Hugo Noël Santander Ferreira
Hugo Santander was born in Bucaramanga, Colombia in 1968. In 1990 he graduated in Social Communication from the Universidad Javeriana where he also started a Ph.D. in Philosophy.In 1994, after staging several theater plays as director of Arte Facto Teatro, and after obtaining a Post-graduate degree in Screenwriting from the Universidad del Rosario, Hugo was accepted at the MFA program in Film and Media Arts at Temple University.Having produced and directed several short films (amongst them "po", which won the 1996 Temple University Motion Picture Association Scholarship,) Hugo was appointed Associate Professor of Screenwriting and Creative Writing at the Universidade Católica Portuguesa of Oporto, Portugal, a country where he also directed "lhas do Porto" (Porto Ghettos) , a documentary broadcast in five continents by RTP (Public Radio and Television of Portugal.) In 2000 he directed and presented his monologue for an actress "Nórida's First Date" in Ponte de Lima, Portugal.In 2000 he moved to England, where he lectured at the University of Salford on Media Management, Acting for the Camera and Acting for Shakespeare--a course that included the direction and staging of his own adaptation of "Timon of Athens".A 2002–2003 Lector of Spanish at the University of Manchester, he was awarded with a 2002 CEP fellowship, which allowed him to lecture at the American University of Central Asia (Kyrgyzstan) on Media Management, Screenwriting, Media in Conflict and History of American Media.Hugo has written several entries for the Hodder Education Encyclopedia "Essentials of Philosophy and Ethics" (London: 2006.) He is also the author of "The Crisis of Atheism", published by The Philosopher, the Journal of the Philosophical Society of England, and a novel published both in Colombia and Spain: "Nuevas Tardes en Manhattan" (Manhattan New Soirées).Hugo has also produced, written, directed and edited three long-feature films "Kennedy's Crimes" (2011), "Hamlet Unbound" (2012) and"Manati: Portrait of a third-world happy town" (2012). As Associate Professor at the Faculty of Communications and Media Arts at the UNAB (Universidad Autónoma de Bucaramanga), Hugo co-designed and consolidated the curriculum of the current program in Audovisual Arts, instructing the first generation of professional filmmakers in Bucaramanga, his hometown.Between November 2010 and October 2012, Hugo worked as an Associate Professor at the Sivaji Ganesan Film and Television Institute at SRM University in Chennai (Madras.) During these years he completed the writing of "Aesthetics and Ethics of Cinema," also a compendium of his theories on Film direction, Acting, Screenwriting, Ideology and Poetics. In 2011 Hugo wrote, edited and directed "A Shortcut to India" (English
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Apt. 103
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La intriga o confabulación en Otelo. El racismo de sus representaciones dramáticas.
El ojo de Apolo, de Chesterton. De la tiranía de algunos jefes religiosossobre us prosélitos, a quienes obligan a cometer crímenes hasta que los conducen al suicidio.
La arrogancia del poder en Corioliano como punto de ataque de sus enemigos, quienes le exigen muestras de humildad. Su propia madre lo traiciona.
El populismo o sabiduría de Julio César. Amado por su pueblo, luego odiado por envidia, y, ya asesinado, reivindicado por Marco Antonio. Su lucha contra Pompeyo.
Julio César y Cleopatra de Bernard Shaw.
Marco Antonio y Cleopatra, tragedia del amor, capaz de aniquilar a los más poderosos reyes.
Papers by Hugo Noël Santander Ferreira
Beyond such representations, the hierarchy of tragedy resisted the attacks of affirmative action. It was Thomas De Quincey, with his short essay "On the Knocking at the Gate in Macbeth," who opened my understanding to the third ethical narrative: compassion for the wicked, the damned, and the criminals.
The writings of Joseph Campbell reinforced my understanding of the ethical value of the myth. While the comic hero suffers mockery and ridicule without remedy because we understand they are inadequate, the mythical hero confronts such mockery and ridicule with hope, as they deeply understand that their societies are the inadequate ones. Socrates, Jesus, and Saint Joan are submissive mythical characters for reasons that highlight them as figures of peaceful resistance against injustice and oppression.
Socrates accepted his fate with dignity and wisdom, despite the injustice of his condemnation. Accused of corrupting the youth of Athens and impiety, instead of fleeing or rebelling, he chose to defend his principles to the end. Socrates understood that his mission was to question and challenge the norms and beliefs of his society to seek truth and justice. His submission was not passive acceptance but a form of intellectual and moral resistance that inspired future generations.
Jesus, for his part, confronted mockery and ridicule with hope and faith in his divine mission. Throughout his life, he preached a message of love, compassion, and justice in a society that often rejected and ridiculed him. Despite facing persecution, torture, and finally crucifixion, he accepted his fate with serenity, convinced that his sacrifice had a greater purpose. His submission to divine will and his willingness to suffer for humanity gained him universal recognition as The Messiah.
Saint Joan of Arc is another example of a submissive mythical hero who faced mockery and persecution with courage and unwavering faith. Though a young peasant girl, she firmly believed that God had entrusted her with the mission of liberating France from English occupation during the Hundred Years' War. Despite the mockery, betrayal, and ultimately the trial and execution for heresy, Joan remained faithful to her vision and convictions. Her submission was not surrender but a demonstration of her commitment to her faith and country.
Socrates, Jesus, and Saint Joan faced injustice, mockery, and ridicule not with violent rebellion but with dignified acceptance and unwavering commitment to their principles and missions. These heroes deeply understood that their societies were wrong, and through their submission and sacrifice, they sought to transform and redeem the world around them. Their hope and peaceful resistance make them eternal figures of inspiration and ethical example.
Cinema is the crown of the arts, for it gathers them all, as Wagner once dreamed of. Any film is the result of 16,000 years of dramatic writing, so we, as filmmakers, stand on the shoulders of giants, as George Bernard Shaw used to say.
In this book, I unmask the revengeful ethical discourse of many action films, but also of many so-called "auteur cinema" films that, under the populist facade of communism, socialism, progressivism, or any other "ism," seek to demonize "the other," now called "the middle reactionary class," in the same way that the Spanish Inquisition and the National Socialists demonized the Jews.
Talks by Hugo Noël Santander Ferreira
Books by Hugo Noël Santander Ferreira
As we journey through the manifestations of the human in their daily pursuits, we navigate the corridors—until now closed or censored by neopositivism—of existence, destiny, and the enigmatic cosmos. Unlike the philosophers of old who shipwrecked on these timeless mysteries, our voyage leads to new certainties and dissolves millennia-old uncertainties.
It is not surprising that Hugo's approach to ontology in this tour de force is interdisciplinary, for metaphysics, in his own words, is:
"Social consciousness... as it arises in the face of the limitations of exact sciences. While materialism relegates existential concerns to hypotheses akin to those of evolution and the Big Bang, metaphysics constructs its discourse from the conglomerate of natural and social sciences, art, and folklore. Metaphysics is a discipline that transcends the boundaries of specialization; it derives its discourse from a universal perspective. 'Science of principles,' as Aristotle once termed it."
The very title of this book, in the present participle, reimagines our conception of Being and God: God in a constant state of Being, in persistent activity or manifestation, a dynamic or evolving vision of our humanity or individual Being as divinity; God as continuous and active existence in the world. God inherent to man, for, being external, He manifests through him. These are conceptions that shake anyone who delves into metaphysics as a transcendental reflection on their permanence or sense of immortality in this very moment in universal consciousness.
"Am I or do I exist in the world?" or "Am I and do I exist in the world?" are the enigmas encompassed in this journey, as well as: "Am I the same Being? Is God a reality distinct from mine? What or who defines God?"
Fantasy and dialectic, invention and erudition, logic and irrationality, art and philosophy come together to contribute to a science that transcends the boundaries of pure reason. Transcendental enigmas that make "Being God" not only a treatise on metaphysics but also on meta-philosophy.
"Metaphysics is often also inspired reflection, linking it to poetry. Both ponder and become emotional about the responsibilities of a universe that is constantly constructed and destroyed to be reborn."
The only condition, dear student, is that you discard everything that the film bureaucracy has taught you. As the ancients used to say: "Monere, non punire, ignoratian decet." It is not convenient to punish, but to advise ignorance.
12
Freed from the restrictions of scriptwriting academic bureaucracy and investors, true censors of each film, authors will finally be able to expose their sensitive vision of the world.
Through chapters that synthesize my teaching experience in film on five continents, this book starts from a gnoseological analysis of aesthetics and perception, celebrating the metaphysical potential of cinema, the other face of Janus, that of dreams, intuitions, eternity. We honour visionary pioneers who built cinematic storytelling, Truffaut and Hitchcock, their innovation in an era that was testing the possibilities of this new art.
Here, cinema reigns as the supreme art, capable of delivering a mirror to the world, its synthesis, whether it be worse than reality (comedy), just as it is in reality (drama, documentary), and as it should be (tragedy with a happy ending). As we enter a new cinematic era, let us embrace change, guided by the unlimited horizons that only genuine artists deliver.
Nous avons peur de bénir ou de maudire parce que nous considérons que l'avenir est une région inconnue, soumise à des forces invisibles. "Roi des rois" reprend le genre prophétique et se termine par une malédiction. Il m'a fallu onze ans pour la formuler, et je ne l'aurais pas fait si ce n'était pas le Créateur lui-même qui m'inspire. Que j'étais naïf de croire que Dieu voulait que je sois un autre écrivain obscur, éloigné de l'agitation mondaine ! Je suis écrivain, mais aussi acteur, et au cours de l'année écoulée, le Seigneur m'a demandé de réaliser des performances, incarnant la plupart des dieux du monde ; mais cela sera le sujet d'un documentaire.
C'est Dieu qui veut enseigner à toute l'humanité que celui qui agit bien et est doux en pardonnant aux autres obtient les faveurs invisibles du ciel et de l'enfer.
Mais comment ? Le ciel n'est-il pas l'ennemi de l'enfer ?, diront les fanatiques de certaines sectes. Déjà dans le livre de Job, Lucifer apparaît comme un autre fils de Dieu, chargé de tenter les hommes. William Blake a parlé des noces du Ciel et de l'Enfer, et Swedenborg, avant lui, a prescrit que lorsque nous mourons, nous sommes libres de devenir des anges ou des démons. Dans mon livre "Confessions des Défunts", le lecteur trouvera plus d'informations sur ces mystères.
D'autre part, comment réagir lorsque Dieu se manifeste en moi dans toute sa splendeur et m'oigne comme prophète ? Quand même la nature célèbre cela avec des colombes qui volettent et un escalier de nuages depuis ma fenêtre jusqu'au zénith ?
Quelques jours après cette expérience, minutieusement racontée dans "Le Prophète Invisible", mes collègues hindous m'ont laissé un livre qui représente, sous forme de bandes dessinées, l'histoire d'un homme qui prend du peyotl et croit voir des dieux. Ils voulaient me faire croire que mes visions étaient le fruit d'avoir essayé des champignons lors de mon passage à Amsterdam.
Mais cela ne s'est pas seulement produit dans mon esprit ; en plus des événements naturels décrits ci-dessus, j'ai vécu un tremblement de terre le 12 avril 2012, où j'ai supplié Dieu d'arrêter non seulement celui-ci, mais tous les tremblements qui secouaient le monde. J'ajoute, non sans rougir, les guérisons que j'ai opérées avec autorité divine, et la triste et inexplicable mort de faux amis qui ont conspiré contre moi ces dix dernières années.
La intriga o confabulación en Otelo. El racismo de sus representaciones dramáticas.
El ojo de Apolo, de Chesterton. De la tiranía de algunos jefes religiosossobre us prosélitos, a quienes obligan a cometer crímenes hasta que los conducen al suicidio.
La arrogancia del poder en Corioliano como punto de ataque de sus enemigos, quienes le exigen muestras de humildad. Su propia madre lo traiciona.
El populismo o sabiduría de Julio César. Amado por su pueblo, luego odiado por envidia, y, ya asesinado, reivindicado por Marco Antonio. Su lucha contra Pompeyo.
Julio César y Cleopatra de Bernard Shaw.
Marco Antonio y Cleopatra, tragedia del amor, capaz de aniquilar a los más poderosos reyes.
Beyond such representations, the hierarchy of tragedy resisted the attacks of affirmative action. It was Thomas De Quincey, with his short essay "On the Knocking at the Gate in Macbeth," who opened my understanding to the third ethical narrative: compassion for the wicked, the damned, and the criminals.
The writings of Joseph Campbell reinforced my understanding of the ethical value of the myth. While the comic hero suffers mockery and ridicule without remedy because we understand they are inadequate, the mythical hero confronts such mockery and ridicule with hope, as they deeply understand that their societies are the inadequate ones. Socrates, Jesus, and Saint Joan are submissive mythical characters for reasons that highlight them as figures of peaceful resistance against injustice and oppression.
Socrates accepted his fate with dignity and wisdom, despite the injustice of his condemnation. Accused of corrupting the youth of Athens and impiety, instead of fleeing or rebelling, he chose to defend his principles to the end. Socrates understood that his mission was to question and challenge the norms and beliefs of his society to seek truth and justice. His submission was not passive acceptance but a form of intellectual and moral resistance that inspired future generations.
Jesus, for his part, confronted mockery and ridicule with hope and faith in his divine mission. Throughout his life, he preached a message of love, compassion, and justice in a society that often rejected and ridiculed him. Despite facing persecution, torture, and finally crucifixion, he accepted his fate with serenity, convinced that his sacrifice had a greater purpose. His submission to divine will and his willingness to suffer for humanity gained him universal recognition as The Messiah.
Saint Joan of Arc is another example of a submissive mythical hero who faced mockery and persecution with courage and unwavering faith. Though a young peasant girl, she firmly believed that God had entrusted her with the mission of liberating France from English occupation during the Hundred Years' War. Despite the mockery, betrayal, and ultimately the trial and execution for heresy, Joan remained faithful to her vision and convictions. Her submission was not surrender but a demonstration of her commitment to her faith and country.
Socrates, Jesus, and Saint Joan faced injustice, mockery, and ridicule not with violent rebellion but with dignified acceptance and unwavering commitment to their principles and missions. These heroes deeply understood that their societies were wrong, and through their submission and sacrifice, they sought to transform and redeem the world around them. Their hope and peaceful resistance make them eternal figures of inspiration and ethical example.
Cinema is the crown of the arts, for it gathers them all, as Wagner once dreamed of. Any film is the result of 16,000 years of dramatic writing, so we, as filmmakers, stand on the shoulders of giants, as George Bernard Shaw used to say.
In this book, I unmask the revengeful ethical discourse of many action films, but also of many so-called "auteur cinema" films that, under the populist facade of communism, socialism, progressivism, or any other "ism," seek to demonize "the other," now called "the middle reactionary class," in the same way that the Spanish Inquisition and the National Socialists demonized the Jews.
As we journey through the manifestations of the human in their daily pursuits, we navigate the corridors—until now closed or censored by neopositivism—of existence, destiny, and the enigmatic cosmos. Unlike the philosophers of old who shipwrecked on these timeless mysteries, our voyage leads to new certainties and dissolves millennia-old uncertainties.
It is not surprising that Hugo's approach to ontology in this tour de force is interdisciplinary, for metaphysics, in his own words, is:
"Social consciousness... as it arises in the face of the limitations of exact sciences. While materialism relegates existential concerns to hypotheses akin to those of evolution and the Big Bang, metaphysics constructs its discourse from the conglomerate of natural and social sciences, art, and folklore. Metaphysics is a discipline that transcends the boundaries of specialization; it derives its discourse from a universal perspective. 'Science of principles,' as Aristotle once termed it."
The very title of this book, in the present participle, reimagines our conception of Being and God: God in a constant state of Being, in persistent activity or manifestation, a dynamic or evolving vision of our humanity or individual Being as divinity; God as continuous and active existence in the world. God inherent to man, for, being external, He manifests through him. These are conceptions that shake anyone who delves into metaphysics as a transcendental reflection on their permanence or sense of immortality in this very moment in universal consciousness.
"Am I or do I exist in the world?" or "Am I and do I exist in the world?" are the enigmas encompassed in this journey, as well as: "Am I the same Being? Is God a reality distinct from mine? What or who defines God?"
Fantasy and dialectic, invention and erudition, logic and irrationality, art and philosophy come together to contribute to a science that transcends the boundaries of pure reason. Transcendental enigmas that make "Being God" not only a treatise on metaphysics but also on meta-philosophy.
"Metaphysics is often also inspired reflection, linking it to poetry. Both ponder and become emotional about the responsibilities of a universe that is constantly constructed and destroyed to be reborn."
The only condition, dear student, is that you discard everything that the film bureaucracy has taught you. As the ancients used to say: "Monere, non punire, ignoratian decet." It is not convenient to punish, but to advise ignorance.
12
Freed from the restrictions of scriptwriting academic bureaucracy and investors, true censors of each film, authors will finally be able to expose their sensitive vision of the world.
Through chapters that synthesize my teaching experience in film on five continents, this book starts from a gnoseological analysis of aesthetics and perception, celebrating the metaphysical potential of cinema, the other face of Janus, that of dreams, intuitions, eternity. We honour visionary pioneers who built cinematic storytelling, Truffaut and Hitchcock, their innovation in an era that was testing the possibilities of this new art.
Here, cinema reigns as the supreme art, capable of delivering a mirror to the world, its synthesis, whether it be worse than reality (comedy), just as it is in reality (drama, documentary), and as it should be (tragedy with a happy ending). As we enter a new cinematic era, let us embrace change, guided by the unlimited horizons that only genuine artists deliver.
Nous avons peur de bénir ou de maudire parce que nous considérons que l'avenir est une région inconnue, soumise à des forces invisibles. "Roi des rois" reprend le genre prophétique et se termine par une malédiction. Il m'a fallu onze ans pour la formuler, et je ne l'aurais pas fait si ce n'était pas le Créateur lui-même qui m'inspire. Que j'étais naïf de croire que Dieu voulait que je sois un autre écrivain obscur, éloigné de l'agitation mondaine ! Je suis écrivain, mais aussi acteur, et au cours de l'année écoulée, le Seigneur m'a demandé de réaliser des performances, incarnant la plupart des dieux du monde ; mais cela sera le sujet d'un documentaire.
C'est Dieu qui veut enseigner à toute l'humanité que celui qui agit bien et est doux en pardonnant aux autres obtient les faveurs invisibles du ciel et de l'enfer.
Mais comment ? Le ciel n'est-il pas l'ennemi de l'enfer ?, diront les fanatiques de certaines sectes. Déjà dans le livre de Job, Lucifer apparaît comme un autre fils de Dieu, chargé de tenter les hommes. William Blake a parlé des noces du Ciel et de l'Enfer, et Swedenborg, avant lui, a prescrit que lorsque nous mourons, nous sommes libres de devenir des anges ou des démons. Dans mon livre "Confessions des Défunts", le lecteur trouvera plus d'informations sur ces mystères.
D'autre part, comment réagir lorsque Dieu se manifeste en moi dans toute sa splendeur et m'oigne comme prophète ? Quand même la nature célèbre cela avec des colombes qui volettent et un escalier de nuages depuis ma fenêtre jusqu'au zénith ?
Quelques jours après cette expérience, minutieusement racontée dans "Le Prophète Invisible", mes collègues hindous m'ont laissé un livre qui représente, sous forme de bandes dessinées, l'histoire d'un homme qui prend du peyotl et croit voir des dieux. Ils voulaient me faire croire que mes visions étaient le fruit d'avoir essayé des champignons lors de mon passage à Amsterdam.
Mais cela ne s'est pas seulement produit dans mon esprit ; en plus des événements naturels décrits ci-dessus, j'ai vécu un tremblement de terre le 12 avril 2012, où j'ai supplié Dieu d'arrêter non seulement celui-ci, mais tous les tremblements qui secouaient le monde. J'ajoute, non sans rougir, les guérisons que j'ai opérées avec autorité divine, et la triste et inexplicable mort de faux amis qui ont conspiré contre moi ces dix dernières années.