{"id":1908,"date":"2024-05-04T10:01:01","date_gmt":"2024-05-04T08:01:01","guid":{"rendered":"https:\/\/www.archivoreversible.com\/?page_id=1908"},"modified":"2024-06-06T09:55:17","modified_gmt":"2024-06-06T07:55:17","slug":"recursos","status":"publish","type":"page","link":"https:\/\/www.archivoreversible.com\/en\/recursos\/","title":{"rendered":"Resources"},"content":{"rendered":"\t\t
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Encuentros<\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tEncuentro de mujeres trabajadoras del cine y video peruano, 1990<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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El 6 de agosto de 1990, en el Instituto Goethe de Lima se realiz\u00f3 el \u201cEncuentro de mujeres trabajadoras del cine y video peruano\u201d. Participaron Nora de Izcue, Mar\u00eda Barea, Christine Rosenthal, Beatriz Manrique, Paloma Valdeavellano, Mabel Marcuello, Micha Torres, Petruska Barea, Miriam Herrera y Jenny Velapati\u00f1o. Moderado por Gudula Meinzolt. La transcripci\u00f3n completa se encuentra en el bot\u00f3n de arriba.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Arca, Elisa. \u201cEl montaje Audiovisual I\u201d. Introducci\u00f3n web El montaje audiovisual en el Per\u00fa, 1962-1998: una aproximaci\u00f3n a trav\u00e9s del archivo de Victoria Chic\u00f3n<\/i>, 2023. https:\/\/montajeenelperu.omeka.net\/montaje-audiovisual<\/a><\/span><\/p>\n

Barrow, Sarah. \u201cNew configurations for Peruvian cinema: The rising star of Claudia Llosa.\u201d <\/span>Transnational Cinemas,<\/span><\/i> vol. 4:2, 2013: 197-215. <\/span><\/p>\n

Barrow, Sarah. \u201cNegotiating Neoliberal Demands on Contemporary Cinema: The Role and Influence of the Socially Committed Film Producer in Peru,\u201d Claudia Sandberg y Carolina Rocha (eds.) Contemporary Latin American Cinema: Resisting Neoliberalism?<\/i> London & NY: Palgrave Macmillan, 2018: 119-134. <\/span><\/p>\n

Barrow, Sarah. \u201cThrough Female Eyes: Reframing Peru on Screen,\u201d, Deborah Martin y Deborah Shaw (eds.) Latin American Women Filmmakers: Production, Politics, Poetics<\/i>. London: IB Tauris, 2017: 48-69. <\/span><\/p>\n

Carbone, Giancarlo. El cine en el Per\u00fa. El cortometraje: 1972-1992<\/i>. Lima: Universidad de Lima, 1991.<\/span><\/p>\n

Delgado, M\u00f3nica. Mar\u00eda Wiesse en Amauta: Los or\u00edgenes de la cr\u00edtica de cine en el Per\u00fa<\/i>. <\/span>Lima: Gafas Moradas, 2020.<\/span><\/p>\n

Garc\u00eda Miranda, N\u00e9stor. \u00ab<\/span>Berta Salda\u00f1a, directora de noticieros de gobierno durante tres presidentes enemigos entre s\u00ed: Velasco Alvarado, Morales Berm\u00fadez y Belaunde Terry\u00bb, <\/span>Cinencuentro, 2023<\/a>. <\/span><\/p>\n

Mladic, Christine. \u00abA Conversation with Nora de Izcue: Runan Caycu, New Latin American Cinema, and the Peruvian Documentary Tradition\u00bb, Visual Anthropology Review<\/em> 38 (1), 2022: 142-162.<\/span><\/p>\n

Rabelo, Carla.  \u00abLa primera directora peruana. Entrevista con Nora de Izcue\u00bb (Partes I y II), Imagofagia<\/span><\/em> 23, 2021.<\/span><\/p>\n

Reyna, Fabiola. La cinta ancha: brechas de g\u00e9nero en el cine peruano<\/i>. Lima: Gafas Moradas, 2021.<\/span><\/p>\n

Segu\u00ed, Isabel. \u201cCine-Testimonio: Saturnino Huillca, estrella del documental revolucionario peruano\u201d, Cine Documental<\/span><\/em> 13, 2016: 54-87.<\/span><\/p>\n

Segu\u00ed, Isabel. \u201cAuteurism, <\/span><\/i>Machismo-<\/span>Leninismo<\/span><\/span><\/i>, and Other Issues: Women\u2019s Labor in Andean Oppositional Film Production,\u201d<\/span><\/i><\/span> Feminist Media <\/span>Histor<\/span><\/span><\/i>ies<\/i> 4 (1), 2018<\/span>: 11-36.<\/span> <\/span><\/span><\/span><\/p>\n

Segu\u00ed, Isabel. <\/span>\u201cWarmi Film & Video: The First Women-led Peruvian Film Group,\u201d <\/span>Jump Cut: A Review of Contemporary Media<\/span><\/i> 61, 2022.<\/span><\/span><\/a><\/p>\n

Segu\u00ed, Isabel.<\/span> \u201c<\/span>Creating the Archive for Incomplete Feminist Cinematic Narratives: The Andean-Amazonian Case,\u201d <\/span>i<\/span>n <\/span><\/i>Incomplete: The Feminists Possibilities of the Unfinished Film<\/span>, <\/span><\/span><\/i>e<\/span>dited by Alix Beeston and Stefan Solomon. University of California Press<\/span><\/span>, 2022<\/span>: 107-124.<\/span> <\/span><\/span><\/p>\n

Segu\u00ed, Isabel.<\/span> \u201c<\/span>Between Nearness and Incommensurability: Andean Women\u2019s Documentaries in the 1980s.\u201d In <\/span><\/i>No Master Territories: <\/span>Feminist Worldmaking and the Moving Image<\/span><\/span><\/i>, edited by Erika Balsom and Hila Peleg. <\/span>The<\/span> MIT <\/span>Press<\/span> and H<\/span>KW<\/span>, 2022<\/span>: <\/span>91-111.<\/span><\/span><\/span> <\/span><\/span><\/p>\n

Segu\u00ed, Isabel.<\/span> \u201cHaciendo estallar la burbuja cinematogr\u00e1fica lime\u00f1a: mujeres peruanas en el cine contempor\u00e1neo de no ficci\u00f3n.\u201d In <\/span><\/i>El cine peruano del siglo XXI<\/span><\/i>. Cynthia Vich y Sarah Barrow. <\/span>Fondo Editorial de la Universidad de Lima<\/span>, 2021<\/span>: 353-373. <\/span><\/span><\/span><\/p>\n

Segu\u00ed, Isabel.<\/span> \u201cBursting Lima\u2019s Film Bubble: Women in the Contemporary Nonfiction Film Scene in Peru.\u201d In <\/span>Peruvian Cinema of the Twenty-First Century: Dynamic and Unstable Grounds<\/span>,<\/span><\/i><\/span> edited by Cynthia Vich and Sarah Barrow<\/span><\/span><\/span>. Cham, Switzerland: Palgrave<\/span>, 2020<\/span>: 321-341.<\/span><\/span><\/span> <\/span><\/span><\/p>\n

Segu\u00ed, Isabel.<\/span> \u201cThe Peruvian <\/span>Kuntur<\/span> Group: A Marxist-Indigenist Filmmaking Practice.\u201d In <\/span>Third\u202fCinema, World\u202f<\/span>Cinema<\/span>\u202fand Marxism<\/span><\/i><\/span><\/span>,<\/span><\/span> edited by Ewa <\/span>Mazierska<\/span> and Lars Kristensen<\/span><\/span><\/span><\/span>.<\/span><\/i><\/span><\/span>\u202f<\/span><\/span>New York<\/span><\/span>, 2020: Bloomsbury<\/span>: 99-117.<\/span><\/span><\/span><\/p>\n

Tedesco, Marina Cavalcanti. \u201cAs protagonistas femininas nos filmes da cineasta peruana Nora de Izcue.\u201d Extraprensa<\/span><\/em> 11, 2018: 94-107.<\/span><\/p>\n

Tedesco, Marina Cavalcanti. \u201cNora de Izcue, Josefina Jord\u00e1n e o come\u00e7o de uma hist\u00f3ria das diretoras do Nuevo Cine Latinoamericano.\u201d <\/span>Cin\u00e9mas d\u2019Am\u00e9rique Latine<\/em> 22, 2014: 39-47.<\/p>\n

Vich, Cynthia. \u00abEscombros de la Lima neoliberal: <\/span>A punto de despegar<\/i> (2015).\u00bb <\/span>Hispan\u00f3fila<\/span><\/i>, vol. 192, 2021, p. 35-49. <\/span><\/span><\/p>\n

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Yepes-Rossel, Gabriela. \u201cCurating Disruption: Reflections from Peru on Feminist Film Archiving.\u201d Feminist Media Histories<\/i> 10 (2-3), 2024: 258\u2013270.<\/span><\/p>\n

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