JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

 

 

Notes, references, film/videography

Notes

1. Bartra interview with Maricarmen de Lara, July 18, 2009. [return to text]

2. Idem.

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.

7. See De Lauretis, 1990, p. 306 [return to text]

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.

 40 min. Format
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

Documentary

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