Jorge Sanjinés (born 31 July 1936) is a Bolivian film director and screenwriter. He founded the production group Grupo Ukamau. He won the ALBA Prize for Arts in 2009.[1]
Born in La Paz, Bolivia, Jorge Sanjinés brings highly political films of a revolutionary aesthetic to peasant and working-class audiences in the Andean highlands. The films that characterized the 'New Latin American Cinema' or Third Cinema provided an alternative to First (Capitalist) Cinema, making the social collective act as the protagonists of these films rather than an individual hero.[2]
The 1969 film Blood of the Condor (Yawar Mallku) by Sanjinés reveals the story of the undisclosed sterilization of Andean Indian women by a "Progress Corps" (standing in for the American Peace Corps) clinic. This film is thought to have led to the expulsion of the Peace Corps from Bolivia in an act of anti-imperialist cultural nationalism by the indigenous people.[3]
After showings of Yawar Mallku, Sanjinés learned that many peasants had criticism about the difficulty of his films due to the use of flashback for narration, as his film-making was greatly influenced by European art cinema, and about the lack of attention to denouncing the causes of the indigenous peoples' issues. He took this into account when making his next film, called El coraje del pueblo (The Courage of the People), in 1971, about the Massacre of San Juan. El coraje del pueblo worked with untrained actors, many of them peasants themselves. This marked the beginning of a stage in Sanjinés's career characterized by filming "with the people."[4]
His next film, El enemigo principal (1973)[5] explores the effects of U.S. imperialism through the relationship between wealthy landowners and the indigenous peasant population.[6]
Jorge Sanjinés worked under strained film-making conditions, with limited funding, few production facilities, and little Bolivian movie tradition to draw upon.
Problems of Form and Content in Revolutionary CinemaEdit
In line with other Third Cinema manifestos, Sanjinés advocates moving away from the Hollywood notion of Auteur cinema, to a revolutionary filmmaking style intended to have a political impact[9]
In explaining the importance of revolutionary cinema, Sanjinés makes note of the importance of using film as a method of communication in expressing revolutionary concepts. He argues that film can be a good medium for these ideas because of the widespread communicability of film. Although advocating the use of film, he makes note of the importance of being careful when using such a capitalist concept.
We cannot attack the ideology of imperialism by using its own formal tricks and dishonest techniques, whose raison d'être is to stupefy and deceive. Not only do such methods violate revolutionary morality; they also correspond structurally to the ideology and content of imperialism.
In the argument against Hollywood's notions of cinema, Sanjinés attempts to dissuade from the use of individualism in film. As the Third Cinema is ultimately revolutionary in concept, Sanjinés says that revolutionary films must be a collective work.
Revolutionary cinema, as it reaches maturity, can only be collective, just as the revolution itself is collective.
The use of language and speech, as a revolutionary tool is talked about in depth in this manifesto. The idea of script is challenged, Sanjinés instead advocating using only actors qualified to act out things based on their own memory. An example of this is during the filming of The Courage of the People Sanjinés only used actors who could portray the depicted events as they themselves remember them.
The peasants used the filming to break the silence of oppression and speak openly.
Sanjinés continues to say that "Cinema and reality came together". This shows how Sanjinés views the importance of breaking free from traditional film structures to achieve a truthful and revolutionary final product
The final section of this manifesto talks about the problems of distributing revolutionary cinema, and how it might seem futile to make a film if you have no means of distribution, it is still important to make the film. Although many of these revolutionary films are undistributable where they could have the largest impact, Sanjinés tells of how there are other ways of distributing the film throughout the world and advocates the use of these channels. Although anti-imperialist, Sanjinés advocates the viewings of his films to European and American audiences for educational purposes.
^La Ventana, portal informativo de la Casa de las Americas. (in Spanish). Archived from the original on 2011-07-16. Retrieved 2010-01-31.
^"Problems of Form and Content in Revolutionary Cinema".
^Geidel, Molly. "Sowing Death in Our Women's Wombs": Modernization and Indigenous Nationalism in the 1960s Peace Corps and Jorge Sanjinés' Yawar Mallku. American Quarterly - Volume 62, Number 3, September 2010, pp. 763-786
^Rosalind Galt, Karl Schoonover. Global Art Cinema: New Theories and Histories. 2010, pp. 359.
^. Conacine. Archived from the original on 2011-07-23.
^. faculty-staff.ou.edu. Archived from the original on 2005-04-11.
^Stam, Robert (2003). "Beyond Third Cinema: The Aesthetics of Hybridity". In Gunerante, Anthony R.; Dissanayake, Wimal (eds.). Rethinking Third Cinema. London: Routledge. pp. 31–48.
jorge, sanjinés, born, july, 1936, bolivian, film, director, screenwriter, founded, production, group, grupo, ukamau, alba, prize, arts, 2009, contents, film, career, problems, form, content, revolutionary, cinema, short, films, feature, films, also, reference. Jorge Sanjines born 31 July 1936 is a Bolivian film director and screenwriter He founded the production group Grupo Ukamau He won the ALBA Prize for Arts in 2009 1 Contents 1 Film career 2 Problems of Form and Content in Revolutionary Cinema 3 Short films 4 Feature films 5 See also 6 ReferencesFilm career EditBorn in La Paz Bolivia Jorge Sanjines brings highly political films of a revolutionary aesthetic to peasant and working class audiences in the Andean highlands The films that characterized the New Latin American Cinema or Third Cinema provided an alternative to First Capitalist Cinema making the social collective act as the protagonists of these films rather than an individual hero 2 The 1969 film Blood of the Condor Yawar Mallku by Sanjines reveals the story of the undisclosed sterilization of Andean Indian women by a Progress Corps standing in for the American Peace Corps clinic This film is thought to have led to the expulsion of the Peace Corps from Bolivia in an act of anti imperialist cultural nationalism by the indigenous people 3 After showings of Yawar Mallku Sanjines learned that many peasants had criticism about the difficulty of his films due to the use of flashback for narration as his film making was greatly influenced by European art cinema and about the lack of attention to denouncing the causes of the indigenous peoples issues He took this into account when making his next film called El coraje del pueblo The Courage of the People in 1971 about the Massacre of San Juan El coraje del pueblo worked with untrained actors many of them peasants themselves This marked the beginning of a stage in Sanjines s career characterized by filming with the people 4 His next film El enemigo principal 1973 5 explores the effects of U S imperialism through the relationship between wealthy landowners and the indigenous peasant population 6 Jorge Sanjines worked under strained film making conditions with limited funding few production facilities and little Bolivian movie tradition to draw upon Problems of Form and Content in Revolutionary Cinema Edit Problems of Form and Content in Revolutionary Cinema is a film manifesto written by Jorge Sanjines in 1976 as a part of the Third Cinema Latin American film movement 7 This manifesto along with Glauber Rocha s Aesthetic of Hunger 1965 Julio Garcia Espinosa s For an Imperfect Cinema 1969 and Toward a Third Cinema 1969 by Fernando Solanas and Octavio Getino 8 are accredited to creating the Third Cinema movement In line with other Third Cinema manifestos Sanjines advocates moving away from the Hollywood notion of Auteur cinema to a revolutionary filmmaking style intended to have a political impact 9 In explaining the importance of revolutionary cinema Sanjines makes note of the importance of using film as a method of communication in expressing revolutionary concepts He argues that film can be a good medium for these ideas because of the widespread communicability of film Although advocating the use of film he makes note of the importance of being careful when using such a capitalist concept We cannot attack the ideology of imperialism by using its own formal tricks and dishonest techniques whose raison d etre is to stupefy and deceive Not only do such methods violate revolutionary morality they also correspond structurally to the ideology and content of imperialism Jorge Sanjines https www jstor org stable 10 1525 j ctt5vk01nIn the argument against Hollywood s notions of cinema Sanjines attempts to dissuade from the use of individualism in film As the Third Cinema is ultimately revolutionary in concept Sanjines says that revolutionary films must be a collective work Revolutionary cinema as it reaches maturity can only be collective just as the revolution itself is collective Jorge Sanjines https www jstor org stable 10 1525 j ctt5vk01nThe use of language and speech as a revolutionary tool is talked about in depth in this manifesto The idea of script is challenged Sanjines instead advocating using only actors qualified to act out things based on their own memory An example of this is during the filming of The Courage of the People Sanjines only used actors who could portray the depicted events as they themselves remember them The peasants used the filming to break the silence of oppression and speak openly Jorge Sanjines https www jstor org stable 10 1525 j ctt5vk01n Sanjines continues to say that Cinema and reality came together This shows how Sanjines views the importance of breaking free from traditional film structures to achieve a truthful and revolutionary final productThe final section of this manifesto talks about the problems of distributing revolutionary cinema and how it might seem futile to make a film if you have no means of distribution it is still important to make the film Although many of these revolutionary films are undistributable where they could have the largest impact Sanjines tells of how there are other ways of distributing the film throughout the world and advocates the use of these channels Although anti imperialist Sanjines advocates the viewings of his films to European and American audiences for educational purposes Short films EditSuenos y realidades 1962 Revolucion 1963 Feature films EditUkamau or And So It Is 1966 Yawar Mallku or Blood of the Condor 1969 El coraje del pueblo or The Courage of the People 1971 El enemigo principal or The Principal Enemy 1974 Fuera de aqui or Get out of Here 1981 Las banderas del amanecer 1983 La nacion clandestina 1989 Para recibir el canto de los pajaros 1995 Los hijos del ultimo jardin 2004 Insurgentes 2012 Juana Azurduy Guerrillera de la Patria Grande 2016 See also EditLatin American cinema Third Cinema List of Bolivian films Film manifestoReferences Edit La Ventana portal informativo de la Casa de las Americas Anuncian Premios ALBA de las artes y las letras en FILVEN 2009 in Spanish Archived from the original on 2011 07 16 Retrieved 2010 01 31 Problems of Form and Content in Revolutionary Cinema Geidel Molly Sowing Death in Our Women s Wombs Modernization and Indigenous Nationalism in the 1960s Peace Corps and Jorge Sanjines Yawar Mallku American Quarterly Volume 62 Number 3 September 2010 pp 763 786 Rosalind Galt Karl Schoonover Global Art Cinema New Theories and Histories 2010 pp 359 El enemigo principal Conacine Archived from the original on 2011 07 23 Film Reference SANJINES Jorge Martin1 faculty staff ou edu Archived from the original on 2005 04 11 Stam Robert 2003 Beyond Third Cinema The Aesthetics of Hybridity In Gunerante Anthony R Dissanayake Wimal eds Rethinking Third Cinema London Routledge pp 31 48 Film Manifestos and Global Cinema Cultures Retrieved from https en wikipedia org w index php title Jorge Sanjines amp oldid 1171412781, wikipedia, wiki, book, books, library,
