Titlebook: Small Cinemas of the Andes; New Aesthetics, Prac Diana Coryat,Christian León,Noah Zweig Book 2023 The Editor(s) (if applicable) and The Aut

镀金

Recovering One’s Own Voice to Redefine What is Visible, Desirable and Possible: La Escuela Audiovisured South America since 2011, producing autobiographical documentaries with communities that inhabit the margins of gender and sexuality. This chapter, written by the founder of the film school, examines the history, pedagogy, distinctive features and trajectory of this groundbreaking audiovisual pr

Infirm

COLIC

From the Festival-as-Event to the Festival-as-Process: A Journey Through Community Film Festivals inlarly works about community cinema. The category of festivals from the peripheries, the emergence of exhibition circuits and the appropriation of peripheral audiovisualities are discussed and put in dialogue with the category of community cinema. The author proposes that these community film festiva

Mortal

Eco-Territorial Cinema: An Intercultural, Translocal, and Expanded Community Processrial turn,” as an emerging political-communication practice that is part of the repertoires of the eco-territorial defense networks struggles against the extractive industry in the Ecuadorian Amazon. Using multisited ethnography, the author analyzes the production and exhibition practices of the Ets

RAFF

Notes Toward a History of Amateur Filmmaking in Guayaquil the present. The author argues that these filmmakers and films have been very important in Guayaquil‘s film history, even if they have been systematically excluded from it. She argues that some of Ecuador’s most creative and experimental films have been made by amateur filmmakers in smaller and non

Iniquitous

Atmosphere

Rethinking Subaltern “Modernities:” ,, 1994–2015t it defies the . of Ecuador’s “official cinema.” The characters who comprise “Chomewood” movies tend to be Montubio (coastal peasants) in contrast to the light-skinned, middle-class urbanite characters that comprise the country’s film board-backed cinema. The author situates Chomewood filmmaking in

轻快带来危险

gustation

Crayon

Colombian Popular Cinemas: Expressions from and About Violence cities that narrate local issues with mainstream narratives and aesthetics. Distributed through DVD copies sold by street vendors, as well as online platforms, these films have found an audience in popular sectors that recognize themselves and their surroundings in these films. Drawing on interview