Cela 11 by Anxela Caramés e Ramón Santos
It’s being long time since I’ve been thinking over the current situation of the audiovisual scenery in Galicia, not about the industrial audiovisual one, of course, but about the most updated one, the real locomotive that pulls to contradict the static inertia of the established and conventional type of audiovisual. Now with this text I wish to set in order all my thoughts and start throwing out some conclusions. I am conscious that I am dealing with a topic where there is barely any Historical distance, but I believe there is already enough signs to try a systematization of what it’s recently happening within the Galician audiovisual scenery. info
Antonio Weinrichter writes about Mark Rappaport. First-hand words, that introduce us into the first Master Class of the (S8) lead by the filmmaker from New York.
Jose Luis Castro de Paz -Doctor of History of Cinema, audiovisual communication professor and researcher – took part of the presentation round table of the section Historic archives of Galicia.
SECTION: HISTORIAL CINEMATOGRAPHIC DOCUMENTS MADE IN GALICIA
José Luis Castro de Paz
If the cinematographic production in Galicia, as everybody knows, was practically nonexistent until the seventies of the last century -drastically truncated the possible foundations of a Galician Cinema during the republican period by the military fascist uprising-, the expression turns out to be nearly literal until 1920.
So, and still including the nineteenth-century, relevant and possibly particular filmography of José Sellier Loup (native of Lyon, now settled down in A Coruña), it should not be surprising that what was filmed in Galicia until de end of the second decade of the 20th century hardly exceeds, as a whole, some thousand meters of celluloid -lost in its vast majority—and that its (non)-existence it is specially due to the individual willfulness of small businessmen or enterprising photographers rather than an industrial will worthy of such a name, since, in reality -and how it will be supposed- the extremely weak and apathetic Galician bourgeoisie will not show any interest in contributing in the uprising of a cinematographic industry. It is due to this fact that beyond the intrinsic value of the material conserved (and occasionally restored) by the Centro Galego de Artes da Imaxe (CGAI), and that it is an outstanding part of the section that we present, this material reaches for us the category of an authentic historical and anthropological treasure. info
Pedro Comesaña, author of Emética (Mentes Distintas) -short that will be screened at (S8) within the sectionRetrieved and Unpublished Galicia’s Cinema- talks us about his first experience with the image world.
Emética is the result of my first contact with the world of images and consequently he/she became the reason why I decided to dedicate my career to the cinema and the audiovisual world. In 1981, when I was seventeen, in the surroundings of Vigo there were few options to get into the audiovisual world. Not even there were photography schools and much less, Audiovisual Schools. There were only two TV channels, the 1 and the 2, and Internet was science fiction. info