Jerónimo Arellano has an article in RHM (2016) called “The screenplay in the archive: screenwriting, new cinemas, and the Latin American boom.” The boom novelists also wrote screenplays, not all of which were published. This raises a number of interesting questions I am interested in the article primarily for purposes of course creation. Could one not read boom novels and screenplays together, and watch boom films?
It seems that the Cineteca Nacional and Escuela de Cine Universidad Mayor in Chile have published a series of ten key Chilean screenplays. One could get these, and any films that have been made with them, and there would be a course. Similar projects have been undertaken by the Asociación de Guionistas Colombianos and the Instituto Mexicano de Cinematografía, in collaboration with the Editorial El Milagro.
(Note how this post would be a perfect item for a file for me in Evernote, about courses, and it would be connected to the stable URL of the article, and everything.)
The corpus in question includes screenplays, teleplays, and film treatments written by García Márquez, Vargs Llosa, Cortázar, Donoso and Cabrera Infante during the 1960s and 70s. There is some work on the connection between the Boom and a/v, and between literature and cinema (see the article, p. 116), and Fuentes’ adaptation of “¿No oyes ladrar a los perros?” and Antonioni’s of “Las babas del diablo” are well known. Vargas Llosa wrote one in 1972 for Os sertões. García M.’s Tiempo de morir (1965) is an allegorical Western. Indeed, the Boom writers appear to form a screenwriting collective of sorts (see further examples, p. 117 and beyond; Rimbaud and Juan Goytisolo are involved, as well as connections Idelber and Brett have made between all of this and “Latin Americanism”).
A keyword here would be transmedia studies, transmedia poetics. Consider the concept “nuevo guión hispanoamericano” (p. 119). Fuentes had 32 film projects that were not made into films, but whose existence makes a difference to the understanding of what the boom was. (And note: there is my languishing article on nueva canción; this is all of a piece somehow.) The screenplay of the boom is “born literary,” says Arellano. NOTE: this means that the Boom writers did not always insist on the primacy of the author (pace Beverley)?
An unscientific survey of students revealed these as their favorite films in Spanish. I haven’t seen them all, and some of those I have, I have not seen in a long time. But it is a rather good list.
Azul y no tan rosa
Hable con ella
María llena de gracia
Vivir es fácil con los ojos cerrados
Y tu mamá también
We will see this film!
I don’t know whether to submit these poems to The Nation or to Two Lines. I am thinking Two Lines is a good place to send this author, although they want a longer set than what I was about to send off.
There are other journals: Latin American Literature Today, Modern Poetry in Translation, and more, but the first two are the ones I am drawn to now.
From Austerlitz, I learned about this Resnais short obliquely based on Borges, Toute la mémore du monde. This article, about architecture in the Bibliothèque Nationale of France, complements the film and the novel very well. And here is a set of 13 films of works by Borges and Bioy Casares.
How do you see film “à la Alain Resnais”? There is a moment in Hiroshima mon amour where Emmanuelle Riva says “Bien regarder, je crois que ça s’apprend.” The entire film is about vision, and it is about war, so it is related to Austerlitz.
Related to both Borges and Resnais: Mon amour, reading films; another list of films on Bioy, in a book; another discussion of Bioy, Resnais, and film.
Un fotógrafo que después declaró en Nuremberg.
Y como si no fuera suficiente, aquí van los últimos andaluces de Mauthausen.
Y una más sobre Boix.
Y hay más: el último español de Buchenwald, memorias de Elsa Osaba de Mauthausen, Saturnino Navaso, futbolista de Mauthausen.
Filed under Arts, Cinearte, News
I must work out my ideas for a different kind of film course than I have given in the past.
Ideally the course will work at two levels. Some students will be working on grammar and vocabulary through film, and others will be doing senior-type work.
How to choose the films? Are they: the ones we have streaming from the library [we choose that way], supplemented with my favorite films? We could use the streaming ones as viewing outside of class, and supplement in class with other films. For example, Nana is in the library; we could group it with Zona Sur and other films about domestic workers. (This suggests organizing the course by thematic units.)
Another obvious thematic unit is the guerra sucia — I say this because La historia oficial is in the library and it is a film about which there are many pedagogical materials focusing on language and vocabulary.
Perhaps I could have:
1/ An introduction to cinema studies, and one film a week that we see together.
2/ Two films to choose from for homework, one that has pedagogical materials for grammar and vocabulary, and one that does not.
3/ A final paper or project that, depending on the level of the student, either does or does not depend upon films that have subtitles.
4/ Instead of one overarching theme, some thematic units.
Here is one syllabus, an introduction to film as given in Argentina, with bibliography.
Please comment! This post will grow and change.
⇒ The best political action we can take right now is to work against voter suppression. (Z)
⇒ The roundups of indocumentados are a beginning, and we should pay attention. (Z)
⇒ The use of indocumentados is a form of slavery. Capitalism requires slavery, and slaves must be foreign. (Z)
⇒Racist imperatives fuel the militarization of the border. (Nicky)
⇒Poetry is only a havoc that restores. It dissipates the false pretenses of an ordered world. (Bataille 1943)
Today in culture:
Let’s look at a timeless Vermeer. And another. And more.
An interesting translation magazine: Palabras errantes.
Fifteen Afro-Latin films everyone should see.
I am not your negro is playing now and must be seen.
On Netflix, we must see 13th.
We will see Ixcanul on Netflix as well, and Herzog’s Into the inferno.
Sidney Blumenthal has a smart history of the Trump family in the London Review of Books.
Jonathan Mayhew has good advice on how to learn foreign languages.
Rosie Gray discusses Bannon and the white supremacy movement in The Atlantic.
Nikil Saval writes about Gareth Dale writing about Karl Polanyi, and I would have liked to converse with this man; he is important.
I have heard there is a number you can text to your phone, that will program in the numbers of your senators and representatives. You can do this, too.
I was going to make an announcement about, and a commitment to archiving bibliography in Zotero and/or JabRef, and not an Amazon wishlist or even Evernote. Instead, I simply started.