Literatura académica sobre el tema "Documentary videos, Mexico"

In this conversation, community media activist jesikah maria ross and filmmaker Vicky Funari talk about the work they have done together in alternative media since the 1990s. Their shared projects include skin•es•the•si•a (1994), an experimental video exploring the cultural codification of the female body; Paulina (1998), a feature-length documentary about a resilient Mexican woman whose parents traded her for land when she was a child; and Maquilápolis [City of Factories] (2006), a participatory documentary that tells the stories of women workers in Tijuana’s multinational factories, and explores through their eyes the transformation of a city and its people by the forces of globalization. Set just after their last collaborative project, Troubled Waters (2014), their conversation addresses the issues of media pedagogy and aesthetics, technological affordances and limits, and the changing state of participatory media production in the United States.

Through the use of the documentary genre, a group of Mexican indigenous women video-makers and their collaborators are depicting contemporary indigenous women. Occupying transformative roles in their communities, indigenous women are pioneers opening new cultural and social spaces to work toward a more equitable society. The main scenarios of their struggle are indigenous marginalization and women’s marginalization under patriarchy. The documentaries Voladora/Flying Woman (Chloé Campero, 2008), La vida de la mujer en resistencia/We Are Equal (Chiapas Media Project–Promedios, 2004), and La rebelión de las oaxaqueñas/The Oaxaqueña Rebellion (Mal de Ojo TV, 2008) are case studies of female indigenous resistance through the media. Un grupo de creadoras de vídeos indígenas mexicanas y sus colaboradores representan a las mujeres indígenas contemporáneas a través del uso del género documental. Estas mujeres ocupan funciones transformadoras en sus comunidades y son pioneras en la apertura de nuevos espacios culturales y sociales en la búsqueda de una sociedad más equitativa. Sus principales escenarios de lucha son la marginación indígena y la marginación de las mujeres bajo el patriarcado. Los documentales Voladora (Chloé Campero, 2008), La vida de la mujer en resistencia (Chiapas Media Project-Promedios, 2004) y La rebelión de las oaxaqueñas (Mal de Ojo TV, 2008) son estudios de caso de resistencia indígena femenina a través de los medios de comunicación.

El objetivo de este artículo es analizar de qué manera se garantiza el interés superior de la infancia en la clasificación de los videojuegos en México. Es una investigación cualitativa a partir de del método documental. Se concluye que la implementación del marco jurídico no es clara ni definitiva, además de que no existen políticas públicas que garanticen la efectiva protección del interés superior de la infancia en México. No cuenta con una norma y metodología que permitan la verificación y evaluación de la pertinencia del contenido de los videojuegos según su edad y no hay claridad sobre la regulación de comercialización y publicidad. Abstract: This article aims to analyze how the gender perspective and the best interests of the minor are guaranteed in the classification of video games in Mexico. It is a qualitative research that is developed from the documentary method. It is concluded that there is no clarity in the legal framework that regulates the implementation of the video game classification, mainly, with the evaluation process that allows verifying the relevance of their content according to their age. There is also no clarity about the best interests of the minor, even less so, regarding the gender perspective. The foregoing could violate the human rights of girls and adolescents.

En este proyecto se describe la experiencia durante la aplicación de 2 Tecnologías de la Información: el video documental y la infografía, como medios para adquirir aprendizajes significativos sobre el tema: Endemismos mexicanos: causas, distribución e importancia. Este tema pertenece al programa de Biología IV del bachillerato de la UNAM. Las TIC fueron desarrolladas por los alumnos de quinto año de bachillerato de dos grupos diferentes. La finalidad de este trabajo es que los alumnos emplearán diversas herramientas colaborativas como Google Docs para realizar un proyecto cuyo producto fuera un video documental y una infografía, sobre el tema antes señalado. Los resultados de ambos trabajos aportan evidencias de aprendizaje colaborativo, siendo Google Docs una herramienta útil para el trabajo colaborativo asíncrono. Finalmente, este trabajo aporta dos opciones de productos que el docente puede emplear para desarrollar un tema. Siendo el video y la infografía un producto más significativo para construir el pensamiento crítico, valores y cambios de actitudes.
 
 This project describes the experience during the application of two information technologies: video documentaries and infographics, as a means to acquire significant learning on the topic: Mexican endemisms: causes, distribution and importance. This topic belongs to the Biology IV program of the UNAM high school. The ICT were developed by fifth year high school students from two different groups. The purpose of this work is that students will use various collaborative tools such as Google Docs to carry out a project whose product was a documentary video and an infographic on the topic mentioned above. The results of both projects provide evidence of collaborative learning, being Google Docs a useful tool for asynchronous collaborative work. Finally, this work provides two options of products that the teacher can use to develop a topic. Video and infographics being a more significant product to build critical thinking, values and attitude changes.

En julio de 1973 la Galería de Exposiciones Temporales del Museo de Arte Moderno de la Ciudad de México (MAM) inauguró la muestra Videocinta de Vanguardia. Video Art Estética Televisual, bajo el auspicio de la Embajada de los Estados Unidos. El evento fue el primer acercamiento del público mexicano con el videoarte (estadunidense), en una época en la que los recintos culturales continuaban priorizando a las artes visuales más tradicionales.
 El artículo ofrece una reconstrucción histórica de esta muestra escasamente documentada, mediante el análisis de dos críticas publicadas del teórico peruano Juan Acha y el único ejemplar del catálogo de la exposición. En segunda instancia, el texto abordar la obra y su exhibición como el resultado de coyunturas políticas, sociales y culturales, en medio de las cuales se inscribe el surgimiento de nuevos modos de ver y de generar imágenes con la tecnología del video.

Created by Mexican awarded director Alejandro González Iñárritu, Carne y Arena is an immersive mixed-reality installation that allows visitors to experience traumatic and violent incidents with illegal immigrants crossing the Mexican–US border. Carne y Arena’s mixed reality combines VR experience with physical components, turning it into a multisensory, bodily immersive experience. As part of the art installation, the whole VR arena is surrounded by the remains of a wall’s border; while inside, actual immigrants’ clothes and objects are also exhibited. Another component is the documentary aspect, where real-life characters recount their stories through video testimonies. Iñárritu immerses and makes the visitors experience refugees’ stories first-hand while exploring their emotional reactions to traumatic realities through a spiral of corporeal sensations and entertainment spectacle. According to Iñárritu, the intent is to subordinate technology to the human condition. Technology does mean nothing unless it can reveal or denounce people’s situations. Therefore, technology must be subordinated to humans, humanity, and art. “I despise technology,” says the filmmaker. But, has film lost the power to engage the viewers emotionally? Can virtual reality simulate refugees’ dispossession (the sense of the self) and alleviate society’s consciousness? In this paper, I examine the role of a museum installation featuring refugees’ discourses; the VR technology in bringing forward the visitor’s social engagement; and the issues the filmmaker address, such as the refugee’s experience in contemporary global society.

This artistic doctoral research examines how the third space emerging from intercultural dialogue and transcultural collaboration can be a catalyst for new musical discoveries, intercultural humility, and the (re)forming of artistic identities. The body of this project is centred around three doctoral concerts, a CD/LP recording, and a documentary film which took place between 2016 and 2021. In addition, I draw on the embodied experience of a five-year period that I spent living and collaborating with musicians and dancers in Tanzania and Zambia prior to the doctoral project.As a double bass player, multi-instrumentalist, and composer, I place myself in a series of different musical and multi-arts contexts, engaging in dialogue with musicians, dancers, and visual artists from Brazil, Colombia, Estonia, Finland, France, Madagascar, Mexico, Poland, Sápmi, Tanzania, the UK and Zambia. Various solo, duo, and ensemble settings act as case studies to examine how this process takes place, the new knowledge gained from the collaborations and their resulting artistic outcomes, and the effects of intercultural dialogue, collaboration, and co-creation on my own artistic identity. The instruments and forms of artistic expression used by my collaborators include the Brazilian berimbau, Chinese guzheng, dance, live electronics, experimental instrument making, Finnish Saarijärvi kantele, Sámi joik, vocals, percussion, live visuals, image manipulation, animation, photography and film.The key concepts that I investigate in this research are: artistic identity, global citizenship, hybridity, interculturalism, intercultural humility, liminality, third space theory, and resonance, the latter being viewed both as a physical phenomenon and as an approach to thinking about the ways in which we connect with the world around us. This research contributes to new knowledge and understandings in the areas of artistic identity formation, intercultural collaboration and interculturalism in music education through the interweaving of artistic processes, audio, video, photographs, artistic outcomes and text.Findings emerge in terms of new musical discoveries that surface from the dynamic third space created through transcultural collaboration; the expanding and deepening of musicianship through intercultural dialogue and collaboration; the interconnected nature of interculturalism in music and its reliance on openness, empathy, dialogue and constantnegotiation with sonic material, people and place; and the crucial role of fluidity and resonance in forming a personal artistic identity.Further research outcomes include new techniques and the expansion of the sonic palette of the double bass, enabled by developing custom-made attachments, preparations and electronic manipulation. The complete scope of this doctoral project includes four artistic components (three concerts and a recording), a documentary film and an artistic doctoral thesis comprising two peer-reviewed articles and an integrative chapter, all housed within the main multi-media exposition, Resonance: (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration.

MINA - Mobile Innovation Network and Association is the longest-running film festival in the Southern Hemisphere dedicated to mobile & smartphone filmmaking with a focus on moving-image arts, documentary, community-engaged film productions, experimental films and emerging film production forms and formats, such as MoJo, drone videos, AR and Mobile Cinematic VR. The tenth edition of MINA is presenting a special program titled #EcoSmartphoneFilms, a showcase of contemporary mobile film production about environmental protection and ecology in all its aspects. It is an eclectic collection of short international environmentally themed films from all over the world made on smartphones, pocket cameras, laptops and Instagram. The films show the planet’s beauty as well as the various local, regional and global environmental challenges we are facing. By using a variety of creative solutions that illustrate the power of mobile film, they help to raise awareness about environmental topics from around the globe and make us aware of the role mobile media can play in this. In the spirit of Margaret Mead’s statement that we should “never doubt that a small group of thoughtful, committed citizens can change the world” with this special #EcoSmartphoneFilms program we hope to inspire a deeper critical understanding of ecological issues and strengthen our commitment as both filmmakers and curators to inspire future generations to go mobile and stay sustainable. Save Me (UK) Michael CoppolaShot on iPhone 11 Pro Max SAVE ME is an experimental sci-fi drama short film about the fragmentation of the human psyche, manmade planetary destruction and the possible end of the subjective and objective world, told through the experiences of a lost girl stranded on a deserted beach, accompanied by an epic orchestral score and futuristic sound design with the use of CGI. Iumbar Project - The First One (Australia) Martin K. Koszolko Shot on iPad Pro This music video documents human intervention into environment. The footage shows the fate of trees and other plants disposed of by human inhabitants of the land. This short film raises questions about our relationship with the natural environment and highlights the beauty of the shapes and forms of trees. This beauty is evident even if the plants have been cut down and are no longer alive. The Almeda Fire (USA) David Scott LeibowitzShot on iPhone 11 Pro My Mobile movies took a swift turn from art to ENG when the Almeda fire swept through this part of the Rogue Valley. After The Flood (USA) Alexandra GuillossouShot on iPhone XR An observational piece on two seemingly dissimilar St. Louis events that took place in June 2019. Man and nature can be equally explosive and yet only one has the option of choice. Tree Time (USA) Alexandra Lerman Shot on iPhone 7 & iPhone X Tree Time imagines a relationship between nature and technology unmediated by human presence. The video was shot in the Amazon rainforest with a drone enacting a disembodied point of view that floats through the densely compressed forest canopy, taking off, hovering above the ground, and occasionally returning to it. Kaminda (NL) David van DeldenShot on iPhone X & iPhone 11 Pro A visual poem of a 3-year-old boy's journey of self-discovery. Kaminda revisits David’s childhood adventures narrated by a young voice in spoken words written by Juan- Carlos Goilo. From the dry northern plains to the atmospheric damp caves, Kaminda takes you through the rustic landscapes of Curaçao with stunningly captured scenes. Hear the primitive sounds of Curaçao's "Muzik di Zumbi" accompanied by scenes shot underwater, on land and in the air. Little Beings (Mexico) DiAminda Ordaz Shot on iPhone 8 I tended my senses and they were there,I stopped to contemplate and they were there, I opened my eyes and they were there,I woke up and they were there,I paid attention and they were there.So I wanted to take off my sandals,as not to hurt them with my walk.

The insurance market in Mexico has grown slowly even though crime has increased in recent years, this is due to the lack of risk prevention culture within the population. Regarding young people, nowadays with the advance of new technologies, the use of cell phones, tablets, laptops and video games has increased. Likewise, for them, the favorite means of transport are "motorcycles and bicycles," which is why some insurance companies are working to offer new and diverse products, thus seeking a change in the use of insurance by the future customers: the "Millennials." Insecurity is one of the great problems that afflict our country. It has gone from car and house theft, to the theft of the vehicles most used by young people: motorcycles. According to figures from the Mexican Association of Insurance Institutions (AMIS), motorcycles of the Italika and Honda brands were among the 10 most stolen insured vehicles in the period from May 2017 to April 2018 (eldictamen.mx). Regarding cell phones, Anatel (National Communications Association) General Director Gabriel Székely said that in 2016, 900 thousand were stolen, while 2017 exceeded one million (heraldodemexico.com.mx). The general objective of this project is to find out if Millennials currently have a culture of insuring their belongings against theft and if this new market sector of young people can be considered. A documentary review and descriptive-quantitative research was carried out in Bosques de Aragón, Nezahualcóyotl, with a sample of 122 young people between 15 and 29 years of age. In the documentary review it was detected that car and life policy insurances are the most sold by insurance companies. According to the National Insurance and Bail Bonding Commission (CNSF), in this regard, the insurance companies have the possibility of creating new and better services that can cover the equipment currently being used by young people and, at the same time, increase their market. The results obtained show that 89% of the population investigated considers that it is important to have insurance and 36% have one, mainly for cars or life, but they never mentioned having electronic equipment or motorcycles insured.

This thesis examines the use of video technology as an alternative communication medium within a dialogic framework. It explores multiple dialogic encounters and different meanings of dialogue. It analyses dialogues within and around video technology and dialogues with contemporary events in Mexican history. The author argues that these dialogic encounters are contributing to an ongoing process of transformation in Mexican consciousness. The thesis’s theoretical framework draws on Mikhail Bakhtin’s theory of dialogism and employs a dialogic method that emphasises diversity. The author conducts an in-depth analysis of multiple series of dialogues between key people, events and discourses. The author examines the lives and work of a sample of the most significant independent video-makers producing work on the indigenous Zapatista rebellion that began in Chiapas, Mexico, on 1 January 1994.The author focuses on the discourses of independent video-makers looking at the indigenous Zapatista rebels and considers the indigenous uprising to be both a ‘political catalytic event’ and a ‘multi-catalytic event.’ The different dialogues looked at throughout the thesis reveal various processes of consciousness-raising which act in diverse, unexpected and unprecedented ways. The author argues that these dialogues have contributed to a crisis of legitimacy for the hegemonic power in Mexico and have also influenced the way the mainstream media operate, and their power within Mexican society.<br>Doctor of Philosophy (PhD)

This thesis examines the use of video technology as an alternative communication medium within a dialogic framework. It explores multiple dialogic encounters and different meanings of dialogue. It analyses dialogues within and around video technology and dialogues with contemporary events in Mexican history. The author argues that these dialogic encounters are contributing to an ongoing process of transformation in Mexican consciousness. The thesis’s theoretical framework draws on Mikhail Bakhtin’s theory of dialogism and employs a dialogic method that emphasises diversity. The author conducts an in-depth analysis of multiple series of dialogues between key people, events and discourses. The author examines the lives and work of a sample of the most significant independent video-makers producing work on the indigenous Zapatista rebellion that began in Chiapas, Mexico, on 1 January 1994.The author focuses on the discourses of independent video-makers looking at the indigenous Zapatista rebels and considers the indigenous uprising to be both a ‘political catalytic event’ and a ‘multi-catalytic event.’ The different dialogues looked at throughout the thesis reveal various processes of consciousness-raising which act in diverse, unexpected and unprecedented ways. The author argues that these dialogues have contributed to a crisis of legitimacy for the hegemonic power in Mexico and have also influenced the way the mainstream media operate, and their power within Mexican society.

Thesis (Ph.D.) -- University of Western Sydney, 2004.<br>Thesis submitted for the degree of Doctor of Philosophy, School of Humanities, Centre for Cultural Research, University of Western Sydney. Includes bibliography.