UCLA DEPARTMENT OF SPANISH AND PORTUGUESE
WINTER 2025
PORT 191
LATIN AMERICAN FILM
THROUGH (RE)CREATION
MW 12:00-1:50PM
PUBLIC AFFAIRS 1329
Professor: Patrícia Lino
[email protected]
Zoom ID: 965 449 2228
Office Hours: M by appointment
Language: English, Portuguese, or Spanish (may vary according student preference).
The syllabus is my intelectual property. Therefore, any reproduction or unauthorized circulation is forbidden.
WINTER 2025
PORT 191
LATIN AMERICAN FILM
THROUGH (RE)CREATION
MW 12:00-1:50PM
PUBLIC AFFAIRS 1329
Professor: Patrícia Lino
[email protected]
Zoom ID: 965 449 2228
Office Hours: M by appointment
Language: English, Portuguese, or Spanish (may vary according student preference).
The syllabus is my intelectual property. Therefore, any reproduction or unauthorized circulation is forbidden.
Students will be invited not only to analyze and discuss collectively various classics of Latin American cinema, but also to recreate their aesthetical language, content, and techniques artistically. Among the directors to be analyzed, discussed, and recreated are: Luis Buñuel, Glauber Rocha, Sara Gómez, Lucrecia Martel, Raoul Peck, Cristina Gallego or Tatiana Huezo.
6 DE JANEIRO (SEGUNDA-FEIRA)
1. APRESENTAÇÕES, APRESENTAÇÃO DA AULA
2. LUIS BUÑUEL (SPAIN/MEXICO. 1900-1983)
2.1. Luis Buñuel, o surrealismo francês e André Breton; 2.2. Un Chien Andalou (1929); 2.3. Dziga Vertov: The Man with A Movie Camera (1929); 2.4. Manoel de Oliveira: Douro, Faina Fluvial (1931).
3. UN CHIEN ANDALOU (1929)
LUIS BUÑUEL. UN CHIEN ANDALOU. 1929.
8 DE JANEIRO (QUARTA-FEIRA)
1. LUIS BUÑUEL (SPAIN/MEXICO. 1900-1983)
2. BELLE DE JOUR (1968)
TRABALHO PARA CASA
1. EXERCÍCIO RECREATIVO
1. LUIS BUÑUEL (SPAIN/MEXICO. 1900-1983)
2. BELLE DE JOUR (1968)
TRABALHO PARA CASA
1. EXERCÍCIO RECREATIVO
LUIS BUÑUEL. BELLE DE JOUR. 1968. TRAILER.
13 DE JANEIRO (SEGUNDA-FEIRA)
1. GLAUBER ROCHA (BRASIL. 1939-1981)
1.1. A estética da fome; 1.2. Glauber e o Cinema Novo; 1.3. Cinema e intervenção.
2. DEUS E O DIABO NA TERRA DO SOL (1964)
1. GLAUBER ROCHA (BRASIL. 1939-1981)
1.1. A estética da fome; 1.2. Glauber e o Cinema Novo; 1.3. Cinema e intervenção.
2. DEUS E O DIABO NA TERRA DO SOL (1964)
GLAUBER ROCHA. DEUS E O DIABO NA TERRA DO SOL. 1964.
15 DE JANEIRO (QUARTA-FEIRA)
1. GLAUBER ROCHA (BRASIL. 1939-1981)
1.1. A estética da fome; 1.2. Glauber e o Cinema Novo; 1.3. Cinema e intervenção.
2. TERRA EM TRANSE (1967)
TRABALHO PARA CASA
1. EXERCÍCIO RECREATIVO
1. GLAUBER ROCHA (BRASIL. 1939-1981)
1.1. A estética da fome; 1.2. Glauber e o Cinema Novo; 1.3. Cinema e intervenção.
2. TERRA EM TRANSE (1967)
TRABALHO PARA CASA
1. EXERCÍCIO RECREATIVO
20 DE JANEIRO (SEGUNDA-FEIRA) [HOLIDAY]
22 DE JANEIRO (QUARTA-FEIRA)
1. SARA GÓMEZ (CUBA. 1943-1974)
Habrá que hacer un cine sin concesiones, que toque la raíz de los intereses de todos, un cine capaz de expresarlos en sus contradicciones y que tenga como objetivo ayudar a hacer a todos nosotros, hombre y mujeres capaces de plantearse la vida como eterno conflicto con el medio en el que solo podemos vencer. Ese debe ser el propósito. ¿Será demasiado ambicioso? ¿Podemos lograrlo?
2. IRÉ A SANTIAGO (1964)
3. DE CIERTA MANERA (1974)
TRABALHO PARA CASA
1. Escrever um comentário (2 páginas) sobre um dos filmes de Sara Gómez ou sobre a comparação entre ambos.
1. SARA GÓMEZ (CUBA. 1943-1974)
Habrá que hacer un cine sin concesiones, que toque la raíz de los intereses de todos, un cine capaz de expresarlos en sus contradicciones y que tenga como objetivo ayudar a hacer a todos nosotros, hombre y mujeres capaces de plantearse la vida como eterno conflicto con el medio en el que solo podemos vencer. Ese debe ser el propósito. ¿Será demasiado ambicioso? ¿Podemos lograrlo?
2. IRÉ A SANTIAGO (1964)
3. DE CIERTA MANERA (1974)
TRABALHO PARA CASA
1. Escrever um comentário (2 páginas) sobre um dos filmes de Sara Gómez ou sobre a comparação entre ambos.
SARA GÓMEZ. S/D.
SARA GÓMEZ. DE CIERTA MANERA. 1974.
RAOUL PECK. I AM NOT YOUR NEGRO. 2016.
29 DE JANEIRO (QUARTA-FEIRA)
1. RAOUL PECK (HAITI, 1953 —)
2. ERNEST COLE: LOST AND FOUND (2024)
TRABALHO PARA CASA
1. Escrever um comentário (2 páginas) sobre um dos filmes de Raoul Peck ou sobre a comparação entre ambos.
3 DE FEVEREIRO (SEGUNDA-FEIRA)
1. ALEJANDRO GONZÁLEZ IÑARRITU (MÉXICO. 1963-)
2. AMORES PERROS (2001)
5 DE FEVEREIRO (QUARTA-FEIRA)
1. ALEJANDRO GONZÁLEZ IÑARRITU (MÉXICO. 1963-)
2. 11'9''11 (2011)
3. BIUTIFUL (2011)
TRABALHO DE CASA
1. Focar na realização da curta-metragem a ser apresentada na próxima aula.
10 DE FEVEREIRO (SEGUNDA-FEIRA)
1. APRESENTAÇÃO DAS CURTAS-METRAGENS
2. EXERCÍCIO ESCRITO
12 DE FEVEREIRO (QUARTA-FEIRA)
1. EXERCÍCIO DE ESCRITA CINEMATOGRÁFICA: O ESPAÇO
1. EXERCÍCIO DE ESCRITA CINEMATOGRÁFICA: O ESPAÇO
17 DE FEVEREIRO (SEGUNDA-FEIRA) [HOLIDAY]
19 DE FEVEREIRO (QUARTA-FEIRA)
1. EXERCÍCIO DE ESCRITA CINEMATOGRÁFICA: O FUTURO
1. EXERCÍCIO DE ESCRITA CINEMATOGRÁFICA: O FUTURO
24 DE FEVEREIRO (SEGUNDA-FEIRA)
1. JUAN JOSÉ CAMPANELLA (ARGENTINA. 1959-)
2. EL SECRETO DE SUS OJOS (2010)
TRABALHO DE CASA
1. Escrever um comentário (2 páginas) sobre El Secreto de Sus Ojos.
1. JUAN JOSÉ CAMPANELLA (ARGENTINA. 1959-)
2. EL SECRETO DE SUS OJOS (2010)
TRABALHO DE CASA
1. Escrever um comentário (2 páginas) sobre El Secreto de Sus Ojos.
JUAN JOSÉ CAMPANELLA. EL SECRETO DE SUS OJOS. 2010.
26 DE FEVEREIRO (QUARTA-FEIRA)
1. ALEJANDRO JODOROWSKY (CHILE. 1929-)
2. POESÍA SIN FIN (2016)
TRABALHO PARA CASA
1. EXERCÍCIO RECREATIVO
1. ALEJANDRO JODOROWSKY (CHILE. 1929-)
2. POESÍA SIN FIN (2016)
TRABALHO PARA CASA
1. EXERCÍCIO RECREATIVO
3 DE MARÇO (SEGUNDA-FEIRA)
1. SANTIAGO MITRE (ARGENTINA. 1980-)
2. ARGENTINA, 1985 (2022)
TRABALHO DE CASA
1. Escrever um comentário (2 páginas) sobre Argentina, 1985.
SANTIAGO MITRE. ARGENTINA, 1985. 2022.
5 DE MARÇO (QUARTA-FEIRA)
1. CLAUDIA LLOSA (PERU. 1976-)
2. DISTANCIA DE RESCATE (2021)
TRABALHO DE CASA
1. Focar na escrita do ensaio final.
CLAUDIA LLOSA. DISTANCIA DE RESCATE. 2021. TRAILER.
10 DE MARÇO (SEGUNDA-FEIRA)
1. TATIANA HUEZO (MÉXICO. 1972-)
2. PRAYERS FOR THE STOLEN (2021)
TRABALHO DE CASA
1. Focar na escrita do ensaio final.
12 DE MARÇO (QUARTA-FEIRA)
1. APRESENTAÇÃO DOS TRABALHOS FINAIS + POT LUCK
Course materials
All course materials will be available online.
Grading and Assignments
40% Response papers and activities
15% Short film
45% Final paper
100% Total
Grading Scale
A (93-100); A- (90-92); B+ (88-89); B (83-87); B- (80-82); C+ (78-80); C (73-77); C- (70- 72); D+ (68-70); D (63-67); F (63 and below)
Response papers, Presentation, and Final paper
All activities (response papers + presentations + final paper) can be written and presented either in English, Portuguese, or Spanish.
Final Paper
At the end of the quarter, students will be required to write a broader, more cumulative essay that draws on and compares artistic productions we have studied throughout the quarter. It should be a topic that allows you to relate the film(s) to larger issues involving the Latin American cultural world. The final paper should be 10 pages long, Times New Roman, 12’ font, 1-inch margins, double-spaced. Also please email it to me [[email protected]] in WORD format by March 20 (midnight).
Attendance and participation
The course will be conducted as a student-centered seminar, in which students are expected to attend class sessions prepared to contribute to discussions. This means students are expected to complete weekly reading assignments on time. In-class participation, although somewhat subjective, is based upon your response to questions, your willingness to fully engage yourself in the task at hand, and your shown interest towards the subject matter. Above all, the key to be able to participate successfully is preparation. Students are expected to come to class with ideas and questions about the readings and films. Class participation will count significantly towards the final grade. Since we meet only twice a week, after 3 unexcused absences, the participation grade will be deduced (1 point) each time the student misses class. Moreover, students are accountable for all work missed because of an absence.
Oral presentations
Individual oral presentations (10-20 minutes) will be brief and creative reinterpretations of primary and/or secondary sources, and will be scheduled in advance.
All course materials will be available online.
Grading and Assignments
40% Response papers and activities
15% Short film
45% Final paper
100% Total
Grading Scale
A (93-100); A- (90-92); B+ (88-89); B (83-87); B- (80-82); C+ (78-80); C (73-77); C- (70- 72); D+ (68-70); D (63-67); F (63 and below)
Response papers, Presentation, and Final paper
All activities (response papers + presentations + final paper) can be written and presented either in English, Portuguese, or Spanish.
Final Paper
At the end of the quarter, students will be required to write a broader, more cumulative essay that draws on and compares artistic productions we have studied throughout the quarter. It should be a topic that allows you to relate the film(s) to larger issues involving the Latin American cultural world. The final paper should be 10 pages long, Times New Roman, 12’ font, 1-inch margins, double-spaced. Also please email it to me [[email protected]] in WORD format by March 20 (midnight).
Attendance and participation
The course will be conducted as a student-centered seminar, in which students are expected to attend class sessions prepared to contribute to discussions. This means students are expected to complete weekly reading assignments on time. In-class participation, although somewhat subjective, is based upon your response to questions, your willingness to fully engage yourself in the task at hand, and your shown interest towards the subject matter. Above all, the key to be able to participate successfully is preparation. Students are expected to come to class with ideas and questions about the readings and films. Class participation will count significantly towards the final grade. Since we meet only twice a week, after 3 unexcused absences, the participation grade will be deduced (1 point) each time the student misses class. Moreover, students are accountable for all work missed because of an absence.
Oral presentations
Individual oral presentations (10-20 minutes) will be brief and creative reinterpretations of primary and/or secondary sources, and will be scheduled in advance.