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BEGIN:VEVENT
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CLASS:PUBLIC
DESCRIPTION:With: José Quental (Cinemateca do Museu de Arte Moderna do Rio 
 de Janeiro)\, José Luis Aparicio Ferrera (filmmaker) and Alejandra Larrea 
 Galarza (filmmaker and archivist) This session presents three examples to 
 address the precarious conditions of making Latin American films in and ab
 out the diaspora – and of preserving such works. Following repression in B
 razil\, Júlio Bressane shot his avantgarde film ‘Amor Louco’ (‘Crazy Love’
 \, BR/UK 1971) during his time of exile in London and was only able to pre
 serve a single 16mm screening print upon his return to his home country. ‘
 Tent City’ (CU/USA 1981)\, which Miñuca and Fernando Villaverde filmed in 
 a provisional Cuban refugee camp set up under a Miami highway\, is explore
 d as a type of ‘stateless cinema’ made outside of institutional frameworks
 . Mónica Vásquez’s ‘Tiempo de Mujeres’ (‘Time of Women’\, ECU 1987)\, docu
 ments women’s organisational strategies in an Ecuadorian village after the
  majority of the men have migrated to the US in search of better working c
 onditions. The film itself was marked by fragmentation and displacement fo
 llowing the director’s own migration to Germany.Supported by film excerpts
 \, these three case studies will examine the ways in which the films first
  struggled to come into existence and were subsequently threatened by phys
 ical and historical erasure after they had been made.In English
DTSTART;TZID=Europe/Berlin:20261023T100000
DTEND;TZID=Europe/Berlin:20261023T100000
LOCATION:Si̇nema Transtopia
SUMMARY:Against All Odds: Latin American Experiences of Exile and Diaspora
TRANSP:OPAQUE
X-ALT-DESC;FMTTYPE=TEXT/HTML:With: José Quental (Cinemateca do Museu de Art
 e Moderna do Rio de Janeiro)\, José Luis Aparicio Ferrera (filmmaker) and 
 Alejandra Larrea Galarza (filmmaker and archivist)&nbsp\;This session pres
 ents three examples to address the precarious conditions of making Latin A
 merican films in and about the diaspora – and of preserving such works. Fo
 llowing repression in Brazil\, Júlio Bressane shot his avantgarde film ‘Am
 or Louco’ (‘Crazy Love’\, BR/UK 1971)&nbsp\;during his time of exile in Lo
 ndon and was only able to preserve a single 16mm screening print upon his 
 return to his home country.&nbsp\;‘Tent City’ (CU/USA 1981)\, which Miñuca
  and Fernando Villaverde filmed in a&nbsp\;provisional Cuban refugee camp 
 set up under a Miami highway\, is explored as a type of ‘stateless cinema’
  made outside of institutional frameworks. Mónica Vásquez’s ‘Tiempo de Muj
 eres’ (‘Time of Women’\, ECU 1987)\,&nbsp\;documents women’s organisationa
 l strategies in an Ecuadorian village after the majority of the men have m
 igrated to the US in search of better working conditions. The film&nbsp\;i
 tself was&nbsp\;marked by fragmentation and displacement following the dir
 ector’s own migration to Germany.Supported by film excerpts\, these three 
 case studies will examine the ways in which the films first struggled to c
 ome into existence and were subsequently threatened by physical and histor
 ical erasure after they had been made.In English
END:VEVENT
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