As part of the Latin America’s 1968 Colloquium series, New York University's Center for Latin American and Caribbean Studies (CLACS), Department of Spanish and Portuguese, are proud to present a the screening of the newly restored films Dialogue with Ché and Hommage to Nicanor Parra. The films will be presented by Professor Dylon Robbins. A subsequent discussion of them will be held by Julio Ramos, Fall 2018 Andrés Bello Chair in Latin American Cultures and Civilizations at NYU King Juan Carlos I of Spain Center, on Thursday November 29th.
This event is free and open to the public.
About the films and their makers:
DIALOGUE WITH CHE
1968 16MM, BLACK AND WHITE, SOUND, 53 MIN, SPANISH WITH ENGLISH SUBTITLES Jose Rodriguez-Soltero
Newly Preserved with with an Avant-Garde Masters Grant through the support of the National Film Preservation Foundation. In 1967, José Rodriguez Soltero made “Dialogue with Che” (1968), starring Venezuelan artist, actor, producer and dancer Rolando Peña as Che. Warhol superstar Taylor Mead is also featured, in the role of a CIA agent. “The film was partly underwritten by Andy Warhol, who gave a check to cover lab fees. "Dialogue..." was seldom shown in the States - it is entirely in Spanish - but had some life in the European screens. It had a modest run at the Cinémathèque Française, where it was championed by Marie Meerson and Henri Langlois, and played at the Berlin Film Festival in 1969.
Historically, it has been shown with two prints projected side by side, the second screen starting with a 3-minute delay.
Jose Rodriguez-Soltero was a significant figure in the New York art community during the mid-1960s and early 1970s. His films were frequently included in Filmmakers’ Cinematheque programs, he was featured in Film Culture and written up in Jonas Mekas’s Movie Journal column, and was the friend, collaborator and occasional roommate of Mario Montez, Charles Ludlam and Jack Smith.
HOMMAGE TO NICANOR PARRA
1968 16MM, BLACK AND WHITE, SOUND, 44 MIN , JAIME BARRIOS
In Spanish, no subtitles. An intimate portrait of the South American poet Nicanor Parra, reading his poetry and talking with friends. Made during Parra's visit to the YMHA Poetry Center in New York. "... a series of punches to the solar plexus – physical, moral, audio and visual – of the audience." The Sunday Magazine, Santiago, Chile.
Jaime Barrios began making experimental films shortly after moving to New York in 1963. After the 1973 coup that overthrew President Salvador Allende Gossens in Chile, Mr. Barrios turned to making documentary films about human rights and Latin American politics and culture.
About the series:
Latin America’s 1968; Curated by Jill Lane & Dylon Robbins.
In Latin America, the year 1968 marked a turning point in the social, political, and cultural transformations that had been unfolding in the wide wake of the Cuban Revolution of 1959. For Latin America, as for the rest of the world, the sixties were shaped by geopolitics of the Cold War, and of anti-colonial struggles across the globe. Yet they are most remembered by those who lived them as a time when ordinary people felt, like never before and perhaps never after, that they could change the course of history: millions of youth in student movements, advocates for indigenous rights, workers, campesinos, educators, intellectuals, and artists, long with guerillas and other armed insurgents, were self-aware in world-historical projects of radical social, political, economic, and cultural change. In these years, the personal became the political, politics became theatrical, theatre became a weapon, and the lines between self, art, and politics were forever redrawn. To mark the 50th anniversary of this momentous year, the Center for Latin American and Caribbean Studies (CLACS) offers a film and lecture series that will explore and celebrate its significance in the region.