Papers, articles & book chapters by LORETO GARCIA SAIZ
Revista científica De Series Televisivas Y Arte Audiovisual, 2024
En las representaciones audiovisuales de lo que hoy se denomina popularmente
como «Mar de Plásti... more En las representaciones audiovisuales de lo que hoy se denomina popularmente
como «Mar de Plástico» se han manifestado históricamente diversas formas de mirar
hacia lo rural desde el aparato cinematográfico. Esta investigación explora los
documentales producidos por el Ministerio de Agricultura en el campo almeriense
entre los años 1967 y 1976, primeras imágenes cinematográficas existentes sobre la
transformación agrícola de esta zona. El artículo persigue tres objetivos: primero,
contextualizar la producción institucional de documentales sobre la nueva
agricultura almeriense en sus inicios desde una perspectiva historiográfica; segundo,
revisar la información que se conserva sobre los documentales, contrastando los
datos encontrados en los archivos para matizar los datos que hasta ahora se han
publicado; finalmente, llevar a cabo un análisis fílmico de los documentales para
comprender determinadas prácticas que se implementaban por parte del Ministerio y que hasta ahora no han sido estudiadas, como la producción de lo que he definido
como «remakes institucionales».
Revista Cuadernos MAVAE Vol.18-1: "Arte en la ruralidad y prácticas estéticas campesinas en América Latina", 2023
The Yucatecan Mayan people have been considered as an historic alterity in the emerge... more The Yucatecan Mayan people have been considered as an historic alterity in the emergence and consolidation of the Mexican nation-state. Extensively represented in the audiovisual sphere from colonialist discursive stances and exogenous looks, their contemporary realities have been
made invisible in the movies as a conse-quence of not being recognized as coetanean of the Latin-American indigenous and peasant peoples. However, this work proposes an approach to the contemporary au-diovisual creations by the genuine Mayans filmmakers that enables the emergence of
epistemologies of the feeling situated in their own rural territory by means of something called the eco-films. This works examines specifically the case of the filmmaker Robin Canul and his documentary ¿Qué les pasó a las abejas? (2018) [What happened to the bees?] that explores the process of how the beekeepers defend their territory in the Yucatán Peninsula in a struggle against the company Monsanto due to the plantations of transgenic soy. The research methods used in this work in-clude the filmographic review, film analysis and in-person interviews to the creators. Regarding the results, special attention is paid to the way they code in the film the discourse of good living as well as the decolonizing strategies when addressing the representation of the rural life. To conclude, this work highlights the importance of the filmmaking from a situated knowledge as a part of a broader contemporary polit-ical movement intended to defend the peasant life in the Yucatán Peninsula amidst a context of the development of tourism macro-projects
The Journal of Film Theory, History, and Aesthetics, 2023
The so-called "Sea of Plastic" in Almeria (southern Spain) is the largest concentration of plasti... more The so-called "Sea of Plastic" in Almeria (southern Spain) is the largest concentration of plastic greenhouses in the world. Because of its monumentalism and "accidental aesthetics" (Davis, 2015), this geographic region has been extensively depicted from above by aircrafts, satellites, and drones from the 1950s to the present. The purpose of this paper is threefold: first, it offers a historical account of these images from above (from the ones obtained during the Francoist period for geopolitical purposes to those taken by local farmers today) in order to understand its colonial condition and legacy; second, it explores the significance of these images in the process of institutionalization of the landscape and its use in the ideological battle that takes place in the core of the agribusiness regarding its human and environmental externalities; and finally, it analyzes the tension between the artistic and the political condition of these images. We understand these productions as a visual testimony of the Anthropocene since they allow us to document the ecological violence that has taken place in this space over decades. Nevertheless, we argue that the aesthetic condition of most of the SoP's images creates a distance that ultimately fails to show the consequences of agro-industrial activity in the long term: desertification, aquifers' overexploitation, and long-life plastic waste. Thus, these images allow us to think about the trauma inflicted on ecosystems and the representational challenges involved in representing traumatic landscapes.
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Papers, articles & book chapters by LORETO GARCIA SAIZ
como «Mar de Plástico» se han manifestado históricamente diversas formas de mirar
hacia lo rural desde el aparato cinematográfico. Esta investigación explora los
documentales producidos por el Ministerio de Agricultura en el campo almeriense
entre los años 1967 y 1976, primeras imágenes cinematográficas existentes sobre la
transformación agrícola de esta zona. El artículo persigue tres objetivos: primero,
contextualizar la producción institucional de documentales sobre la nueva
agricultura almeriense en sus inicios desde una perspectiva historiográfica; segundo,
revisar la información que se conserva sobre los documentales, contrastando los
datos encontrados en los archivos para matizar los datos que hasta ahora se han
publicado; finalmente, llevar a cabo un análisis fílmico de los documentales para
comprender determinadas prácticas que se implementaban por parte del Ministerio y que hasta ahora no han sido estudiadas, como la producción de lo que he definido
como «remakes institucionales».
made invisible in the movies as a conse-quence of not being recognized as coetanean of the Latin-American indigenous and peasant peoples. However, this work proposes an approach to the contemporary au-diovisual creations by the genuine Mayans filmmakers that enables the emergence of
epistemologies of the feeling situated in their own rural territory by means of something called the eco-films. This works examines specifically the case of the filmmaker Robin Canul and his documentary ¿Qué les pasó a las abejas? (2018) [What happened to the bees?] that explores the process of how the beekeepers defend their territory in the Yucatán Peninsula in a struggle against the company Monsanto due to the plantations of transgenic soy. The research methods used in this work in-clude the filmographic review, film analysis and in-person interviews to the creators. Regarding the results, special attention is paid to the way they code in the film the discourse of good living as well as the decolonizing strategies when addressing the representation of the rural life. To conclude, this work highlights the importance of the filmmaking from a situated knowledge as a part of a broader contemporary polit-ical movement intended to defend the peasant life in the Yucatán Peninsula amidst a context of the development of tourism macro-projects
como «Mar de Plástico» se han manifestado históricamente diversas formas de mirar
hacia lo rural desde el aparato cinematográfico. Esta investigación explora los
documentales producidos por el Ministerio de Agricultura en el campo almeriense
entre los años 1967 y 1976, primeras imágenes cinematográficas existentes sobre la
transformación agrícola de esta zona. El artículo persigue tres objetivos: primero,
contextualizar la producción institucional de documentales sobre la nueva
agricultura almeriense en sus inicios desde una perspectiva historiográfica; segundo,
revisar la información que se conserva sobre los documentales, contrastando los
datos encontrados en los archivos para matizar los datos que hasta ahora se han
publicado; finalmente, llevar a cabo un análisis fílmico de los documentales para
comprender determinadas prácticas que se implementaban por parte del Ministerio y que hasta ahora no han sido estudiadas, como la producción de lo que he definido
como «remakes institucionales».
made invisible in the movies as a conse-quence of not being recognized as coetanean of the Latin-American indigenous and peasant peoples. However, this work proposes an approach to the contemporary au-diovisual creations by the genuine Mayans filmmakers that enables the emergence of
epistemologies of the feeling situated in their own rural territory by means of something called the eco-films. This works examines specifically the case of the filmmaker Robin Canul and his documentary ¿Qué les pasó a las abejas? (2018) [What happened to the bees?] that explores the process of how the beekeepers defend their territory in the Yucatán Peninsula in a struggle against the company Monsanto due to the plantations of transgenic soy. The research methods used in this work in-clude the filmographic review, film analysis and in-person interviews to the creators. Regarding the results, special attention is paid to the way they code in the film the discourse of good living as well as the decolonizing strategies when addressing the representation of the rural life. To conclude, this work highlights the importance of the filmmaking from a situated knowledge as a part of a broader contemporary polit-ical movement intended to defend the peasant life in the Yucatán Peninsula amidst a context of the development of tourism macro-projects