As part of our 15th anniversary we will to reflect more deeply on the origins and impact not only of our own local media artists productions, but also of the entire Latin Canadian film production from the past 15 years.
The panel will cover topics that reflect on the last 15 years of independent media arts production by Latin Canadian artists, and will also consider the contexts for the future. In reflecting on this filmmaking/media arts history, the panel also aims to consider the framework evolution that will be needed to support Latin Canadian independent filmmaking into the future.
The question of the ongoing need for spaces for culturally specific media arts exhibition and their relevance to future generations of independent filmmakers is being questioned, and this question will serve as the starting point for the discussion on this panel.As part of our 15th anniversary we will to reflect more deeply on the origins and impact not only of our own local media artists productions, but also of the entire Latin Canadian film production from the past 15 years.
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I wouldn’t start by remembering that in
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the seven extent very active group of
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filmmakers that came from Sheila exile
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living in Montreal creating coops and
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bringing the politics of memory into the
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mainstream be our filmmaking in the late
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eighties artists of color as we call
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ourselves have started to organize
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around that time we organized a
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conference called shooting the system
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this conference was instrumental in
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changing the representation of people
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who call our own levels in the Canadian
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cultural landscape which was mostly
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Anglo at that time a lot of the old
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folks is fresher entertainers also there
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was the cinema in the corner where were
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mostly independent shown a video
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exhibition were happening at the time so
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for sarees of this latin gay community
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connected with all this festival so a
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lot of device from the festival will
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happen in this club’s video and perhaps
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too great and huge in 16 and they’re
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here we are with a whole bunch of
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friends they were all making sure during
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that time I started with another Russell
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to program events for about a year
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perhaps a little bit longer with no
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funding at a venezuelan restaurant on
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ossington in college and see Nana was
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instrumental in expanding the which
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doing so al cine with her dedication
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creativity and incredible capacity to
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create networks right from the beginning
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my position with what was to become the
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festival which it was called gusano from
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dennis.watson borders at the beginning
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and then later on at the scene it was
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political you know
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so much about the Annunciation but
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there’s a lot of politics and the stakes
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of the work that are really important he
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becomes very political more political
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the talking about politics and summer
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starting to see all we got a native from
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the Canada Council 10 e knows that we
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have been selected as an organization
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because outstanding work that we done in
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blah blah so say okay let’s do this
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festival again and people were asking a
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lot to do the festival again because it
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really there was not like a hole in them
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somewhere the isolation and exclusion
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present in our immigrant experience has
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taught us to be aware the needs of all
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the immigrants Allison I became a rescue
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mission not only of the films made in
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that in America but of immigrant artists
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here who were lost in a sea of
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exclusions no significant a
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sub-directory a community-based event it
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was the two of us but we always had a
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yacht in some allies and I no visa
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people who are supporting in a way
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around order I think it has been at the
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essence of all the incarnations of
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Abyssinian and brushing board and they
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need to eat connect to the order that
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that sense of community also fuels you
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to be able to produce work is something
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that alison has kind of taught the
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research wrong and when people do it the
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way else and doesn’t it works out really
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well that is really what I am really
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very important about how we move defend
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on how we how the world’s get smaller
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and we become more and more powerful of
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the many strange an alien culture that’s
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how the audience’s I’ve seen is like
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that little flame that numbs a torch is
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still still there
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and that’s that’s the heart of a losing
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and that’s how it started and that’s how
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I think why it is different there’s
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diverse ways of doing things and there
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are diverse voices that need to be
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representative there is innately the
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community people one system of to happen
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and they’re willing to do anything just
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to make it happen so when talking about
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culturally specific avenues for
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production and display in Canada it’s
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not so easy to demarcate identity groups
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with standardized labels that are meant
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to contain these specific definitions we
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need to survive and we need to sell so
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we cannot be only spare amantha and that
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was all these things that the the
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failure to American audiences can’t
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connect to dancing at all when you only
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when you they don’t understand they
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don’t understand experimental omnia I
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know a lot of friends that I get
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involved at T nothing here in fiction of
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better films but they don’t have a place
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to show their movies so what happened
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now with the new ones what happened
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within the generations so and we’re
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still here and we work with with
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experimental work because we have this
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platform so are we really going to look
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at it this is space they need to
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continue being like school so it’s in
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another one is due to fit in Norwich the
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community and get people to Native
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community to to create more orcs in
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creating using I think always know
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I seems really happy to see how every
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generation of Latino Americans who are
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established in this city and this
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country will also be the nursing the
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other Latin America’s were arriving in
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DC di english comp the journey start
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again and again for a different
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perspective and a personal perspective
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though los dos entire started their Diaz
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Peralta exile by some sake a
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never-ending carbonell there is an
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essential need for these spaces for
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these categories both from the side of
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funding agencies as well as
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organizations that are set up to promote
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11 artists and to create evidence of
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display further work one of the
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Commission every year worse up my heart
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is that all the artists that come from
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outside they feel it and if it’s so
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welcome and they amazed about how you
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know professional is how well believe or
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how organized everything and the quality
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of the words and how we present the
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words you can see these and how to
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maximize our resources we do this with
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very little value but we do it well I
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think that what lies ahead for a lot of
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of us is creating the capacity for
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bringing people together and negotiating
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the politics of identity that are made
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visible when these events are put
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together and these artworks are
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displayed the label of Latin America
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used to conjure up a fixed idea of the
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other via there were presentation of
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local histories and tradition fails to
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account for the multiplicity of subjects
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and experiences that appear due to the
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romanization it’s always that idea of
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the daughter profiling its own in some
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terms you want
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as the other in electrons you go okay
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don’t treat me like that it’s salty
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instead the term is activated now to
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include an overlapping and country in
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overlapping in contradicting ways the
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very variety of cultures people
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languages both from within and without
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the geographical borders that the ones
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can take there’s a real fun road to
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walking into the industry when you as an
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American filmmaker want to go that way
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because there’s a lot we learn in that
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experience about ourselves also and
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there’s a lot that you bring about yours
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about your own identity by about your
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own wiggle your move your own
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sensibility we’re not trying to just be
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a festival for Latin American audiences
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I’m trying to expand that out instead
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was never part of it because didn’t get
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it so by educating this community we get
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we get a lot more support we get more i
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will say acceptance in others here comes
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up we were there before and then we need
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so it’s also social strategy to
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diversify audiences
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