C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual

"Nosotros también podemos generar desde aquí una fuerza interesante y dialogar con el resto del mundo de igual a igual". Entrevista com Mónica Villarroel

Fabián Nuñez — 2022-11-07

Transcrição da entrevista com a professora, pesquisadora e preservacionista audiovisual Mónica Villarroel, ex-diretora da Cineteca Nacional de Chile e ex-coordenadora executiva da Coordenadoria Latino-Americana de Arquivos de Imagens em Movimento (CLAIM).

"Yo no era cinematecario pero me hice cinematecario sin sorpresa". Entrevista com Luis Elbert

Fabián Nuñez — 2022-11-07

Transcrição da entrevista com o professor e preservacionista audiovisual Luis Elbert, antigo dirigente da Cinemateca Uruguaia.

Editorial

Reinaldo Cardenuto — 2022-11-07

Editorial da revista C-Legenda, número 40.

Cinema e preservação na Argentina

Vanessa Maria Rodrigues — 2022-11-07

Resenha do livro "Cine y preservación: los archivos cinematográficos en la Argentina (1940-2001)", publicado em 2020 por Eugenia Izquierdo

Outras pontes: quando o cinema dialoga com saberes diversos

Andréia Lima — 2022-11-07

Resenha do livro "Outras Pontes – abordagens e objetos emergentes no cinema e audiovisual" (2020), organizado por Marina Cavalcanti Tedesco e Márcio Brito Neto

Apresentação do dossiê "Preservação e audiovisual na América Latina"

Fabián Núñez — 2022-11-07

Apresentação do dossiê "Preservação e audiovisual na América Latina"

From youtube to movie theaters: ecology of user-generated content. Let's debate it beyond the francophone and anglophone borders

Joaci Pereira Furtado — 2022-11-07

Authors commonly draw on digital content (audio-visual or textual) in order to conceive their creations. In fact, since the end of the 2000s, some films and installations have been made with this type of content exclusively. These works allow for an exploration of the internet margins, i.e., the fraction of digital content which is not usually in the spotlight of the average internet user. This, in turn, leads to the preservation of symptomatic fragments of content that until then have remained overshadowed by the massive amount of material available on-line. This phenomenon encourages us to think about these marginal data and the inequalities of the internet, as well as its organization and storage (i.e., memory). This article deals with reuse cinema and its presence in the Anglo-French world, hoping to stimulate debate in Brazil.

The survey of the complete filmography of the undergraduate course on film and audiovisual at Fluminense Federal University: report of an experience

Rafael de Luna Freire — 2022-11-07

This article presents a critical account of the experience of the project “Filmography of the Undergraduate Course on Film and Audiovisual at the Fluminense Federal University: memory, history and preservation” which consisted of research for the compilation of all films made in the scope of the film course at UFF, a of the oldest in Brazil, between 1972 and 2016. The objectives, methodology and results of this project are discussed, reflecting on its importance for the preservation and access of Brazilian university audiovisual production.

The impact of public policies on audiovisual heritage: the case of the Cineteca de la Universidad de Chile under the military dictatorship

Luis Horta Canales — 2022-11-07

The installation of military dictatorships in Latin America, starting in the second half of the 20th century, meant dismantling the pre-existing relationship between the State and the institutions dedicated to culture. In the case of audiovisual heritage, it is of particular interest to address the fragility of archives in the face of cultural policies deployed by authoritarian regimes, making the concept of heritage deterioration more complex. To address this issue, we propose as a case study the Cineteca of the University of Chile, intervened by the dictatorship in 1973 and closed by it in 1976, meaning a dispersal of archives and the irreversible loss of an archival practice. Based on this case, the mechanisms that lead to dismantling the local cultural fabric will be reviewed, first from the paradox of a State that creates conditions to close a public archive, and then the concepts of culture and audiovisual heritage will be stressed.

The workers movement in Chilean cinema since exile

Julia Gonçalves Declie Fagioli — 2022-11-07

In this article, we propose a reading of the film Los puños Frente al canón, recently made available in the digital collection of the Cineteca Universidad del Chile, which refers to the constitution of the Chilean labor movement from the retake of the archives. Filmed in 1975, the documentary directed by Orlando Lubbert and Gastón Ancelovici remained inaccessible for many years, was restored and shown in Chile in 2010 and became accessible online in 2020. Overall, the film tells the story of its emergence and development of the Chilean worker’s movement through the montage of archival images. We also seek to reflect on the return to this movement during the years of the dictatorship, by the directors, during the period in which they were subjected to exile.

The course for film club directors (1958): a decisive moment for the formation of university cinema courses in Brazil (UnB and ECA-USP)

Rafael Morato Zanatto — 2022-11-07

In this article, I intend to demonstrate how the realization of the Course for Film Club Directors (1958) is the epicenter of a process that appropriated the accumulations gained by the previous generation and converged to the formation of university film courses at University of Brasília (UnB) and the School of Communication and Arts (ECA-USP). Therefore, I will present some aspects of these proposals comparing the curriculum of the courses to reveal persistence and discontinuities between their effective political-pedagogical proposals. In this regard, it will be possible to measure the importance of Paulo Emílio Sales Gomes, Rudá de Andrade and the Brazilian Film Archive to infer about the social, artistic and ideological dimension for the formation of university film courses in Brazil.