Conexión. Núm. 09 (2018)
URI permanente para esta colecciónhttp://54.81.141.168/handle/123456789/175327
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Ítem Texto completo enlazado Descubriendo a través de los sentidos algo más que el talking-head: el Documental como Entrevista Panestésica(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-09-05) Carbonell, IsabelleDocumentary interview methodologies are often oversimplified and undertheorized, and talking-heads, the technique most strongly associated with the documentary interview, is often perceived as the sole technique for interviewing while it is only one among many. Alternate methodologies are possible, that take into account the sensorial world, moving beyond the talking-head. Encompassing a multisensory approach not only to interview but also to the entire filmmaking process, I have developed a new method of interviewing called the panesthetic method. Baffle Their Minds with Bullsh*t, Kerry Leigh (2013) features a talking head interview style, while in The Blooming (working title), I stay connected by a lav microphone for over 18+ hours on a boat to Wynn, my interviewee. In contrasting these two case studies, the panesthetic approach emerges as a methodological path to rethinking the documentary interview.Ítem Texto completo enlazado Esterilizaciones forzadas, narrativa participativa y contramemoria digital en el Perú(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-09-05) Brown, Matthew; Tucker, KarenThis article aims to prompt reflection on the ways in which digital research methods can support or undermine participatory research. Building on our experiences of working on the Quipu Project (quipu-project.com), an interactive, multimedia documentary on unconsented sterilization in Peru, it explores the ways in which digital technologies can enable participatory knowledge production across geographic, social and linguistic divides. It also considers the new forms of engagement between knowledge-producers and audiences that digital methods can encourage. Digital technologies can, we contend, help build new spaces for, and modes of engagement with, participatory research, even in contexts such as the Peruvian Andes where digital technologies are not well established or commonly used. Doing so, we argue, entails responding sensitively to the social, linguistic and digital inequalities that shape specific research contexts, and centering the human relationships that are easily sacrificed at the altar of technological innovation.Ítem Texto completo enlazado Introducción: el giro en el nuevo documental peruano(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-09-05) Godoy, MauricioOn June 10, 2003, José Balado inaugurated the Primera Muestra de Documental Peruano. This event is the founding date of contemporary documentary cinema in Peru. The present text seeks to highlight the importance of this event and its impact on the production and reflection around the documentary in Peru.Ítem Texto completo enlazado Mary Jiménez: íntima y universal(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-09-05) Bustamante, EmilioThe present article highlights peruvian filmmaker Mary Jiménez as a pioneer of the first person documentary in Latin America, and intents to prove that in her work there is an intention to meet with the Other and reintegrate the individual with the universe.Ítem Texto completo enlazado Notas sobre el documental peruano contemporáneo(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-09-05) Varotto, ViolaThis article is a summary of the current situation on the Peruvian contemporary documentary and an analysis of the forms of audiovisual language management, the promotion of production, as well the training spaces. It proposes, as a reminder, some contemporary filmmakers whose works have been recognized in the local and international media. Finally, it delineates the profile of the contemporary filmmaker.Ítem Texto completo enlazado Por una cámara animista: manifiesto sobre la simbiosis en el cine documental sensorial y afectivo(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-09-05) Alvarez Astacio, PatriciaThis article plays with the format of the artist manifesto in order to propose a new understanding about the relationship between body and camera in contemporary sensory and affective documentary. The stories we tell ourselves about technology influence how we use it, the narratives we create with it, and how we produce meaning in film. Following the call to develop new perspectives in our Anthropocenic times that will allow us to narrate new stories about ourselves and our others (humans, non-humans, more-than-humans) and to the need of imagining new futures beyond capitalism; this manifesto emphasizes the importance of re-conceptualizing the understanding of the relationship we have with the mechanical body of the camera. Here, I propose to see this interaction of bodies from an animistic or symbiotic perspective, where technology is not just a disposable tool destined to exclusively reproduce a human will. This animistic or symbiotic camera emerges from a dialogue with earlier proposals that marked key trajectories in the history of documentary and ethnographic cinema. The manifestos of Dziga Vertov, Jean Rouch and Maya Deren formulate a relationship between a body and an active camera, that is alive, has a soul, and allows us to tell stories about complex sensible worlds beyond sight. Their proposals present a critical vision of a relationship to technology necessary to create new representations about reality that can responds to changing socio-political contexts. We seek to promote and re-think the production of a documentary cinema that emerges from our interaction with a vibrant camera, generated and generative, to develop narratives that embody us and evoke the intuitive, flexible and porous reality of the world we live in.Ítem Texto completo enlazado Procedimientos visuales para la creación de un ‘guion expandido’ a partir de la confusión y las preguntas en el cine de Ignacio Agüero(Pontificia Universidad Católica del Perú. Fondo Editorial, 2018-09-05) Panizza Montanari, TizianaThis article reflects upon the script of non-fiction cinema. Throughout the documentaries of Chilean filmmaker Ignacio Aguero, there’s an examination of what engines creation in filmmaking: a state of confusion would be fertile for the approach to questions, key to the necesary wandering about in the creative process. Pedro Costa, Andrei Tarkovski, Raul Ruiz y Patricio Guzmán, agree with Aguero that is not possible to construct a film from script writing. In this drift of diagrams, erasures, listings, sketches, an ‘expanded script’ would be a more accurate procedure in the search for a system of relationships established inside of a film.