The omnipotent whiteness: the treatment of Civil Rights in the American Hollywood cinema. Three paradigmatic examples of commercial success by Cossalter, Javier

“…The purpose of this article is to analyze three films from different eras concerning the issue of Civil Rights, made in Hollywood by white filmmakers, to examine how, through different strategies, the white man positions himself in a place of power. …”
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“Between Fright and Affection”: Voices of Betrayal and Resistance in the Chilean Transition to Democracy by Albornoz Fariña, Ignacio

“…Throughout the text, it will be argued that Castillo’s film functions as a site for the establishing of a double “mise en scène” of the ‘self’; a place where two divergent life trajectories intersect with each other: that of the filmmaker, present as well in the image, and that of the filmed subject, the “symbol of treason” Marcia Merino. …”
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Of Gods and Men. The Representation of the Osho Phenomenon in Wild Wild Country (2018) by Sanz, Álvaro Martín

“…To this plurality of versions is added the distance that the responsible filmmakers put to-wards the work (for example omitting the use of voiceover) in order to achieve a result free from external interference. …”
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Psychoanalysis in Cinema and Theater: The Reverse of the Message Between the Director and the Viewer as the Antithesis of Scientific Discourse by Cabrera Kahuazango, Carlos Alexis

“…Also, it has been disrupted by the influence of its viewers as direct consumers of his work. In this sense, the filmmaker recognizes himself not only during the creative process of the film in relation to expressiveness and communication with his actors, even his goal goes beyond the construction of the film, it requires a symbolic setting to share his message and finally be able to fully recognize himself through the criticism of the Other when he projects his long-awaited "final product". …”
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The Surviving Love of Marguerite Duras by Suárez, Claudia

“…He, therefore, chooses Marguerite Duras, screenplay writer and filmmaker. The result is the famous film Hiroshima mon amour (1959), which constitutes her debut. …”
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Álex de la Iglesia and the scenes of heights: Symbolism of space from the narrative by Jiménez González, Marcos

“…Álex de la Iglesia is a filmmaker whose recognition has grown exponentially from the 1990s to the present. …”
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The battle of Chile: image, poetry, memory by Humphreys, Derek

“…It is from the films in which the South African artist William Kentridge questions the function of the “memorial” in sites, sometimesforgotten, having witnessed the violence of apartheid, that I propose an approach to the mutation of registers that can be seen in the work of thedocumentary filmmaker Patricio Guzman, between the pure inscription of the image in “La batalla de Chile”, up to the poetic montage of “Nostalgiade la luz”. …”
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The formation of the latin american video movement: conditions, agents and speeches by Aimaretti, Maria

“…As part of a broader investigation, where the Network's path between 1987 and 1992 —the last year of formal existence— is exhaustively reported, this work focuses on the analysis of the material, discursive and cultural conditions that made its emergence possible, to then examine in detail its first year of life, taking into account the different instances of dialogue substantiated by the regional filmmakers.…”
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Cinema in the Vidigal School A philosophy of struggle and resistance in the favela by Fresquet, Adriana, Guedes, Marta

“…The Djalma School of Cinema/CINEAD investigated, with its filmmaking action shared between the teacher and students, the history of the Vidigal favela, Rio de Janeiro. …”
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Peirce’s secondness in true crime documentaries. Annotations on The Jinx: The Life and Death of Robert Durst by López Delacruz, Santiago Martín

“…Through the case study of The Jinx: the life and death of Robert Durst, a true crime documentary that has had important relevance in the recent public and judicial sphere, we propose to analyze the link between the documentary and reality from the triadic model of the sign proposed by Charles Sanders Peirce, and specifically, on how secondness is a mode of meaning that gives documentary filmmaking the ability to transfer the textures of reality to an indexical level.…”
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