, 11, 18, 19n2
in activist videos, 149, 150, 151–2
affect and emotion, 159
archival footage combined with, 84
audiovisual testimonies, 170
car users, 223
in Coutinho’s work, 75–6
nonfiction actors vs. real people,
80–3
original vs. reenacted, 85
performance and, 81–3
political documentaries, 156, 159
reenactments of, 85
shared experiences, 84–7, 88n7
state terrorism survivors, 50
street children, 93–4
testimonial documentaries, 135
witness testimonies, 50, 182n16
Inti-Illimani (musical band), 179–80
intimacy
in first-person documentaries,
48–51, 56
in observational documentaries, 39
spaces and, 205, 206, 214
Invisible Cinema website, 236, 237,
245, 248n2
Ipamo, Nicolás, 133
Isla Chatarra (Karen Rossi, 2007), 18,
219, 221–6, 228–32
Isla de Maipo, 115–16
Islas, Alejandra, 10
Ivens, Joris, 60
J. G. Araújo Company, 125
Jabor, Arnaldo, 16, 79
Jaguaribe, Beatriz, 83
Jameson, Fredric, 41, 42n2, 196
Já Me Transformei em Imagem (I’ve
Already Become an Image, VNA,
2008), 135, 139
Jamison, Andrew, 157
Jarlan, André, 174
Jehá, Regina, 126
Jenkins, Henry, 238
Jesuit missionization, 126, 136
JFK (Oliver Stone, 1991), 99
Jiménez Leal, Orlando, 214
Jogo de cena (Playing, Eduardo
Coutinho, 2007), 10, 27, 31, 32, 35,
36, 37, 40, 41, 85
Johnson, Randal, 126
Juárez, Enrique, 172
Kalafatic, Carol, 142n13
Kaplan, Caren, 245
Katari, Tupac, 194
Kaufman, Anthony, 241
Kayapo people, 128
Kayapo Video Project, 127–9
Kiarostami, Abbas, 20n10
Kichwa people, 130, 141nn4–5
Kittler, Friedrich, 238
Klein, Kerwin Lee, 117
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knowledge, 10, 27, 41, 130, 155, 203,
212, 224
absence of, 49
embodied knowledge, 226, 227
local knowledge, 13
scientific knowledge, 222
self-knowledge, 9
subject of knowledge, 226–7
“voices of knowledge,” 93–4
Koconuco people, 141n3
Koehler, Robert, 37, 192
Kogi people, 127
Kracauer, Siegfried, 110
Kuarup (Ruy Guerra, 1989), 126
Kukuli (Luis Figueroa, 1961), 130
labor. see workers
Lagos, Ricardo, 119n2
Lara, María del Carmen de, 9
Last Stop 174 (Bruno Barreto, 2008),
99–100, 104n4
Latin America, as region, 2, 7
Latin American documentary, changes
in, 2–7
Latin American filmmaking
affective elements of, 25, 26–7, 42
anti-North/anti-neoliberalism and,
189–90, 191
changes and innovation in, 59, 61–4,
70–2, 204–5
indigenismo, 5–6, 19n5
militant documentaries, 167
military dictatorships, effect on, 25–6
multiculturalism and diversity in,
5–6
New Latin American Cinema, 2,
42n1, 131–2, 157, 201, 202, 204–5
photographic trace in, 25
revolutionary cinema, 146, 153–5,
157–61, 205–6, 214
self-inscription in, 45, 46
self-reflexivity in, 20–31, 26
social movements, growth of, 190
subjectivity emerging in, 26, 40,
45–6, 47, 50–2
273
Third Cinema, influence on, 7, 46,
53, 146
video activism, 127–32, 168–9
young filmmakers, 190–1
Laub, Dori, 102
law enforcement. see military
dictatorships; police and military
forces
Lechuga, Carlos, 61
Leduc, Paul, 19n5
leftist ideologies, 1, 6, 57n5, 134, 152,
153, 154, 182n11, 189–90, 191
Leighton, Cristián, 17
León, Federico, 54, 55
Leu, Lorraine, 92, 98, 102–3
Leyva Madrid, Marcos, 152
La Libertad (Lisandro Alonso,
2001), 37
lieux de mémoire concept, 28–9, 116–17
Lima, Walter, Jr., 126
Liñero, Germán, 14–15, 167, 181–2n8,
183n18, 252
Linha de montagem (Renato Tapajós,
1982), 20n10
Lins, Consuelo, 19n1, 32, 76, 80, 81, 85,
86, 87
listening, notion of, 76–7
Littín, Miguel, 157
Llosa, Claudia, 141n6
local documentaries, 188
local/translocal filmmaking, 15–19,
146, 155–6
London, England, 206–8
Longhini, Ricardo, 55
Lonquén Furnaces, 115–18
López, Ana M., 10, 19, 25, 42n1, 85,
220, 252
Lord, Susan, 18, 62, 199, 202,
215n1, 252
Los que se quedan (Juan Carlos Rulfo,
2008), 16
Lowenstein, Adam, 101
Löwy, Michael, 189
Lucía (Humberto Solás, 1968),
63, 70
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Luna, Patricio, 133
Lund, Kátia, 17, 80, 81
M. (Nicolás Prividera, 2007), 52
Machado, Jorge, 37–40, 210
Machado, Natan, 37–8, 40, 41
machine/body matrix, 238, 240
machismo, 67–8, 224
Madagascar (Fernando Pérez,
1995), 209
Madeinusa (Claudia Llosa, 2006),
141n6
MaldeOjo TV, 13, 14, 146–7, 149, 151,
157, 162n2
Maldonado, Eduardo, 19n5
El Malecón (Havana, Cuba), 208–11
Malig, Germán, 178
Manns, Patricio, 180
Marangmotxingo Mïrang (From the
Ikpeng Children to the World,
Kumaré and Karané Ikpeng), 142
March for Land and Dignity, 134
Marcovich, Carlos, 209
Margulies, Ivone, 139
Margulis, Paola, 183n18
Mariposas en el andamio (Luis Felipe
Bernaza and Margaret Gilpin,
1996), 10
Marker, Chris, 60
Marti, José, 68, 210
Martín, Marcelo, 16
Martín Barbero, Jesús, 57n5
Martínez, Marcos, 54
Martínez, Margarita, 17
Mashikuna/Compañeros (Alberto
Muenala, 1995), 141n5
Massey, Doreen, 204
Massumi, Brian, 27, 147, 160–1
¿Más vale maña que fuerza? (María del
Carmen de Lara, 2007), 9
Mattos, Sérgio, 80
May, Todd, 148
McLaughlin, Kevin, 115
McMaster, Gerald, 126
meaning, creating, 41, 95–7, 109
media collectives. see activist video
collectives; indigenous and
community media
media (corporate and state)
alternative news sources vs., 12,
13–14, 149, 150–5, 173–4, 178–9
biased reporting by, 148–9
Brazilian culture, saturation of, 4, 78,
79–80, 125
control of information by, 2, 13–15,
127, 187, 188
growth of, 4–5
heterogeneity of, 5
Hollywood, 84, 187–8
indigenous media, exclusion from,
127, 187, 188
non-mainstream media vs., 12, 13
social movement’s takeovers of, 14,
147, 148, 150–9
social visibility given by, 82–4,
92–3, 99
state-owned media, 2, 15, 147, 149,
150, 159, 162n5
urban violence and media images,
80–4
media (new media and technology)
alternate news sources, 12, 13–14,
149, 150–5, 173–4, 178–9
body/machine matrix, 238, 240
changes in documentary production
and, 2, 7, 11–12, 236–7
computer-assisted production, 236–7
consumerism and, 220–1
in Cuban filmmaking, 204–5
effects on viewer experience, 238
internet and digital technologies,
uses of, 5–6, 12–14, 18–19
online social networks, 202, 204
in Puerto Rican filmmaking, 221, 222
racism and virtual identity, 238–41
video technology, 12–13, 168–9, 174,
179, 183n18
virtual ethnicities, 238
websites, 13, 18, 136, 147, 235–7,
240, 241–3, 244, 245, 247
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Megill, Allan, 117
Megkronoti people, 126–7
Meirelles, Fernando, 80
Mekaron Opoi D’joi (He Who Creates
Images) project, 13–14, 128
Mekas, Jonas, 63
melancholia, 30, 31, 41, 101–4
Melaza (Carlos Lechuga, 2012), 61
Memoria del saqueo (Social Genocide,
Fernando Solanas, 2004), 46–7, 50
Memorias del subdesarrollo (Memories
of Underdevelopment, Tomás
Gutiérrez Alea, 1968), 157, 209
memory
collective memories, 2, 3, 88n7,
117–18, 141, 152, 153
deixis and trace, 111–13, 118
documentaries of return, 179–80,
182n15
lieux de mémoire concept, 28–9,
116–17
mourning, effect on, 109
past and present together, 103–4
postmemory, 49–50
self-reflexivity and, 109
spatial dimensions of, 109–11,
115–18, 118
traumatic experiences and, 107–10
Menchú, Rigoberta, 195
Menem, Carlos, 56n1, 57n5
Menéndez, Oscar, 19n5
Menezes, Claudia, 141n2
Mesquita, Cláudia, 76, 80, 81
Mestman, Mariano, 172
O Mestre e o Divino (The Master and
Divino, VNA, 2013), 135
Metal y melancolía (Heddy
Honigmann, 1993), 16–17, 232
meta-time-space documentaries,
109–11, 118
Mexican Revolution, 15, 160, 189
Mexico
activist documentaries in, 152–3
indigenous and community media
in, 13–14, 19n5, 162n2
275
indigenous uprisings and resistance,
153–4
mass media in, 148–9
migrant labor from, 237–48
Oaxaca Uprising, 139, 146–53
post-1968 politics, 17, 158,
188–9
Zapatista social movements, 154,
162, 162n3, 163n9, 163n11
México, la revolución congelada
(Raymundo Gleyzer, 1973), 17,
158, 188–9
Michiles, Aurélio, 125
Migrantes (João Batista de Andrade,
1973), 16
migrants and migration
anti-immigration sentiments,
237–48, 241, 248n3
Bolivian migrants in Buenos Aires,
17, 191–2, 196
border-crossing plots, 18–19
displacement and emotions of,
205–8, 210–11
identity, mobility and place, 15–17,
20n7, 158, 188–9
identity and gender, 211–14
translocal migrant imaginaries, 205
militant documentaries, 167
military dictatorships, 1–2, 3
Argentina, 4–5, 19n2, 50–4,
57n3, 168
Brazil, 1, 79–80, 125, 168
Chile, 2, 108, 114–18, 119n2, 153,
168–9, 169, 170, 175–8, 182n12,
182n16
disappeared (detained-disappeared)
persons, 4, 19n2, 48–51, 57n3,
107–8, 111–15, 175–6
effect on filmmaking, 25–6
genocide, 57n3, 181
torture practices, 170, 175–8,
182n11
missionization, 126, 136
The Mission (Roland Joffé, 1986), 126
Mixtec people, 146, 153, 154
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mobility
automobility and car culture, 219,
221, 222–6, 232–3
human body and, 226–8
migration and, 219–20
as Western value, 221
mockumentaries, 18–19, 235–48
Moore, Michael, 232
Morales, Evo, 18, 133, 189, 191, 194–5
Morales, María, 133
Moreno, Sebastián, 109, 117–18
Moscou (Eduardo Coutinho, 2010), 85
mourning
loss and, 109, 223
traumatic experiences and, 101–4
Muenala, Alberto, 130, 141n5
La muerte de un burócrata (Death of a
Bureaucrat, Tomás Gutiérrez Alea,
1966), 63
Mujeres por la vida (Women for Life),
175, 182n11
multiculturalism and diversity
homosexuality and identity, 10, 11,
67–70
in Latin American filmmaking, 5–6
Muñoz, Lorena, 52–3
music, in filmmaking, 17, 71, 95,
100, 193
of indigenous people, 191–3, 195
political messages and emotions in,
153, 160, 171–3, 175, 181n8,
193, 240
musical documentaries, 17, 179–80
Muxes: Auténticas, intrépidas y
buscadoras de peligro (Alejandra
Islas, 2005), 10
My First Contact (Kumaré, and Karané
Ikpeng/Txicão, 2005), 137–8, 139
Naficy, Hamid, 204
Nair, Mira, 82
Nakamura, Lisa, 238, 245
narration
changes in Cuban films, 61, 62–4,
71–2
commentary voices, 194–5
by filmmakers, 75
first-person voice-over
narration, 109
historical investigations and narrator
detectives, 52–3
homeland narratives, 206–14
in indigenous media, 124–5, 133
in internet-based films, 239
of letters, 207
non-verbal films vs., 191–2
radical political films, 155–6
traumatic experiences, 101–4,
107–10
in urban documentaries, 92–3
narrative documentaries
autobiographical narratives, 45,
194–5
cultural narratives, 11, 71–2
first-person documentaries, 45–51,
55–6, 140–1
historical narratives, 132–4
homeland narratives, 204, 206–14
nation, 2, 5, 6, 11, 15–16, 18, 63–6, 69,
71, 72, 92, 102, 103, 125, 126, 134,
140, 154, 168, 169–70, 174,
179–81, 187–9, 201, 204, 205, 210,
211, 214, 219–33, 236, 238
national allegory, 63–4, 221
National Foundation for Indians
(Fundação Nacional do
Indio), 129
national identity, 17, 61, 63, 79–80, 126
see also Brazilian filmmaking; Cuban
filmmaking; identity
National Meetings of Indigenous
Filmmakers, 136
nature. see environment and nature
Natuyu, 137
Navajo Films Themselves, 127
Navarro, Luis, 115–16
Navarro, Vinicius, 1, 11, 75, 252–3
Nayman, Adam, 36
Nemser, Daniel, 163n12
neocolonialism, 6, 146, 244
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neoliberalism
Argentine economic policies and,
56n1, 57n5
capitalism, 67, 73n13, 221
in Chile, 114
rejection of, 189–90, 191
Neves, Janaína, 98
New Latin American Cinema, 2, 42n1,
131–2, 157, 201, 202, 204–5
new media. see media (new media and
technology)
news
alternative news sources, 13–14, 149,
150–5, 173–4, 178–9
biased reporting in, 148–9
corporate control of information
and, 2, 13–15, 127, 187, 188
see also media (corporate and state)
newsreels, 8, 125
see also archival footage
Nichols, Bill, 11, 77, 126, 129–30, 137,
155–6
Nicolasito. see Guillén Landrián,
Nicolás
Nietos (identidad y memoria),
(Benjamín Ávila, 2004), 56
nighttime shots, 148, 155
La Niña Mala (The Bad Girl, Jorge De
León, 201), 70–1
Nishiyama, Eulogio, 141n8
Noel Nutels (Marco Altberg, 1975), 126
No (Pablo Larraín, 2013), 182n13
Nómadas, 131, 141n7
No me olvides (Don’t Forget Me,
Tatiana Gaviola, 1988), 175–7
nonfiction actors, 80–2
nonfictional performance, 75–6, 77,
79–80
nonfiction and fiction. see fiction and
nonfiction
nonfiction film, fictional aesthetics, 66
non-verbal documentaries, 191–2
No olvidar (Ignacio Agüero, 1982),
119n3
277
No País das Amazonas (Silvino Santos
and Agesilau de Araújo, 1922), 125
Nora, Pierre, 28–9, 116, 117
Noronha, Linduarte, 2, 88n2
Nos Quedamos (We Stay, Armando
Capó, 2008), 63, 64–6
nostalgia, 137, 179–80, 232
Nostalgia de la luz (Patricio Guzmán,
2010), 182n16
Notícias de uma guerra particular
(Bulletins from a Private War,
Kátia Lund and João Moreira
Salles, 1999), 17, 81–2, 83
Nouzeilles, Gabriela, 9, 78
Noza, Alejandro, 133
Nuestra Voz de Tierra¸Memoria y Futuro
(Our Voice of Land, Memory and
Future, Jorge Silva and Marta
Rodríguez, 1982), 141n3
Nueva Imagen, 183n17
NUEVAS MIRADAS forum, 203
Oaxaca Uprising, 139, 146–53
Obama, Barack, 248n3
objectivity, 42, 47, 55
observational documentaries, 39, 76–7,
193–4
Ociel del Toa (Nicolás Guillén
Landrián, 1965), 70, 71, 72n1
“Octubre Negro” protests, 193–4
Oiga, vea (Luis Ospina, 1971), 16
Ojo de Agua Comunicación, 146,
149–50, 151, 162n2
Olivares, Roberto, 149
El olvido (Heddy Honigmann,
2009), 17
Ônibus 174 (Bus 174, José Padilha,
2002), 4–5, 11–12, 83–4, 88n6,
91–104
La operación (Ana María García,
1982), 222
A opinião pública (Public Opinion,
Arnaldo Jabor, 1967), 16, 79
oppositional media. see activist videos
optimism, 159–62
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Opus (Mariano Donoso, 2005), 52
Orgasmo callejero (Street Orgasm,
“music video” 1987), 171–3, 181n8
Orozco, Alejandra Sánchez, 9
Orquesta Rio Infinito (musical
band), 190
Ortega, Luis, 204
Ortega, María Luisa, 17
Oruro, Bolivia, 18, 189–90, 194–6
Ospina, Luis, 16
other, concept of, 37–8
Other Campaign, 154, 162, 162n3,
163n9, 163n11
otherness, 37–8
Outsource2india, 248n4
Pachamama, 131, 190
Padilha, José, 4, 11, 83–4, 91–6, 100–4,
104n4
Paine, Chris, 232
El país de mi padre (Carmen Castillo,
2002), 182n15
Palacios, José Miguel, 12, 107, 253
Palombini, Roberta, 37–8
Panará people, 139
Pank, Peter, 52–3
Pankararu de Brejo dos Padres
(Vladimir Carvalho, 1977), 126
Papá Iván (María Inés Roqué, 2004), 4,
52, 56
Paraguay, military dictatorships in, 168
Paranaguá, Paulo Antonio, 7, 9
Patria (Susana Barriga, 2007), 61
Patricio Aylwin, Patricio, 119n2
Paulo VI (Pope), 182n12
peasant communities, 15–16, 20n7,
75–6, 115–16
Pedrero, Mayckell, 17
Peirce, Charles, 112–13
La peli de Batato (Goyo Anchou and
Peter Pank, 2011), 52, 53
Penske Truck Leasing, 243–4
Peões (Metalworkers, Eduardo
Coutinho, 2004), 88–9n7
Pêra, Marília, 35
Pereira, Renato, 12
Pérez, Fernando, 17, 63, 67, 209
Pérez, Gustavo, 16
performance
Coutinho on, 85–7
dialogical strategies, 76–8, 85–7
in documentaries on wheels, 226–8
fiction and fact, blurring, 92–3
interviews and, 81–3
listening vs. observing and, 76–7
nonfiction actors vs. real people,
80–3
nonfictional performance, 75–6, 77,
79–80, 85
perspectives on reality and, 87–8
professional actors, 33–6, 41
purpose of, 77
reenactments vs. original
testimonies, 85
self-presentation, 83
self-reflexive processes and the other,
85–6
shared experiences, 84–7, 88n7
social actors, 11, 16, 77, 148, 153,
158, 226, 228
staged scenes, 35, 39, 50, 56, 81,
91–2, 98, 134–5, 140, 213–14
subject’s role and, 75–6, 77, 88
see also interviews and testimonies
performative creativity, 152
Peris Blanes, Jaume, 109
El Perro del Hortelano (Renzo Zanelli,
2010), 141n6, 142n12
personal filmmaking, 6, 45–56
perspectives, filmmakers shaping, 191,
196–7
Peru
car culture, 232
indigenous and community media
in, 130–1, 141nn6–8
photography
crowd-sourced photos, 150–2, 159
deixis and trace, 111–13, 118
see also imagery and images
Piña, Manuel, 209
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Pinhanta, Isaac, 130
Pinochet, Augusto, 2, 108, 114–18,
119n2, 153, 169, 182n16
Pírinop: My First Contact (Kumaré, and
Karané Ikpeng/Txicão, 2007), 135,
138–9
La Piscina (Carlos Quintela, 2011), 61
place-making in film, for women, 205
place/space relationships, 16–18
Cuban Malecón in films, 208–11
deterritorialization, 205–6
digital technology and virtualized
places, 204–6
home, returning to, 205, 206
home and family, as space,
204–6, 214
identity, mobility and migration, 17,
158, 188–9
intimate spaces, 205, 206, 214
lieux de mémoire, 28–9, 116–17
El Malecón representing, 208–11
politics of place and self-reflexivity,
205–6
public space, use of, 213–14
social places and car culture, 225
spatial dimensions of memory,
115–18
Plan Nacional Indígena de
Comunicación Audiovisual
(National Indigenous
Communication Plan), 132–3
Pocha Nostra website, 247
Podalsky, Laura, 157
police and military forces, 1–2
farmworkers, abuse of, 239
Rio Candelária massacre, 93, 94, 98
in urban settings, 93
violence of in protests, 56n1, 175–8
see also military dictatorships;
protests and demonstrations
political action
affect and, 145–5, 157–61, 162
political activity vs., 148
radical acts vs., 147–8
political activism. see activist videos
279
political agendas, filmmakers shaping,
191, 196–7
political documentaries, 2, 3, 8, 10,
14–15
depictions of the present in, 54–6
emotion and, 157–61
form and style, 155–7
as hybrid documentaries, 156–7
indexical emphasis and truth,
156–7, 158
investigations of recent history, 51–4
optimism, 159–62
social movements, representations
of, 158–9
socio-political nature of, 25–6
transparency in, 77, 155
traumatic experiences in, 4, 48–51
political mimicry, 145
political prisoners. see military
dictatorships
political reportage, 18, 189, 194–6
political time, 111, 113–15, 117, 118,
119n4
political video documentaries. see
activist videos
politics, representation of, 2
The Politics of Documentary (Chanan),
3–4, 26
Un poquito de tanta verdad (MaldeOjo
TV and Corrugated Films, 2007),
14, 147, 148, 150–9
“portable homelands,” 204–6
post-dictatorial documentaries, 5–6,
19n2
“posthuman” formation, 238
postmemory, 49–50
postmodernism, 41, 45, 47, 50
La Potajera (Havana, Cuba), 67–8
Poveda, Christian, 17
Prelorán, Jorge, 20n7
O prisioneiro da grade de ferro (Paulo
Sacramento, 2003), 17
Los Prisioneros (musical band),
181–2n8
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INDEX
private and public spheres, 25–6, 33,
45, 46, 49, 56
Prividera, Nicolás, 52
Process Group (Grupo Proceso), 168,
170, 178–81, 181–2n8
production processes
changes in Cuban films, 61–2
collective production, 132–4, 171
computer-assisted production, 236–7
independent and activist videos,
168–70, 172–3, 181
informal methods, 204
ordinary people, use of, 75–6
profilmic, 55, 76–7, 91, 145, 152, 156,
157, 227
protests and demonstrations
anti-dictatorship demonstrations in
Chile, 167–8
Buenos Aires 2001 street revolts, 47,
51, 56n1
Chilean 1983 demonstrations, 169,
171–8
collectivity and, 152, 153
indigenous uprisings and resistance,
153–4
March for Land and Dignity, 134
media takeovers by, 14, 147, 148,
150–9
Oaxaca Uprising, 139, 146–53
“Octubre Negro” protests, 193–4
police and military violence in, 56n1,
175–8
as political acts, 147–55
Zapatista’s Other Campaign, 154,
162, 162n3, 163n9, 163n11
public and private spheres, 25–6, 33,
45, 46, 49, 56
public space, use of, 213–14
public sphere, 2, 4, 6, 25, 56, 80, 102,
191, 195
Puerto Rico
car culture, 18, 219, 221–6, 228–32
consumerism and car culture, 219,
223–7
globalization in, 18, 220, 221
industrialization and spatial
transformation in, 221
science and technology in films,
221–2
status as U.S. territory, 233n1
Quilapayún (musical band), 179
Quintana, Carmen Gloria, 177
Quintela, Carlos, 61, 66
race/racial issues, 5, 7, 10, 126, 162,
214, 238, 239, 241, 242–5, 248n3
see also discrimination
Radio Plantón, 150, 156, 159, 163n13
radio transmissions, 65
Rancière, Jacques, 147–8, 150, 152–4,
156, 159, 161–2
Raoni (Jean-Pierre Dutilleux and Luiz
Carlos Saldanha, 1978), 126
“rasquache aesthetic,” 237
realism
documentary realism, 150–2
in indigenous media, 123
reenactments
artificial reconstructions, 92–3
fiction and nonfiction in, 92–3
historical films and docudramas,
140–1
postmemory and, 49–50
professional actors, 33–6, 41
of testimonies, 85
reflexivity, 8, 9, 11
see also self-reflexivity
reframing techniques, 117–18
Rejtman, Martín, 17, 54, 55, 189,
191–3, 196–7
Renov, Michael, 8, 45–7, 51, 56, 77, 112
repetition, 34, 101, 104
reportage, political, 18, 189, 194–6
Reportaje (Nicolás Guillén Landrián,
1966), 66, 70–1
representational strategies
actors, 33–5, 49, 80–2
actors vs. real people, 81–3
documentary displays, 206, 210–11,
214, 226–30
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historical representations of past,
103–4, 111–15
location and place, 208–11
political reportage, 18, 189, 194–6
politics of place and imagery, 205–6
reenactments, 33–5, 85, 124–5,
137–41
slow-motion images, 71, 83, 95–6,
100, 112, 176
social movements and political
videos, 158–9
traumatic experiences, 93–7, 101–4,
107–10
see also narration
República Guarani (Sylvio Back,
1978/1982), 126
revolutionary cinema, 68–70, 146,
153–5, 157–61, 205–6, 214
Revolution (Maykel Pedrero, 2009), 17
Reyes, Dean Luis, 61–2, 72n7
rhetoric, 7–8, 11, 45–8, 52, 55, 152,
156–7, 227, 240, 242, 245
Richard, Nelly, 107–9, 114
Rios, Luis, 12
Rivera, Alex, 18–19, 235–48, 248n1
on “cybracero” terminology, 239
Cybracero website, 235–9, 241,
248n1
The Sixth Section (2003), 236
Sleep Dealer (2008), 235, 236, 242,
245, 248
Why Cybraceros? (Alex Rivera,
1997/2003), 18, 235–42, 248n2
Robin Hood, 68–9
Roca, Augusto, 131
Rock Brasília: Era de ouro (Vladimir
Carvalho, 2011), 17
Rodríguez, Gabriel, 226–8
Rodríguez, Juan Carlos, 1, 18, 219, 253
Rodríguez, Marta, 20n7, 20n10, 141n3
Rodríguez Ramos, José M., 124
Roger and Me (Michael Moore,
1989), 232
Rojas, M. Claudia, 117
Rolando, Gloria, 9–10
281
Romero, Luis Alberto, 56n1
Ronkonkamekra, vulgo Canela (Walter
Lima Jr., 1974), 126
Roqué, María Inés, 4, 52, 56
Rosell, Ulises, 54
Rosenfeld, Lotty, 175
Rossington, Michael, 117
Rotman, Brian, 238
Rouch, Jean, 63, 127
Los rubios (The Blonds, Albertina
Carri, 2003), 4, 9, 10, 11, 48–56,
57n6
Ruffinelli, Jorge, 19n1
Ruiz, Jorge, 131–2
Ruiz, Ulises, 152, 156–7
Ruiz Alamanza, Ariadna, 62
Ruíz Navia, Oscar, 37
Rulfo, Juan Carlos, 4, 16
rural communities, 15–16, 20n7, 75–6,
115–16
Sacramento, Paulo, 17
Saderman, Alejandro, 6
Sainz, Damián, 72n7
Salas, Pablo, 178
Salazar, Juan, 141n4
Salford University, 203
Salinas, Horacio, 179–80
Salles, João Moreira, 4, 10, 17, 27–31,
41, 78, 81
America (1989), 27
background and work, 27–8
Notícias de uma guerra particular
(1999), 17, 81–2, 83
Santiago (2007), 9, 10, 11, 26–31,
40, 41
self-reflexivity, 30
Salles, Walter, 5, 27
Sallqavideastas, 131, 142n10
Salvador Allende (Patricio Guzmán,
2004), 182n15
Sánchez, Jorge Luis, 4, 16
Sánchez, Luis Rafael, 220–1
Sanjinés, Iván, 5, 132, 133
Sanjinés, Jorge, 131, 132, 146, 158
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Santa Marta: Duas semanas no morro
(Eduardo Coutinho, 1987), 32
Santiago (João Moreira Salles, 2007), 9,
10, 11, 26–31, 40, 41
Santo Forte (Eduardo Coutinho,
1999), 32
Santos, Silvino, 125
Sapiaín, Claudio, 182n15
Sarayaku people, 141n4
Sarno, Geraldo, 16
Sayad, Cecilia, 11–12, 76, 83–5, 91, 253
Schiwy, Freya, 14–15, 130, 253
School of Three Worlds, 199, 201
science and technology, 47, 55, 104,
222, 223
in films, 221, 222
science fiction, 235
Sector Industria, 203
self
in Argentine documentary, 47–55,
57n6
cars as mirrors to, 229
depictions of the present and, 54–6
first-person plural vs. first-person
singular, 46–8
fragmented “I” and, 4, 48–51
investigations of recent history and,
51–4, 57n6
social self, 45–6, 51, 56
self-determination, 13, 85, 123–4,
127, 213
self-reflexivity
documentaries of return, 179–80,
182n15
indigenous media, 127
in Latin American films, 8–11, 26
memory and, 109
other and the self, 85–6
politics of place and, 205–6
“Ser un ser humano” (“To be a human
being”) project, 202–3
Seubert, Emilia, 130, 137
sexual fantasies and car culture, 228–30
sexuality
homosexuality and identity, 10, 11,
67–70
machismo culture, 67–8, 224
transvestites, 10
shared experiences, 84–7, 88n7
shared identity complex, 188–91
Sheller, Mimi, 227, 230
Shining Path movement, 130
Shohat, Ella, 126
Shome, Raka, 213
La sierra (Scott Dalton and Margarita
Martínez, 2005), 17
Silva, Jorge, 20n10, 141n3
Silva Henríquez, Raúl, 182n13
Sinclair, John, 162–3n5
Sirionó (CEFREC-CAIB, 2008), 133–4
The Sixth Section (Alex Rivera,
2003), 236
Sleep Dealer (Alex Rivera, 2008), 235,
236, 242, 245, 248
slow-motion images, 71, 83, 95–6, 100,
112, 176
slum communities, 32, 54, 55, 80–3,
88n5
Sobchack, Vivian, 100
social actors, 11, 16, 77, 148, 153, 158,
226, 228
social inequality
affect and political action, 145–5,
157–61, 162
investigated by documentaries, 93–7
slum communities, 32, 54, 55, 80–3,
88n5
working class, roles of, 17, 20n10
see also women
socially-oriented filmmaking, 10–11,
76–7, 78–9, 88n2, 167–70
see also activist videos
social media networks, 202, 204
social movements
growth of in Latin America,
189–90, 190
Oaxaca Uprising, 139, 146–53
zapatismo as indigenous movement,
163n11
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Zapatista Other Campaign, 154, 162,
162n3, 163n9, 163n11
see also protests and demonstrations
social protests. see protests and
demonstrations
social reality
fiction and nonfiction, 80, 83,
132, 133
media images, effect on, 80–4
perspectives on and performance,
87–8
shared experience and, 84–7, 88n7
social self, 45–6, 51, 56
social visibility, 82–4, 92–3, 99
Sociedad General de Autores y Editores
(SGAE), 202
socio-political struggles, 25–6
see also globalization; political
documentaries
Sola, la extensa realidad (Gustavo
Pérez, 2003), 16
Solanas, Fernando E., 3, 4, 8, 26, 46–7,
50, 145–6, 158
Solás, Humberto, 63
Sommer, Doris, 221
Sontag, Susan, 25
Sosa, Naile, 71
Sosa Villavicencio, Flavio, 152
sound
in activist videos, 172, 173
audible physical experiences, 41
color-and sound filmmaking, 131
commentary voices, 194–5
exaggerated realism, 68
multiple voices, 223, 232
musicalization and sound, 193, 194
narration of letters, 207
non-verbal documentaries, 191–2
non-verbal films vs., 191–2
political messages in music, 153, 160,
171–3, 175, 181n8
radio transmissions, 65
soundtracks, 193, 194
space/place relationships. see
place/space relationships
283
space/time relationships. see time/space
relationships
Special Period, 16, 199–205, 207,
209–10
spectators, 27, 35, 39, 41, 42, 98–9, 100,
101, 235
Spinoza, 160
spoofs. see mockumentaries
staged scenes, 35, 39, 50, 56, 81, 91–2,
98, 134–5, 140, 213–14
Stam, Robert, 3, 8, 86, 125–6, 141n1
state oppression. see military
dictatorships; police and military
force; protests and demonstrations
Steinmetz, George, 230
stereotypes, 99, 243–7
see also discrimination
Stewart, Michelle, 123
Sting (musician), 127
Stock, Ann Marie, 61, 202
Stone, Oliver, 99
street children, 93–4, 98
subjective filmmaking, 10
subjective point of view, 7
subjectivity, emergence of, 3, 11, 26, 40,
45–6, 47, 50–2, 238
subjects, roles of, 9, 11
in documentaries on wheels, 226–8
emotion and, 161
filmmakers as characters, 9, 29–31
interviews and self-presentation, 83
ordinary people, 75–6
performance and, 75–6, 77, 88
in political documentaries, 48
self and nature of “I,” 48–54
as social actors, 11, 16, 77, 148, 153,
158, 226, 228
staged but natural performance, 39
women as social and political
subjects, 211–14
subtitling, 28, 157, 203
Suite Habana (Fernando Pérez, 2003),
16–17, 67
Switzerland, 211, 212
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symbolism
Bolivian carnival, 193–4
home and family, as space,
204–6, 214
in indigenous media, 71, 153, 192–4
landscapes, 71
suggestive qualities of, 191, 196–7
Szeman, Imre, 214
Talent Campus, 203
Taller de Línea y 18 (Nicolás Guillén
Landrián, 1971), 70
talleristas, 190, 191
Tapajós, Renato, 20n10
Tariano people, 135–6
Teatro Popular Ictus (Ictus People’s
Theatre), 173–8, 183n17
Teixeira, Elizabeth, 26
Teixeira, João Pedro, 1
Telemisión/Teleanálisis, 170, 181n6,
183n17
TeleSur, 188
Televisa (Mexico), 148, 150, 156,
162–3n5
television
in Brazil, growth and popularity of,
79–80
in Chile, technology for, 168–9
footage and images from, 11, 83, 92,
97, 100
see also media (corporate and state)
Televisión Nacional (Chile), 182n12,
183n17
Television Serrana, 132
La televisión y yo (Television and Me,
Andrés Di Tella, 2002), 9, 11
Terada, Rei, 159–60
Terra dos Índios (Zelito Viana,
1979), 126
testimonies. see interviews and
testimonies
Testimonio 1 (Hernán Fliman,
1979), 170
theater companies, 173–8, 183n17
The Social Documentary in Latin
America (Burton), 19, 25, 163–4
Third Cinema, 7, 46, 53, 146
Thrift, Nigel, 204
Tierra roja (Red Land, Heidi Hassan,
2007), 211, 212, 213, 214
Tillman, Maja, 131, 142n10
time/space relationships
automobility and gendering of,
228–30
car culture and traffic jams, 220–1
chronotopes, 196, 220–1, 223, 225
collective spaces and identity
formation, 16, 88n7, 200, 201–4
displacement, 196
freeze frames and, 107, 108,
110–14, 154
historical present, 196
memory, spatial dimensions of,
109–11, 118
meta-time-space documentaries,
109–11, 118
political time, 111, 113–15, 117, 118,
119n4
reality and human activity, 196
Tire dié (Fernando Birri, 1958–1960), 2
Tolosa, Isabel, 182n10
Torok, Maria, 101
Toro negro (Pedro González-Rubio,
2005), 37
Torres, Fernanda, 35
torture, 170, 175–8, 182n11
trace
emotion and affect, 28–9
notion of, 25, 27, 41–2
photographic trace, 25
sensation and, 41–2
traffic jam chronotope, 220–1
Transferencia de Medios Program
(TMA), 162n2
translocal filmmaking, 15–19, 146,
155–6
transnational aesthetic, 200
transnational audiences, 155–6
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transnational collaborations, 61, 131
in Cuba, 18, 200–2
transnational filmmakers, 202, 215n3
transnational filmmaking, 15–19, 146,
155–6
transparency, in films, 77, 155
traumatic experiences
memory of, 107–10
narration of, 101–4, 107–10
representation of, 93–7
retelling of, 133
self and fragmented “I,” 4, 48–51
traveling filmmakers, 17–18, 187–9
Traverso, Antonio, 14–15, 167, 181, 254
Triqui people, 146, 153, 154
truth claims, 111–13
Tully, Michael, 39
Tupper, Pablo, 180
Turner, Terence, 128
TV Azteca (Mexico), 148, 150, 156,
162–3n5
Twenty Years After (Cabra marcado
para morrer, Eduardo Coutinho,
1984), 1–4, 26–7, 32, 42n2
Txicão, Kumaré, and Karané (Ikpeng),
137–9, 142n16
Ukamau Group, 145–6, 158
U-Matic video technology, 168–9, 174,
179, 183n18
UN Convention on Narcotic
Drugs, 195
UNESCO, 142n15, 202
UNICEF, 188
Unidad Popular government, 108,
113, 153
United Farm Workers (UFW), 239
United 93 (Paul Greengrass, 2006), 99
United States
anti-immigration sentiments,
237–48, 248n3
anti-North ideologies and,
189–90, 191
capitalism, promotion of, 67,
73n13, 221
285
car culture and, 221
free trade treaties, 189
new identities and post-modern
films, 45
unskilled and migrant labor in,
235–42, 248n2
urban documentaries, 16–17
Brazilian urban violence, 80–4
car culture, 18, 219–26, 228–32
city films, 211, 220, 226
city symphony documentaries, 18,
206, 208–9, 211
Cuban crisis of urbanism, 16–17,
20n9
documentaries on wheels, 219–20
urban imaginaries, 6–7
urban violence, 4, 5, 11, 12, 17, 80–4,
88, 91–104
see also protests and demonstrations
Urrusti, Juan Francisco, 19n5, 127
Urry, John, 219, 222–3, 226, 230
Uruguay
military dictatorships in, 168
young filmmakers, 190
Valadão, Virginia, 129
Valdés, Oscar, 6
Valdez, Ruben, 68
Varda, Agnès, 60
Vargas, Andrés, 180
Variety magazine, 191, 192
Vector, 178
“Venceremos” (hymn), 153, 160
Venciendo el Miedo (Conquering Fear,
María Morales, 2004), 133
Venegas, Cristina, 14, 204
Venezuela
auto-ethnographic films, 127
Chávez presidency, 189–90, 191
La verdadera historia de Johnny Good
(The True Story of Johnny Good,
Pablo Tupper and Patricia del Rio,
1990), 180
Viana, Zelito, 126
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Vicaría de la Solidaridad (Vicariate of
Solidarity), 175, 182n12
La vida es silbar (Life Is to Whistle,
Fernando Pérez, 1998), 63, 209
Vidal, Aram, 205
Vidal, Dañel, 17
La vida loca (Christian Poveda,
2008), 17
video activism. see activist videos
video letters, 132, 135, 204
video-making collectives. see activist
video collectives
Vídeo nas Aldeias (VNA)/Video in the
Villages project, 13, 14, 124,
128–30, 135, 140, 142n15, 146
accomplishments and awards, 136,
142n15
video technology
activism in Latin America and,
12–13, 168–9
home video footage, 38, 244
U-Matic video, 168–9, 174, 179,
183n18
Villarejo, Amy, 92, 96
violence
Candelária massacre, 93, 94, 98
drug trafficking, 80–2
media images, influence on, 80–4
Oaxaca Uprising, 14, 139, 146–55
torture practices, 170, 175–8, 182n11
urban violence, 4, 5, 11, 12, 17, 80–4,
88, 91–104
Viramundo (Geraldo Sarno, 1965), 16
Virgen India (Jorge Ruiz and Augusto
Roca, 1949), 131
virtual ethnicity, 238
virtual identity and racism, 238–41
visibility, 82–4, 92–3, 99
visual culture, 71, 205–6
¡Viva México! (Nicolás Défossé,
2009), 162
Vivanco, Carmen, 107–8, 111–15
Viveros, Mario, 151
VNA. see Vídeo nas Aldeias
“voices of knowledge,” 93–4
Volveré y seré millones (I Will Return
and I Will Be Millions, Jorge
Fuentes, 2009), 18, 189, 194–6
La voz de los ochenta (The 80s Voice,
Yerko Yankovic, 1984), 182
El vuelco del cangrejo (Oscar Ruiz
Navía, 2009), 37
Vuelve Sebastiana! (Jorge Ruiz,
1953), 131
“Vuelvo” (I Return, song), 180
Walker, Janet, 179, 180
Waugh, Thomas, 77
Webber, Andrew, 220
websites, 13, 18, 136, 147, 235–7, 240,
241–3, 244, 245, 247
see also media (new media and
technology)
Welles, Orson, 100
Whitehead, Anne, 117
Who Killed the Electric Car? (Chris
Paine, 2006), 232
Who the Hell Is Juliette? (Carlos
Marcovich, 1997), 209
Why Braceros? (Wilding Butler for
Council of California Growers),
239, 242, 248n2
Why Cybraceros? (Alex Rivera,
1997/2003), 18, 235–42, 248n2
Wilding Butler, 248n2
Will, Brad, 153
Williams, Gareth, 163n9, 163n11
Wilson, Pamela, 123
Wolf, Sergio, 52–3
women
activist video collectives, 175, 182n11
car culture and gender roles, 228–30
Cine Mujer, 12
female sterilization, 222
feminist organizations, 12
gender equity for female filmmakers,
199, 202
identity and gender, 211–14
machismo and gender identity,
67–8, 224
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as narrators, 239
place-making in film, 205
support for women filmmakers, 199,
202, 205
torture survivors, 175–8, 182n11
women as social and political
subjects, 9, 211–14
Women for Life (Mujeres por la vida),
175, 182n11
Wood, Andrés, 182n16
workers
Oaxaca teacher’s strike, 139,
146–7, 148
outsourced migrant labor, 235–42,
248n2
roles of working class, 17, 20n10
unions for, 54–5
Worth, Sol, 127
Wortham, Erica, 124, 162n2
Xavier, Ismail, 76–7, 79, 103
Xina Bena (New Era, 2006), 135
Ya cayó (We’ve Brought Him Down,
MaldeOjo TV, 2006), 14, 147–52,
155–9, 162
287
Ya es tiempo de violencia (Now Is the
Time for Violence, Enrique Juárez,
1969), 172
Yankovic, Yerko, 181–2n8
Yanomami people, 127
Yndio do Brasil (Our Indians, Sylvio
Back, 1969/1995), 125
Yo hablo a Caracas (Carlos Azpúrua,
1978), 193
Yo no le tengo miedo a nada (I Don’t
Fear Anything, Tatiana Gaviola,
1984), 175
Yo no sé qué me han hecho tus ojos (I
Don’t Know What Your Eyes Have
Done to Me, Lorena Muñoz and
Sergio Wolf, 2003), 52–3
Young, Deborah, 61
Young Directors Festival, Havana, 60,
61–2, 67, 72n3
YouTube, 204, 236
Yube, Zezinho, 139
Zamorano, Gabriela, 133–4
Zapatistas, 154, 162, 162n3, 163n9,
163n11
Zapotec people, 146, 153, 154
Zarza, Zaira, 18, 62, 199, 254
Zayas, Manuel, 60
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INDEX