
|
Notes, references, film/videography
Notes
1. Bartra interview with Maricarmen de Lara, July 18, 2009. [return to text]
4. For further information on the decriminalization of abortion in Mexico, see Lourdes Enríquez and Claudia de Anda (eds.), Despenalización del aborto en la Ciudad de México. Argumentos para la reflexión, Mexico City, PUEG-UNAM/GIRE/Ipas, 2008
4. For the use of the concept neofeminism see my text Neofeminism in Mexico, Working Paper # 33, Durham: Duke-UNC-Chapel Hill, May 2001.
5. For example, Laura Mulvey, Annette Kuhn, Ann Kaplan, Maggie Humm, Annette Smelik in English, Norma Iglesias, Márgara Millán, Julia Tuñón and Maricruz Castro in Mexico, just to mention a few.
6. See for example, Ma. de Carmen Rodríguez Fernández (ed.) Diosas del celuloide. Arquetipos de género en el cine clásico.
8. Aimée Muñoz Machuca. “Del cine y sus mujeres,” Gaceta Universitaria, Guadalajara, Universidad de Guadalajara, December 13, 1999, p. 17.
9. For more information on Mexican women cineastes of this period, see the book by Elissa J. Rashkin, Women Filmmakers in Mexico, Austin, University of Texas Press, 2001.
10. Interview by Eli Bartra with de Lara, August 11, 2007.
11. Lecture by Maricarmen de Lara, Master’s in Women’s Studies, UAM-X, October 31, 2007.
12. Interview with de Lara, August 11, 2007. She speaks of this also in Patricia Torres San Martín, p. 61.
13. Centro de Capacitación Cinematográfica, Mexico City and Centro Universitario de Estudios Cinematográficos of the Universidad Nacional Autónoma de México, Mexico City. [return to text]
14. Please refer to the filmography below to see how each video and film was funded.
15. Maricarmen de Lara. “Una habitación propia,” in Denise Dresser (ed.) Gritos y susurros II, (Mexico City: 2009), pp .214-215
16. See Eli Bartra, Ana Lau, and Anna María Fernández Poncela. Feminismo en México ayer y hoy, 2002.
17. This documentary has been exhibited by Ambulante in several states of the Mexican Republic and in the capital. It had a significant theatrical distribution but its political content keeps it from television distribution.
References
Ayala Blanco, Jorge. “El parto de los montes feministas,” Intolerancia, 2, Mexico City, 1986, pp. 3-20.
Barnouw, Eric. Documentary. A History of Non-Fiction Film, Oxford: Oxford University Press, 1974.
Bartra, Eli. “Mujeres y política en México. Aborto, violación y mujeres golpeadas,” Política y cultura, 1 (Mexico City: UAM-X, Fall, 1992), pp. 23-33.
Bartra, Eli, Ana Lau, Anna María Fernández Poncela. Feminismo en México, ayer y hoy, 2nd ed., Mexico City: UAM, 2002.
Betancourt, Javier. “Voces silenciadas, libertad amenazada,” Proceso 1687, February 28, 2009
[also available at http://www.proceso.com.mx].
Castro Ricalde, Maricruz. “Cine hecho por mujeres en el discurso periodístico de la década de los ochenta en México,” Iztapalapa, Year 23, No. 53, Mexico City: UAM-I, 2002, pp. 188-201.
-----------. “El feminismo y el cine realizado por mujeres en México,” Razón y palabra, 46, online journal, August-September, 11 pp.
[http://www.razonypalabra.org.mx/anteriores/n46/index.html]
Ciuk, Perla. Diccionario de directores del cine mexicano, Mexico City: Consejo Nacional para la Cultura y las Artes (CONACULTA) and Cineteca Nacional, 2000.
Cortés Rocha, Busi. “De enjundias ancestrales. Un punto de vista personal sobre cine femenino,” María Ileana García Gossio (coord.), Mujeres y sociedad en el México contemporáneo: nombrar lo innombrable, Mexico City: Cámara de Diputados/Tec de Monterrey/Porrúa, 2005, pp. 233-258.
De Lara, Maricarmen. “Una habitación propia,” in Denise Dresser (ed.) Gritos y susurros II. Experiencias intempestivas de otras 39 mujeres, Mexico City: Aguilar, 2009, pp. 205-216.
------------. “Mientras haya de dónde cortar,” in Francisco Blanco Figueroa (ed.). Mujeres mexicanas el siglo XX. La otra revolución, vol. 3, Mexico City: Edicol. 2001, pp. 455-467.
De Lauretis, Teresa. “Repensando el cine de mujeres: teoría estética y teoría feminista,” in Marysa Navarro and Catherine R. Stimpson (eds.), Nuevas direcciones, Buenos Aires: Fondo de Cultura Económica, 2001, pp. 203-232.
-----------. “Rethinking Women’s Cinema. Aesthetics and Feminist Theory,” in Patricia Erens (ed.). Issues in Feminist Film Criticism, Bloomington/Indianapolis: Indiana University Press, 1990, pp. 288-308.
García, Natacha. “María Carmen de Lara: ‘Lo importante no es el formato, sino la historia’,” Babab, January 6, 2001
Huacuja del Toro, Malú. Los artistas de la técnica. Historias íntimas del cine mexicano, Mexico City: Imcine/Plaza y Valdés, 1997.
Humm, Maggie. Feminism and Film, Bloomington/Edinburgh: Edinburgh University Press/Indiana University Press, 1997, pp. 3-35.
Iglesias, Norma (ed.) Miradas de mujer. Encuentro de cineastas y videoastas mexicanas y chicanas, Berkeley: Colegio de la Frontera Norte and Chicana/Latina Research Center University of California, Davis, 1998.
Kaplan, Ann E. Feminism and Film, Oxford: Oxford University Press, 2000.
Kuhn, Annette. Women’s Pictures. Feminism and Cinema, 2d. ed., London: Verso, 1994.
------------. “Textual Politics,” in Patricia Erens (ed.), Issues in Feminist Film Criticism, Bloomington/Indianapolis: Indiana University Press, 1990, pp. 250-267.
La Boletina, Órgano Informativo de la Red Nacional de Mujeres, Year 2, No. 4, March 1983.
Lesage, Julia. “The Political Aesthetics of the Feminist Documentary Film,” in Patricia Erens (ed.), Issues in Feminist Film Criticism, Bloomington/Indianapolis, Indiana University Press, 1990, pp. 222-237.
Lejeune, Paule. Le cinéma des femmes, Paris: Atlas, 1987.
Millán, Márgara. “El otro espejo. Cine y video mexicano hecho por mujeres,” in Marta Lamas (ed.), Miradas feministas sobre las mexicanas del siglo XX, Mexico City: FCE/Conaculta, 2007, pp. 386-443.
------------. Derivas de un cine en femenino, Mexico City: UNAM-PUEG, 1999.
Nichols, Bill. Representing Reality. Issues and Concepts in Documentary, Bloomington/Indianapolis: Indiana University Press, 1991.
------------. La representación de la realidad, Barcelona: Paidós, 1997.
Rich, Ruby B. “In the Name of Feminist Film Criticism,” Heresies, No. 9, New York: Heresies Collective, 1980, pp. 74-81.
Rodríguez Fernández, María del Carmen (ed.). Diosas del celuloide. Arquetipos de género en el cine clásico, Madrid: Jaguar, 2006.
Rovirosa, José. Miradas a la realidad. Entrevistas a documentalistas mexicanos, Vol. II, Mexico City: CUEC-UNAM, 1992, pp. 83-104.
Siles Ojeda, Begoña. “Una mirada retrospectiva: treinta años de intersección entre el feminismo y el cine,” Caleidoscopio, 1, March 2000. [http://www.divshare.com/download/880961-589]
Sjogren, Britta. Into the Vortex. Female Voice and Paradox in Film, Urbana-Chicago, University of Illinois Press, 2006.
Smelik, Anneke. And the Mirror Cracked. Feminist Cinema and Film Theory, Nueva York, Palgrave, 2001.
Torres San Martín, Patricia (ed.) Mujeres y cine en América Latina, Guadalajara, Universidad de Guadalajara, 2004.
Tovar, Luis. “Cinexcusas,” La Jornada Semanal, February 18, 2001.
[http://www.jornada.unam.mx/2001/02/18/sem-columnas.html]
Vega, Patricia. “¿Tendrán algún día acceso al cine industrial? Eclosión de cortometrajistas y videoastas mujeres enriquece el panorama fílmico mexicano,”
[also available at http://www.jornada.unam.mx/
1999/09/06/cineastas.htm]
Vértiz de la Fuente, Columba. “Voces silenciadas,” Proceso 1697, Mexico, May 9, 2009.
[Also available at www.proceso.com.mx]
Filmography and videography
|
FILMS |
Date |
Production |
María del Carmen de Lara |
Crew |
Technical data |
1979
|
CUEC
Mexico |
Collective Direction, Photography and Script.
AMOR P... AMOR |
Co: Javier Hinojosa and Alfonso Morales |
16 mm. B/W. |
1980 |
CUEC
Mexico |
Co-Research, Script, Co-Direction.
NO ES POR GUSTO
About prostitution in Mexico City |
Co: María Eugenia Tamés
Photo: Alejandro Gamboa |
16 mm. B/W Documentary. |
1982 |
CUEC
Mexico |
Script and Direction.
PRELUDIO
About motherhood and professional life |
Photo: Maripi Saenz
Sound: Penélope Simpson |
16 mm. B/W,
Fiction.
With Janet Macari. |
1983 |
CUEC
Mexico
|
Script and Direction.
DESDE EL CRISTAL CON QUE SE MIRA
On the fantasies and ghosts of a housewife
|
Photo: Jaime Carrasco. |
20 min. 16 mm. Color
Fiction with
María Rojo and Emilio Echeverría.
“Premio Nacional
de la Juventud” |
1986 |
Independent
film
Mexico |
Direction, Editing, Co-Production.
NO LES PEDIMOS UN VIAJE A LA LUNA
The seamstresses were one of the sectors most affected by the 1985 earthquake in Mexico City. The workers lost their jobs and in some cases, their lives. This eventually led to reveal the wretched conditions in which they worked. This documentary was made shortly after the earthquake, and shows the seam-stresses’ struggles to denounce their situation, and form a union. |
Photo: Maripi Sáenz.
Sound: Penélope Simpson.
Edition: Cristina Gómez
Montage advisor: Leopoldo Best. |
58 min.
16 mm.
Documentary.
Ariel and Diosa de Plata, México.
4 Internacional Prizes for Best Documentary. |
1994 |
MEXFAM-Mexico. |
Direction and Script.
QUIZÁS... EL SABER MÁS
Women health promoters in a community where there is no doctor |
Photo: Maripi Saenz.
Sound: Susana Gonzalez. |
45min. 16mm.
Color Documentary. |
1994 |
Mac Arthur Foundation and Calacas
y Palomas S.A. Mexico.
Mac Arthur Foundation- Filmoteca UNAM;
SNCA-FONCA
Mexico |
Direction and Script
NOSOTRAS TAMBIÉN
Based on real events, this video recounts the story of a psychologist who works with women infected with VIH-SIDA. The production combines testimonies with some staged scenes. |
Co-script: A. Liguori.
Photo: Maripi Saenz.
Sound: Sybille Hayen.
Edition: de Lara and Ximena Cuevas. |
16 mm and Post Betacam Colour. Fiction.
Acting: Dolores Heredia.
Norma Del Rivero.
Daniel Giménez Cacho.
Jesusa Rodríguez.
Zaide Silvia Gutiérrez.
Adriana Olivera
Nominated for the Ariel
Prize: Best Cientific Film
|
1997 |
Opera Prima. Hubard Bals Foundation for Script
Mexico |
Co-script.
EN EL PAÍS DE NO PASA NADA |
Co: Laura Sosa. |
90 min. Hubard Bals, Amsterdam
Comedy. |
1999-2000 |
Opera Prima. IMCINE, Filmanía & Ibermedia
Mexico |
Direction and Script for a feature.
EN EL PAIS DE NO PASA NADA
A comedy that brings together characters from greatly different social classes, and which offers a critique of the corruption and double life of poli-ticians. Elena is married to Enrique, a corrupt politician. She doesn’t have to worry about money, but her family life leaves her unsatisfied, so she creates an imaginary world in which she is a superhero. One day she discovers that Enrique has been cheating on her. He is kidnapped by a naïve couple, and his em-ployees have also come up with a plan to revenge themselves for his pernicious conduct. |
Photo: Arturo de la Rosa.
Edition: Sigfrido Barjau and Jorge García. |
90 min. 35 mm.
Best Film OCIC Award.
Mayahuel
Best Actor and Actress, Festival Internacional Guadalajara. |
|
VIDEO AND DIGITAL WORKS |
Date |
Production |
María del Carmen de Lara |
Crew |
Technical data |
1984 |
TV Series, Chanel 11 Mexico
Thirteen programs
Mexico |
Direction and Production.
VIAJE POR TU CUERPO |
Chanel 11 crew. |
27 min. 1 Inch, Color;
4 cameras. |
1986 |
UNICEF.- ONU.
Mexico |
Direction, Editing and Production.
BUSCANDO UN NUEVO EQUILIBRIO |
ILCE crew. |
30 min. 3/4", Color.
Documentary. |
1986 |
Programa de Capacitación, Instituto
Latino- Americano de Capacitación Educativa
Mexico |
Direction, Editing and Production.
TECNICAS Y TERAPIAS |
ILCE crew. |
30 min.
3/4"
Color.
Documentary. |
1986 |
Special
program for Chanel 11
Mexico |
Direction y Production.
LA FLOR DE NOCHEBUENA |
Chanel 11 crew. |
27 min. 1 Inch, Color. |
1986 |
Special P
p
rogram for Chanel 11
Mexico |
Direction and Production.
LA CALACA BAILARINA |
Chanel 11 crew. |
27 min. 1 Inch, Color. |
1992 |
Transmission
in 19 countries
|
Co-Script, Co-direction, Production
SIDA, ENFERMEDAD DE NUESTRO TIEMPO. CADENA DE LAS AMERICAS. |
Co: Leopoldo Best.
|
4 hours.
Betacam and Digital.
Documentary. |
1992-93 |
Calacas y Palomas S.A.
Mexico
|
Co-Script, Co-direction, Production
EL MEJOR DUETO DE AMERICA, HERMANAS AGUILA. CHAP. 4.
SERIES: Las que viven en ciudad bolero |
Co-dir: Leopoldo Best.
Co-script: Alfonso Morales
Photo&Edit:
Leopoldo Best. |
27 min.
Betacam.
Documentary |
1993 |
FONCA (Fondo de
Co-inversiones y Proyectos Culturales)
y Calacas y Palomas, S.A.
Mexico |
Co-Script, Co-direction, Production
TRILOGIA DE LA INSPIRACION, CHAP. 2 CONSUELO VELAZQUEZ. SERIES: Las que viven en la ciudad bolero |
Co-dir: Leopoldo Best.
Co-script: Alfonso Morales
Photo&Edit:
Leopoldo Best. |
27 min.
Betacam. Documentary.
Prize Gran Canaria Best Documentary |
1993 |
Calacas y Palomas for the Fideicomiso Rockefeller
Bancomer
Fonca—New York |
Co-Script, Co-Direction, Production
TRILOGIA DE LA INSPIRACION.
CHAP. 1. MARÍA GREVER.
SERIES: Las que viven en la ciudad bolero |
Co-dir: Leopoldo Best.
Co-script: Alfonso Morales
Photo&edit:
Leopoldo Best. |
27 min.
Betacam.
Documentary |
1993 |
Calacas y Palomas S.A. for IMCINE-CNCA.
Mexico |
Co-Script, Co-Direction, Production
HOMENAJE NACIONAL A CANTINFLAS. |
Co-direction: Leopoldo Best.
Co-script: Alfonso Morales
Photo: Leopoldo Best.
Edition: Leopoldo Best. |
60min.
Digital-
Betacam. Documentary |
1994 |
SNCA-FONCA; UPA and Calacas y Palomas, S.A.
Mexico |
Co-Script, Co-Direction, Production.
TRILOGIA DE LA INSPIRACIÓN.
CAP. 3 EMMA ELENA VALDELAMAR
SERIES: Las que
viven en la ciudad bolero. |
Co-direction: Leopoldo Best.
Photo and
Co-script: Alfonso Morales
Edition:
Leopoldo Best.
|
27 min.
Betacam.
Documentary |
1994-95 |
SNCA-FONCA; UPA and Calacas y Palomas, S.A. |
Co-Script, Co-Direction, Production with L. Best.
LA VOZ PASIONAL, AMPARO MONTES.
SERIES: Las que viven en la ciudad bolero |
Photo and Edition:
Leopoldo Best.
Co-script: Alfonso Morales |
27 min.
Betacam.
Documentary |
1995 |
Calacas y Palomas S.A. for GIRE.
Mexico |
Direction and Script. DECISIONES DIFICILES.
This production presents four stories about women who want to interrupt their unwanted pregnancies. It is based on real events and different testimonies. |
Photo: Cristian Calónico.
Edition:
Leopoldo Best. |
30 min.
Betacam.
Fiction. |
1995 |
Calacas y Palomas, S.A.
Mexico |
Direction.
TRES HISTORIAS DE LA MISMA HISTORIA
Program on Sexual Health for Youth. Training. |
Photo:
Antonio
Uruñuela.
Edition: Leopoldo Best. |
30 min.
Betacam. Documentary |
1995 |
Calacas y Palomas for MEXFAM
Mexico |
Co-Direction, Co-Script.
DE AQUI NO SALE
Training Video on Health Education and AIDS. |
Co: Leopoldo Best.
Photo: Antonio Uruñuela.
Edition: Leopoldo Best. |
20min.
Betacam |
1995 |
Calacas y Palomas, for Mac Arthur-FONCA
Mexico |
Direction and Script.
LA VIDA SIGUE
A fictional video based on testimonies with women who have had to face the problems caused by their husbands’ migrations to the United States, from which they have returned infected with VIH-SIDA. |
Photo: Ximena Cuevas.
Edition: Leopoldo Best.
|
30 min.
Hi8-Betacam. |
1996 |
Calacas y Palomas for FORD Foundation - México. |
Direction and Production. TRANSFORMANDO NUESTRAS VIDAS.
A health video, based on interviews with specialists in sexual and reproductive health, and with Indians from Chiapas.
|
Photo: L. Lupone.
Edition: Leopoldo Best. |
30 min. |
1996 |
Fellowship Mac Arthur Foundation-SNCA FONCA
Mexico |
Direction, Script.
ESTAMOS RODEADOS DE TENTACIONES
A video of interviews with young people living in marginal neighborhoods of Mexico City. They discuss sexuality, their parents, machismo, and the use of condoms. |
Photo: Antonio Uruñuela.
Edition: Enrique Ojeda and Leopoldo Best. |
40min. Documentary Betacam.
Video Prize
for Youth, Creativity
and Science. |
1996 |
Calacas y Palomas for GIRE – Red
por la Salud
de las Mujeres
Mexico |
Direction.
MEMORIA DEL TRIBUNAL DERECHOS REPRODUCTIVOS |
Photo: Videomega crew.
Edition: Leopoldo Best. |
5 hours.
Betacam. |
1997 |
Calacas y Palomas for GIRE - Red
por la Salud
de las Mujeres
Mexico |
Direction and Production.
TRIBUNAL DE DERECHOS REPRODUCTIVOS. |
Photo: Videomega crew.
Edition: Leopoldo Best. |
26 min.
Betacam |
1997 |
Calacas y Palomas, S.A. for CORIAC
Mexico |
Direction and Production.
¿QUE ONDA CON
SEXUNAM? |
Photo: Antonio Uruñuela.
Edition: Leopoldo Best |
30 min.
Betacam |
2001 |
GIRE; Calacas y Palomas S.A.
Mexico
|
Direction, Script and Production.
PAULINA EN EL NOMBRE DE LA LEY.
The story of a 13 year old girl who was raped, and got pregnant. The right-wing government would not permit her to have an abortion, even though it was legal. |
Photo: Antonio Uruñuela.
Edition:
Leopoldo Best. |
20 min.
Video
Digital Color. |
2002 |
Calacas y Palomas, S.A. / Co-inversión FONCA / Artistas Reconocidos. Rockefeller-Mac Arthur. (Pilot, 1999)
Mexico |
Direction, Script and Production.
Series GENEROS E IDENTIDADES EN EL NUEVO MILENIO:
LA VELA DE LAS AUTENTICAS INTREPIDAS BUSCADORAS
DEL PELIGRO
A video about a party (vela) organized in Juchitán, Oaxaca, by a group of transvestites, which allows for reflection on sexual diversity and transvestism in Juchitán. In this city, the muxes and gays are a fundamental part of the community. |
Photo: Jack Lach and
Antonio Uruñuela.
Edition: Leopoldo Best |
30min.
Documentary |
2002 |
Calacas y Palomas, S.A. / Co-inversión FONCA / Artistas Reconocidos. Rockefeller-Mac Arthur.
Mexico |
Direction, Script and Production.
MITOS Y MITOTES DEL FALSO MATRIARCADO JUCHITECO.
Juchitán culture is believed to be matriarchal. However, interviews with its inhabitants discover the contrary, as they talk about the inequality and violence of gender relationships. |
Photo:
Jack Lach and
Antonio Uruñuela.
Edition:
Leopoldo Best. |
29min.
DV and
Betacam
Documentary |
2002 |
Calacas y Palomas, S.A. / Co-inversión FONCA / Artistas Reconocidos. Rockefeller-Mac Arthur
Mexico |
Direction, Script and Production.
GUNAXHII GUENDANABANI (AMA LA VIDA)
A testimony of the organization, “Gunaxhii Guendanabani (AMA LA VIDA, Love Life), which is dedicated to preventing AIDS in the city of Juchitán, Oaxaca. Some community members comment in Zapotec on the need for condoms. |
Photo: Jack Lach and
Antonio Uruñuela.
Edition:
Leopoldo Best |
29 min.
DV and Betacam
Documentary |
2002 |
Calacas y Palomas, S.A. SNCA- FONCA. Fellowship Mac Arthur
Mexico |
Direction, Script and Production.
DEL DIFICIL OFICIO DE LOS PUÑETAZOS.
SERIES on Mexican women boxers. |
Photo: Ricardo Flores and Leopoldo Best.
Edition: Leopoldo Best. |
30 min.
Betacam. |
2002 |
DIVERSA, A.C.
Mexico |
Direction and Production. INCIDENCIA PARA EL CAMBIO. |
Photo: Jorge Suárez.
Edition: Leopoldo Best. |
30 min.
Video.
Documentary |
2002 |
INMUJER; Anden. |
Direction, Script and Production.
NO ME DIGAS QUE ESTO ES FÁCIL. |
Photo: Antonio Uruñuela.
Edition: Leopoldo Best |
27 min.
Video.
Fiction |
2002 |
Calacas y Palomas S.A.
Mexico |
Direction and Production.
LA RONDA EN BICICLETA |
Photo: Jorge Suárez.
Edition: Leopoldo Best. |
5 min.
Videoclip.
Digital. |
2002
|
Calacas y Palomas S.A.
Inmujeres D.F.
Mexico |
Direction, Script
MENOPAUSIA Y CLIMATERIO
Experts talk about menopause and climaterio, while women who have experienced it provide their opinions. |
Edition: Fernando Perezgasga.
Photo: Antonio Uruñuela. |
27 Min.
DV and Betacam
Documentary |
2002
|
Calacas y Palomas S.A.
Inmujeres
D.F.
Mexico |
Direction, Scrip
NO SÓLO ES LA SUSTANCIA
This is a video about adolescent addictions. It is organized around the opinions of the members of organizations dedicated to helping young people battle their addictions. |
Photo: Antonio Uruñuela.
Edition: Fernando Perezgasga |
29 min.
DV and Betacam
Documentary |
2006 |
GIRE, Calacas y Palomas S.A.
Mexico |
Direction, Script.
PAULINA CUATRO AÑOS DESPUES
Follow up of Paulina’s Case |
Photo: Antonio Uruñuela.
Edition: Leopoldo Best. |
20 min.
Digital Video Documentary. |
2007 |
FOPROCINE
Calacas y Palomas S.A.
Mexico |
Direction, Script.
¿MAS VALE MAÑA QUE FUERZA?
Women and sports in Mexico: football and boxing |
Photo: Jorge Suárez and Fernando Acuña.
Edition: Leopoldo Best. |
70 min
HD
Documentary |
2008 |
Anden- Calacas y Palomas, UNAM, Mexico |
Direction, Script.
Voces Silenciadas. Libertad Amenazada
On censorship and the freedom of speech in Mexican media, as highlighted by the case of Carmen Aristegui. When Aristegui's contract on W Radio wasterminated and her show went off the air, a disturbing fact became evident: Mexico's political transition in the year 2000 did not inaugurate a new era of plurality in the media. This documentary explores the way the largest media conglomerates have replicated a certain authoritarian vein that was thought to have ended with the PRI era. On the one hand, journalists continue to suffer persecution; on the other, the government passes laws that strengthen the monopoly of information and contribute to the unhealthy balance of power between politics and the media that persists today. Voices Silenced brings together several interviews with prominent journalists, writers and academics who attempt to reconstruct the history of Mexico's civil rights movements and the fight for freedom of speech. At the same time, it attempts to give a voice to those who struggle to ensure the media becomes more democratic. |
Photo: Jorge Suárez.
Edition: Leopoldo Best.
|
90 min.
Video
Documentary |
2009 |
Anden - GDF |
Direction, Script.
REFLEXIONES CIUDADANAS:
I. DE LA PROTESTA A LA PROPUESTA
A History of the Mexican Women’s Liberation Movement
II. DEL CABILDO A LA ASAMBLEA LEGISLATIVA
A history of legislative progress in Mexico City, told through the analyses made by Carlos Martínez Assad, Emilio Álvarez Icaza, and Leticia Bonifaz.
III. DE LA INQUISICIÓN AL MÉXICO DESNUDO.
Carlos Monsivais and Elena Poniatowska are interviewed about recent ideological transformations in Mexico City that allow the existence of progressive movements such as that calling for sexual diversity, as well as the massive response to Spencer Tunnick’s call to participate in his nude photographs in the Zocalo. |
Photo: Jorge Suárez.
Edition: Leopoldo Best.
|
50 min. each chapter.
Video
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