After more than six decades since its creation and with a consolidated track record among international documentary festivals, looking back to the origins of Zinebi is almost an obligation to understand the evolution of the event within the framework of the tensions created in the cultural policy of Francoism. The analysis of the first edition program in the light of the Hispanist doctrine that inspired the creation of the Basque Institute of Hispanic Culture, will allow us to verify how political and diplomatic criteria were decisive in the configuration of the festival.

En el presente trabajo analizaremos tres cortometrajes fruto del trabajo conjunto del Teatro Libre Argentino de Títeres (TLAT), dirigido por las artistas Mane Bernardo y Sarah Bianchi, y la productora Cinepa, dirigidos por Leonardo Goilenberg para los proyectores caseros CinepaVisión: Caperucita Roja (1949), Los tres ositos (1950) y Los gnomos salvadores (s.f.). Partimos de la hipótesis de que la libertad ofrecida por un medio como los proyectores caseros, a mitad de camino entre las proyecciones cinematográficas y el consumo hogareño, que más tarde se asociaría a la televisión, permitió realizar un trabajo de experimentación que ubica a estos cortometrajes en una zona de tensión que combina elementos característicos del cine de animación con muñecos y elementos cercanos al teatro filmado. Para ello, comenzaremos por delinear la trayectoria del TLAT, haciendo hincapié en su concepción de un teatro experimental. Luego analizaremos formalmente estos tres cortometrajes para finalmente avanzar sobre algunas reflexiones en torno a la presencia de los títeres en el cine y sus posibles vínculos con el cine de animación que nos permitan arribar a una (re)definición del cine con muñecos capaz de abarcar estos cortometrajes.

This paper is the result of a research process spanning several years at the German Federal Archives. It addresses the relationship established between Falange Española Tradicionalista y de las JONS through the Spanish American Cinematography (CEA) production company and the European film consortium Tobis-Klangfilm, which aimed to secure cinematographic propaganda for the military rebellion of July 18, 1936, against the Second Spanish Republic. The Falange’s strategy implemented with the German film industry to produce short films, documentaries and propaganda newsreels is of great importance for Spanish film history. Its description and analysis provide a basis from which to understand in greater depth the character and functioning of the official film agreements signed by Franco’s Spain and the Third Reich during the Spanish Civil War (1936-1939). Equally, it helps to study the development of their cinematographic relationship after the end of the Civil War. Accordingly, this paper sheds light on the production process of some Falange short films and tries to give answers to some open questions regarding the documentaries Arriba España! and Romancero marroquí.

Secuencias es una Revista de Historia del Cine. Tiene como objetivo contribuir a la difusión de artículos de investigación relativos a la historia del cine y los estudios audiovisuales en cualquiera de sus aspectos u orientaciones, realizados en España y en el ámbito internacional.

The Ufa, Berlin’s Universum Film AG in Germany, was the only film studio that managed to compete with the big Hollywood studios in the 1920s and 1930s. With 140 branches, agencies, and film theatres worldwide, Ufa was a global player in world cinema. Despite its reputation, little has been written about Ufa’s structure abroad, in places like Latin America for instance. Based on Ufa’s correspondences with its partners and other primary sources, the article presents for the first time a look at Ufa’s various activities in the continent, its distribution strategy, marketing, and the problems Ufa encountered in different Latin American countries. The article will focus particularly on the Brazilian market, where Ufa opened the first UFA-Palácio (Ufa Palace) in 1936, in São Paulo. For Ufa, the palace was to be the beginning of its expansion into the Brazilian market and into South America; but the dream of an Ufa do Brasil ended early with the outbreak of World War II.

The films of Jorge Sanjinés and the Ukamau Group occupy the central pages of the history and criticism of Bolivian cinema, as a proposal identified with popular struggles, using a language that would express the cosmovision of the indigenous peoples. The activity of the group has emerged from a scenario marked by the National Revolution of 1952, the Cuban revolution and the emergence of national liberation movements, strongly inspired by the campaign of Che in Bolivia; but also by the Cold War, the military dictatorships and their developmentalist projects, promoted by the United States to counteract the communist «threat». This kind of cinema expresses the views of a progressive sector, but in a society of colonial heritage, it represents a privileged group representing indigenous peoples, ideologically constructed as the problematic subject of the nation, the «Indian». This article, from a situated perspective, proposes to make visible from the production practices the development of asymmetric relations between urban filmmakers and subaltern subjects that could challenge the supposedly collective character of a cinema done with the people.

The article explores the way in which, within the framework of the fifth centenary of the arrival of the Spaniards in America, the Ukamau Group (UG) contributed to the discussion on the prevalence of the effects of the conquest in the present through the film To Receive the Birds’ Song which, due to financing problems, could only be released in 1995. The film, with an enormous visual and musical richness, caused strong adhesions and rejections due to the kind of representation of continued colonial existing tropes in Bolivian identity. However, like much of the work of the group done after The Clandestine Nation (1989), it has scarcely been revisited by the critics and historiography of Latin American cinema. The first part of the work puts the film in context, both in terms of the history of the UG, and the socio-political situation in which its production and reception is inscribed. The second section reviews the notions of internal colonialism and lordly paradox —formulated by Pablo González Casanova and René Zavaleta Mercado respectively— in order to establish a conceptual perspective from which to approach the treatment that in the film receives the problem of colonial continuities The last part analyzes in detail the narrative and visual strategies used by the UG to unveil —up to a certain point— the colonial mark present in the identity narratives and Bolivian daily life of the mid-nineties.

The artistic boom and industrial consolidation that took place in Italian cinema after the Second World War had a wide reception in Argentina. Although Neorealism’s influence has been noticed in Latin American cinemas’ renovation, I consider that the presence of commedia all'italiana (produced over the fifties and sixties) in Buenos Aires’ cinemas has also had a strong effect on spectators ?some of whom would become filmmakers, and who later on took aspects of that model for their own films. Audience’s preference for these movies undoubtedly operated as an important reference for local producers during the following years. In this article, I examine comedies’ reception at a quantitative (observing the screening programmes) and qualitative (analyzing different kinds of reviews) levels. This process has also been part of a broader transnational development of peninsular cinema in Argentina, taking into account the centrality of Italian’s culture in the South American country.

Secuencias es una Revista de Historia del Cine. Tiene como objetivo contribuir a la difusión de artículos de investigación relativos a la historia del cine y los estudios audiovisuales en cualquiera de sus aspectos u orientaciones, realizados en España y en el ámbito internacional.

En los años sesenta, el cine militante buscó compartir y expandir estrategias y herramientas para la lucha política alrededor del mundo. Ici et ailleurs (1969- 1974), la película que Godard filmó con Jean-Pierre Gorin bajo el marco del Grupo Dziga Vertov y editó con Anne-Marie Miéville, no es solo un ejemplo de cine político de vanguardia, sino un recuento auto-reflexivo del resultado de las revoluciones aquí y en otro lado, del devenir de la militancia y el cine comprometido y de su repudio a mediados de los años setenta. En este ensayo, me enfoco en tres elementos que forman parte del legado del cine militante en general, y específicamente de Ici et ailleurs: primero, las lecciones que se pueden derivar de las ordalías derivadas de simpatizar, hablar o imaginar procesos políticos de otros, en otros lados. Segundo, el problema que Godard plantea en películas posteriores a Ici et ailleurs, a lo que llamo la «mediatización de la mediación», como la forma de activismo que siguió al rechazo del marxismo-leninismo como depositario de la política progresiva. Tercero, la no poco problemática transformación de la política de la imagen de Godard en la «política sensible» post-política, un nicho en la producción cultural que se ha dado la tarea de codificar actos políticos inestables en formas mediáticas, transformando la acción y enunciación política en cuestión de expresión.Palabras clave: cine militante, Jean-Luc Godard, Palestina, activismo, política sensible, post-política, compromiso político.Abstract:In the 1960s, militant cinema aimed to share and expand strategies and tools for the political struggle around the world. Ici et ailleurs (1969-1974), the film that Godard shot with Jean-Pierre Gorin within the Dziga Vertov’s Group and edited with Anne-Marie Miéville, it is not only an example of avant-garde political cinema, but also an auto-reflexive account of the outcome of revolutions here and elsewhere, of the development of militancy and committed cinema and of its rejection in the mid of the 1970s. In this essay, I will focus on three elements that form part of the legacy of militant cinema in general and specifically of Ici et ailleurs. Firstly, the lessons that can be derived from the ordeals that come out from sympathizing, talking, and imagining political processes of others, in other places. Secondly, the problem that Godard suggested in films that came after Ici et ailleurs, which I call ‘mediatization of mediation’, such as the form of activism that followed the rejection of Marxism-Leninism as the repository of the progressive politics. Thirdly, the not less problematic transformation of Godard’s politics of the image to the post-politics’ ‘sensitive politics’, a niche in the cultural production that embarked on the role of encoding unstable political acts in media forms, transforming in terms of expression the political action and enunciation.Keywords: Militant cinema, Jean-Luc Godard, Palestine, activism, sensitive politics, post-politics, political commitment.