YEAR 2007
LACLA & Tia Chucha’s Centro Cultural Present
The First Annual San Fernando Student Film Program
Sylmar High School13050 Borden Avenue
Sylmar, CA 91342
Saturday 02 June 20073-6pm
This program is made possible by a grant from
the City of Los Angeles Cultural Affairs Department.
"La Balandra Isabel llegó esta tarde"
(1949 - Venezuela)
Directed by Carlos Hugo Christensen
1951 Cannes Film Festival
Best Cinematography Award
&
Grand Prize Nomination
Wednesday 20 June 2007
8:00 PM
PAWS Music Afro-Cuban Folklore Ensemble
7:00 – 7:45 PMBring a picnic basket, relax & enjoy the music before the screening
Collaboration with “Last Remaining Seats” series
Online ticket purchase $15-$20
Co-sponsors
Los Angeles City Council President Eric Garcetti
Additional Support
Council Civic Fund, Councilman Ed Reyes
Film future bright for Venezuela
Hollywood Reporter, Spotlight: VenezuelaPamela Rolfe
May 24, 2006
Venezuela's film industry may be one of the least known in South America, but the country's output will take center stage this year at the Festival de Cannes in the second edition of World Cinemas.
Even in Venezuela, the local film industry traditionally has attracted a sliver of the moviegoing public. But the reality is that the country is undergoing a transition fueled by the anti-American philosophy of the Venezuelan government headed by Hugo Chavez.
"I think we are now in 2006 in the best moment ever for filmmakers and producers of national (Venezuelan) cinema," said director Philippe Toledano, a Frenchman based in Caracas for more than 40 years.
In 2003, the government got serious about bolstering the national industry and saw figures jump from a 0.19% audience share in 2002 to 6.1% in 2005 as a result of a Social Responsibility in Radio and Television Law, which forces broadcasters to air domestic product.
Additionally, two new film festivals debuted last year in Venezuela: The 1st Documentary Film Festival in August featured shorts, while in November the 1st Caracas International Film Festival -- organized by the Ministry of Culture and the chairmanship of the Culture National Council (CONAC) through the General Department of Movies and Audio-visual Media -- offered innovative movies from Argentina, Bolivia, Brazil, Cuba, Spain and Venezuela.
Although a small industry -- six films were produced in 2005 and three so far this year -- Venezuela boasts only two laboratories, postproduction facilities for image and sound and companies specializing in the sale and rental of film equipment.
Venezuelan commercial exports such as Elia Schneider's "Punto y Raya," Solveig Hoogesteijn's "Maroa" and Alberto Arvelo's "Una Casa Con Vista al Mar" (A House With a View of the Sea) generally rely on co-production partners from another country to find distribution there. Even so, the Venezuelan industry consistently sees its product travel abroad to screen in festivals, exhibitions and contests.
"Our cinema averages about 100 international events every year in a (number) of very interesting venues," said Juan Carlos Lossada, president of the National Cinema Center (CNAC).
Since 2003, the industry has received special attention from the government and eagerly awaits the inauguration of the new Villa de Cine, a state-owned studio complex that will include high-tech equipment, animation facilities and allow for the transfer from video to film. The country is also in the early stages of building an independent circuit of digital theaters. More importantly, the government has upped its aid to producers.
"For years, the CNAC had a very limited budget," Lossada said. "Since 2003, the center has seen its budget grow tenfold, and the criteria for selecting the films that qualify for receiving financing was changed to include representatives from the public sector as well as from the private in order to have a more plural umbrella." The bigger budget is the crux of the rebirth in Venezuelan cinema.
"We can say that we're at the start of a new era in Venezuelan cinema in which filmmakers are not forced to mortgage their house and grandmother's jewels to make a movie," Toledano said. "Now there is money and directors have no excuses."
Following in the footsteps of such leftists as Cuba's Fidel Castro and Bolivia's Evo Morales, Chavez has crafted policies to promote Latin American integration and defy what he calls American imperialism. Thus it is no surprise that the new cinema law energetically tries to level the playing field against the big boys. The flip side of Chavez's public record includes accusations of human-rights violations and political repression.
So far, filmmakers say they haven't noticed
government censorship or bully tactics other than an occasional "observation" by a civil servant, but some say that could be because there hasn't been an official call for projects or handing out of subsidies since the law was passed in November.
Last year, a new law was passed that could produce more concrete results. The three-pronged legislation, which has been heralded across the board by filmmakers as a product of agreement, secures financing for national productions, imposes a 20% screen quota and educational aid.
"We fought for many years for this law, and we're not finished yet. The law has some holes, but it can be perfected," said Luis Armando Roche, who wrote the introduction in the catalog for the Venezuelan showcase at Cannes.
As a result of the law, local theaters will be required to show Venezuelan shorts before feature films. (Venezuela is the first and only Latin American country with a state-owned distributor, Amazonia Films. Amazonia offers a catalog of 30 films titles from independents and 200 hours of television programming.)
The law also inaugurates Fonprocine, a fund that pools special contributions to finance the production and distribution of films.
"This means private contributions to film development can increase the country's production quantitatively and qualitatively for the enjoyment of 26 million Venezuelans," Lossada said.
"These are giant steps due to the state's interest in promoting the film industry," Toledano added. "It is decisive support for those of us that are not Hollywood and shows a desire to defend national productions from the all-powerful U.S. majors that definitely don't want to share the market that they consider exclusively theirs."
As for the future, many would like to see the government attempt to change local moviegoers' attitudes toward their national cinema and encourage young talent.
"I think the next goal is to invest in training new filmmakers, primarily new screenwriters," said Arvelo, whose "House With a View of the Sea" is one of three features and a half-dozen shorts screening at Cannes. "The Venezuelan script has been built on empiricism, which in many cases makes for a film without strong narrative. Our screenwriters come to cinema as a hobby, not professionally. We need professional screenwriters."
That sentiment rings true for many. "We need to mention cinema in the education curriculum to create an audience that knows how to distinguish between the processed and canned material from the north and our own conscience and memory," Roche said.
The Past and the Present of Venezuela Film Industry
Personalities
• “Secuestro Express”, 2005 directed and produced by Jonathan Jakubowicz was the first Venezuelan film to be distributed internationally by a Hollywood studio.
• Alberto Arvelo, Film Director “To Play and to Fight”
• Maria Conchita Alonso (actress) Well known movie actress, she appeared in many films such as “The Running Man”, “Predator 2”
• Wilmer Valderrama (movie actor and comedian) “Fast Food Nation”, 2006
• Fernando Carrillo (actor) – Famous soap opera actor who moved to the U.S. to pursue a crossover career in American TV and movie market. He appeared in the film “Fit Fighter”, 2005
• The late Carlos Oliver, well known soap opera actor in Venezuela who appeared in few movies such as “Agua Sangre” and “Homicidio Culposo” both filmed in 1983.
• Jonathan Montenegro, (actor) “Terranova”,1990.
• Lupita Ferrer, a famous soap opera actress, and also participated in the film “The Children of Sanchez”, 1978.
• Alicia Machado, former Miss Universe and movie actress, intervined in the movie “I love Miami”.
• Patricia Velasquez, actress and famous fashion model who acted in the movie “Mindhunters”, 2004, and many more films.
• Jean Paul Leroux, acted in the movie “Secuestro Express”, 2005.
• Fina Torres, film director who won an award at the Cannes Film Festival in 1985 for the movie “Oriana”.
To See Event Images Click Here
Celebrating Hispanic Heritage Month at the Ford Amphitheatre
Mexico! Mexico! Rock! Rock! Rock!
1960s Mexican rock 'n roll film A ritmo del twist*
featuring Los Hooligans, The Crazy Boys, Los Rebeldes del Rock.
4:00 PM
Ongoing art exhibit by contemporary artists
5:00 PM
Panel discussion: The 60's Mexican film genre
7:00 PM
Live musical entertainment by San Antonio all-girl rock band, Girl in a Coma
7:30 PM
Screening of "A ritmo del twist"*
2580 Cahuenga Blvd. East, Hollywood, CA 90068
Tickets $10- open seating
Tickets Available Online at www.fordtheatres.org
or by Calling 323.461.3673
*In Spanish with English subtitles
Evening Sponsor
The Latin American Cinemateca of Los Angeles in collaboration with the Hollywood Foreign Press Association proudly announces the presentation of “Mexico! Mexico! Rock! Rock! Rock!” a night of film, music and art dedicated to Mexican rock from the 60s, which will take place on Sunday, September 30, 2007 at the legendary Ford Amphitheatre located at 2580 East Cahuenga Blvd., in Hollywood.
The centerpiece of the evening is the 7:30 p.m. screening of the 1962 film “A ritmo del twist” directed by the acclaimed Benito Alazraki and featuring many of the most popular Mexican rock acts of the late 1950s and early 1960s. The film is in Spanish with English subtitles.
Another feature will be the 7:00 p.m. live on-stage special presentation by the San Antonio based all-girl and renowned Latina trio “Girl in a Coma”. This musical group will be performing catchy Mexican rock and roll songs from the 60’s.
The evening also will include an art exhibition presented by a group of emerging Chicano/Latino artists: Mitsy Avila Ovalles, Daniel Gonzalez, John Miner, Txutxo Perez, Shizu Saldamando, Jessee Vidaurre, Jaime "Germs" Zacarias, and Joan Zamora. All of the artists will be displaying their contemporary works inspired by the music and visual aesthetics associated with Mexican rock.
Lastly, a panel discussion on Mexican rock films from the 60’s will be led by a group of recognized music experts and scholars such as: record producer and Chicano rock historian, Ruben Guevara; cultural critic and writer, Josh Kun; world renowned Mexican bassist and founder of the band Koinonia, Abe Laboriel; and Marisela Norte, writer and one of the most important literary voices to come out of East L A.
The film “A ritmo del twist” was shot in 1962, and directed by the internationally recognized Benito Alazraki. It features many of the most popular Mexican rock acts of the late 1950s and early 1960s: Los Hooligans, The Crazy Boys, Los Rebeldes del Rock and the Beatniks, all performing their greatest hits.
As Mexican cinema fell into decline during the 1950s, the film industry began exploiting the youth market through the production of low budget features. Producers felt the need to revitalize the industry by capitalizing upon the growing popularity of rock music in the 60s.
The film’s numerous dance and musical numbers capture the spirit of early Mexican rock, and offer a fascinating document of the period’s youth culture. While secondary to the band’s performances, the plot of this musical comedy farce features comedian Manuel “Loco” Valdés as an over-aged, dance obsessed college student called “Matusalén Capulin” and his efforts to organize a swimsuit fashion show. When competitors try to steal the latest swimwear designs for the fashion show, Matusalén does the unthinkable, and everything he can to try to get them back.
This is the third consecutive year that the Latin-American Cinemateca of Los Angeles has been part of the Ford Amphitheatre’s summer season bringing to the public the best of Latin American film. However, LACLA’s 2007 contribution to the Ford’s season intends to expand its cultural offering to an event that transcends all sorts of art forms, and this is what the “Mexico! Mexico! Rock! Rock! Rock!” celebration is all about.
The Latin American Cinemateca of Los Angeles takes this opportunity to pay homage to Mexican cinema and the rock & roll movement of the 60s for its valuable contribution to the growth of the Latin American entertainment industry.
About The Latin American Cinemateca of Los Angeles
The Latin American Cinemateca of Los Angeles (LACLA) is a cultural organization dedicated to supporting and cultivating every aspect of Latin-American cinema, and the moving image in all its forms from its beginnings to the present. LACLA was created in 1997 to promote and increase the visibility of Latin American cinema. It additionally established a unique scholarship program aimed at supporting film and media Latino students. For more information, please visit www.lacla.org.
About the Ford
The Ford Amphitheatre is located at 2580 Cahuenga Blvd. East, Hollywood, CA 90068, just off the 101 Hollywood Freeway across from the Hollywood Bowl and south of Universal Studios. The grounds open two hours before show time for picnicking. On-site, stacked parking costs $5 per vehicle for evening shows. For evening shows only, FREE non-stacked parking serviced by a FREE shuttle to the Ford is available at the Universal City Metro Station lot at Lankershim Blvd. and Campo de Cahuenga. This event is part of the Ford Amphitheatre 2007 Season, a multi-disciplinary arts series produced by the Los Angeles County Arts Commission in cooperation with Los Angeles County-based arts organizations. For a complete season schedule, directions to the theater and parking information, log on to www.fordtheatres.org
LACLA in Collaboration with the UCLA Latin American Center
PresentsEmerging Terrains: Collective Practices in the Americas
Location, Date and Time: TBA
LACLA announces its collaboration in an interdisciplinary and trans-border event series that will bring together artists, architects, activists, and scholars from Mexico, Argentina, Brazil, Bolivia, and the U.S. The principle component of this project will be an itinerant conference that will take place from Wednesday, November 14th through Monday, November 19th in four cities in Baja & Southern California: Los Angeles, San Ysidro, Tijuana, and La Jolla. LACLA will co-sponsor a bilingual video program that will include work by individual artists and collectives from Argentina, Brazil, Ecuador, Bolivia, Columbia, Mexico, Chile, and the U.S.
The postindustrial transformation of labor and urban life and unprecedented processes of globalization have transformed our understanding of territory, community, and political action, challenging us to re-invent urban space and public culture. This project seeks to activate discourse around issues of urban ecology, public culture, and translocality through public discussions and debates, workshops, performance-based interventions, and through long- and short-term collaborations among practitioners from different professional fields and cultural contexts. This project will be the culmination of a yearlong collaboration among L.A.-based artists, educators, curators, activists, and students.
TRÁNSITOry PÚBLICO | PUBLIC TRANSITorio
A migratory installation of artists, activists, and militant researchers: in art spaces, parks, and a museum; around a university, under a bridge, and on the train.
These events will bring together artists and activists from throughout Latin America and Los Angeles to create public discussions and performances in Santa Monica, Westwood, Hollywood, Downtown, and on the way to Tijuana.
Participants include: the Internacional Errorista (founders of the errorist movement); Argentine militant performance group Etcétera; Brazilian antiracist art group Frente 3 de Fevereiro; activist sound art collective Ultra-red; BijaRi, an interventionist design+performance+VJ collective from São Paulo; Argentine art and environmental organization Ala Plástica; La Lleca, an artist social intervention based in the prison system in Mexico City; Guatemalan performance artists Regina José Galindo and María Adela Díaz; Ecuadorian performance artist Jenny Jaramillo; and Los Angeles performance ensemble Butchlalis de Panochtitlan. Participants also include leading feminist artists Mónica Mayer, from Mexico City; Kirsten Dufour, from Copenhagen, and Suzanne Lacy, from L.A.; the Mothers of East Los Angeles; the former Eastside Artistas; anthropologist Pilar Riaño-Alcalá; Boyle Heights community garden Proyecto Jardín; editors of the magazines Make/shift and LOUDmouth; Xicana/Indigenous filmmakers collective Womyn Image Makers; the creators of just space(s); The Journal of Aesthetics & Protest; and architect Teddy Cruz.
Events take place November 13th-20th. They are free and open to all publics. TRÁNSITOry PÚBLICO will be held in English, Spanish, and Portuguese with English and Spanish translation available at all events.
For the full schedule of events and information about the participants (from photos to manifestos) please see www.publicotransitorio.com or contact Jennifer Flores Sternad at (303) 204-0003.
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For more information about sponsorhip opportunities contact Michael Diaz at michael@lacla.org
last updated on 12.24.2008