Speculations on Openings, Closings, and Thresholds in International Public Media
Friday, November 27, 2009
Blog written by Patricia Zimmermann, codirector of the Finger Lakes Environmental Film Festival and professor of cinema, photography and media arts at Ithaca College
James Ramey and Morelia
I first met James Ramey when I was invited to attend the Morelia International Film Festival in 2005. It was an absolutely heady experience: explosive filmmaking talent in fiction and nonfiction, an entire conference within the festival with Mexican indigenous filmmakers, and international players from the film industry.
When I returned this year with NAMAC codirector and documentary director Helen De Michiel to present at the Sepancine Conference, connected to the Morelia International Film Festival, that same eye-opening, attitude-changing intensity pulsated throughout. In both Mexican cinema and Mexican intellectual life, the stakes are high and the terrain is new and somewhat rocky. Ideas and people seem to connect in ways that makes new insights burst through the high desert like cactus flowers in spring.
Film scholar, festival organizer, colleague
Bilingual and living in Mexico, James Ramey was one of the Americans I met who helped to mount the festival. Gracious and collegial, Ramey is one of those people who you feel you have known forever. He always seems to be asking questions about research, about films, about filmmaking around the world, about creative economy best practices, about film theory.
James Ramey holds a Ph.D. in Comparative Literature and Film Studies from UC Berkeley, and is a visiting professor in the Humanities Department at the Metropolitan Autonomous University at Cuajimalpa in Mexico City. Among his publications are the anthology Mexico imaginado: Nuevos enfoques sobre el cine (trans)nacional (CONACULTA-UAM, 2010) and journal essays in Comparative Literature Studies, James Joyce Quarterly, and Comparative Literature. His current book project is entitled Micro-Modernism: The Pleasures of Parasitism in Joyce, Borges, Nabokov and Buñuel. He has been Academic Adviser to the Morelia International Film Festival since its inception in 2003.
Let me add one little footnote here to James' impressive credentials. I've taught Bunuel's Un Chien Andalou probably 100 times; each shot is tatooed on my brain. I didn't think it was possible for anyone to read that film in any new way. That is, until I heard James' conference presentation where he literally dissected the film, demonstrating irrefutably its links, allusions and inscriptions to insects.
Patricia: Can you describe and explain Sepancine? Why was it formed? What purpose does it serve in the development of Mexican film theory and analysis? What are its goals?
James: Lauro Zavala and several colleagues started "Sepancine/Mexican Association of Film Theory and Analysis" in May 2005 as part of an admirable effort to solidify an academic field of film studies in Mexico and open a space for dialogue between Mexican film scholars and people working on film in other parts of the world.
It has organized five annual conferences, published several collections of articles, and has helped to create a network of national and international working groups on film studies. Main goals for the future are to start a scholarly journal of film studies and convince academic institutions in Mexico to open Film Studies departments.
Patricia: What is the role of film theory and analysis in Mexican universities? How is it developing? How is film education in film theory and analysis organized for graduate students and undergraduates in Mexico? Why is film theory and analysis necessary and urgent in Mexico?How does film theory relate to preparing the next generation of Mexican filmmakers, and the next iteration of the Mexican film industry?
James: Film scholarship has existed in a limited form for many decades in Mexico, focused chiefly on film history and historiography. Indeed, Mexican academia has produced some excellent film scholars, such as Aurelio de los Reyes, Jorge Ayala Blanco, and Lauro Zavala, who is the leading practitioner of film theory per se in Mexico.
But Mexican university administrators still tend to view the study of film as a minor subdivision of other disciplines, like communication, art history or literature. Film is also studied in an academic way (including some theory and analysis) at major Mexican film schools such as the Centro de Capacitación Cinematográfico and the Centro Universitario de Estudios Cinematográficos. But while those are very good film schools, they do not offer their graduates the equivalent of a bachelor’s degree (licenciatura), which means they cannot generally go on to study an M.A. at a major international film school, which is an important step in the careers of many filmmakers at that age (apparently the CUEC is seeking to grant a licenciatura, but it hasn’t happened yet).
It is my understanding that until this year there were no undergraduate or graduate programs in Film Studies per se, though students and faculty at many universities have skirted this problem by allowing students in related fields to focus on film in their thesis or dissertation projects.
My understanding (and I would be happy to be corrected) is that the first undergraduate program in film studies was opened October 2, 2009, in Morelia, during the Sepancine conference, at the new Instituto Mexicano de Investigaciones Cinematográficos y Humanísticos (IMICH). This government-authorized institution, headed up by the talented Dr. Alba Estrada, offers the equivalent of a U.S. liberal arts degree with a major in Film Studies and Audiovisual Production, and has a very good, ecumenical course program (disclaimer: I helped design it). It also offers a master’s degree in Film Studies and Audiovisual Production.
At Sepancine, a group of professors from the University of Guadalajara announced that they are starting a similar degree program, and I know Lauro Zavala is proposing to create an M.A. in Film Theory and Analysis at the UAM-Xochimilco in Mexico City. It is our hope that this new trend will catch on, since that would enable the academic "supply" in Mexico to meet the strong demand.