DIRECTORS, 4 EDITION SANJINES Publications Convents, G. in Film en Televisie+ video(brussels ), October 1995 Chaput, Luc, " Jorge Sanjines: Amerindien mon frere, in Sequences By SANJINES: book- ( Haute-Ville), September-October 1997 Theory and Practice of a Cinema with the People, with Ukamau Group and Richard Schaaf, willimantic, 1989 The bolivian Jorge Sanjines has become internationally rece By SANJINES: articles- nized as a leading filmmaker in spite of the fact that his country has few significant filmmaking traditions or production facilities. Work ng outside of a film-industry context, Sanjines has doggedly over- Cinema and Revolution, an interview in Cineaste(New York), come formidable obstacles, including economic ones. For instance, to Winter 1970/71 finance the fiction feature Yawar mallku Sanjines and other members Ukamau and Yawar Mallku: An Interview with Jorge Sanjines, in of his Ukamau production group sold personal belongings and Afterimage(London), Summer 1971 accepted contributions. After finishing Yawar mallku, members of the Sobre Fuera de aqui!, " and"Llamado del Grupo Ukamau, in Ukamau collective toured the Bolivian highlands with a 16mm print Cine Cubano(Havana), no. 93, 1980 and portable projection equipment in an effort to reach the film,'s El Cine revolucionario en Bolivia. 'in Cine Cubano(Havana). no. intended audience-the Indian peasantry Sanjines is a militant filmmaker whose primary goal is to bring Faire du cinema un instrument de liberation an interview with G. a revolutionary Marxist political agenda to peasant and working-class Gervais, in Jeune Cinema(Paris), March 1982. audiences. His principal films respond to a militant Marxist aesthetic Nuestro principal destinatario, in Cine Cubano(Cuba),no. by examining oppressed collective protagonists (for example 105,1983 Andean peasant community)in their historical situations, by educat- Revolutionary Cinema: The Bolivian Experience, "in Cinema and audiences to transform the political and socioeconomic status quo in edited by Julianne Burton, Austin, Texas, 1986 order to build a higher stage of society. The depiction of oppression in El plano secuencia integral, "in Cine Cubano( Cuba), no. 125, 1989. cal events these films has in some cases been based on documented histori- Voraussetzung fuer das verstaendnis sind Interesse an und achtung Sanjines's works offer a defense of the Andean Indian way of life gegenueber der anderen Kultur, an interview with R. Nierich and and expose and attack the Indians'enemies. Yawar mallku denounces P. B. Schumann. in Filmbulletin. vol. 33. no. 4. 1991 a Progress Corps(read Peace Corps)pediatrics clinic that sterilizes unsuspecting Andean women, while in the documentary reconstruc- On SANJINES: books- tion El coraje del pueblo, Bolivian government and military official responsible for the massacres of Indian miners are specifically Gisbert. Carlos D. Mesa, and others Cine Boliviano: Del realizador dentified. The fiction feature El enemigo principal illustrates al critico, La Paz, 1979 exploitation and brutality suffered by indigenous peasants at the Gisbert. Carlos d. mesa. La aventura del cine boliviano 1952-85. La hands of powerful landowners and links the power of the landowners Paz,1985 to U.S. imperialism. The mise-en-scene of these films reflects Sanjines's defense of the Indian way of life. For instance, in El enemigo Armes, Roy, Third-World Filmmaking and the West, Berkeley, 198 principal the Inca heritage of the modern Andean Indian pervades the mise-en-scene: the predominance of Quechua dialogue, the centuries- On SANJINES articles- old custom of chewing coca leaves, the trapezoidal niches and doors characterizing Inca masonry, the ancient agricultural ritual, the every Wilson, David,"Aspects of Latin American Political Cinema, "in day work of spinning and weaving Sight and Sound(London), Summer 1972 The structural, narrative, and stylistic approaches used by Sanjines Campbell, Leon G, and Carlos Cortes, ""Film as Revolutionary have evolved in accordance with his basic goal of optimum communi Weapon: A Jorge Sanjines Retrospective, in History Teacher, ing Yawar mallku to Indians in remote areas, Sanjines drew on an Inca Ledgard, M, Jorge Sanjines: El cine urgente, " in Hablemos de cine oral tradition: and before showing the film he first had a narrator Lima), June 1981 introduce the story and the characters to the cinematically unsophisti- West. Dennis. Film and revolution in the andes in New scholar cated audiences. Later, in El enemigo principal, Sanjines built a nar- San diego), vol. 8, no. 1/2, 1982. rator into the film itself: a well-known Indian peasant leader periodi West, Dennis, "Alternative Cinema in Latin America, ' in roads cally appears to speak, in Quechua, directly to viewers in order to introduce the characters and events which will follow From peasant World, edited by Edwin G. Clausen and Jack Bermingham reaction to his early films, Sanjines found that unsophisticated viewers were shocked when a close shot follows an establishing shot. Brookfield, Vermont, 1989 Therefore, in El enemigo principal outdoor group scenes appear Die eigene Identitaet zurueckerobern. initially in long shot; and then the camera slowly zooms in, much as vol.3,no.4,1991 a spectator would approach. Although Yawar mallku involved Malandrin, Stephane, Toulouse a Iheure latine, in Cahiers dr Indian community in the filming, Sanjines later sought from indige Cinema(Paris), June 1995 nous groups an even more active collective participation in an effortDIRECTORS, 4 SANJINÉS th EDITION 863 Publications By SANJINÉS:book— Theory and Practice of a Cinema with the People, with Ukamau Group and Richard Schaaf, Willimantic, 1989. By SANJINÉS:articles— ‘‘Cinema and Revolution,’’ an interview in Cineaste (New York), Winter 1970/71. ‘‘Ukamau and Yawar Mallku: An Interview with Jorge Sanjinés,’’ in Afterimage (London), Summer 1971. ‘‘Sobre Fuera de Aquí!,’’ and ‘‘Llamado del Grupo Ukamau,’’ in Cine Cubano (Havana), no. 93, 1980. ‘‘El Cine revolucionario en Bolivia,’’ in Cine Cubano (Havana), no. 99, 1981. ‘‘Faire du cinéma un instrument de liberation,’’ an interview with G. Gervais, in Jeune Cinéma (Paris), March 1982. ‘‘Nuestro principal destinatario,’’ in Cine Cubano (Cuba), no. 105, 1983. ‘‘Revolutionary Cinema: The Bolivian Experience,’’ in Cinema and Social Change in Latin America: Conversations with Filmmakers, edited by Julianne Burton, Austin, Texas, 1986. ‘‘El plano secuencia integral,’’ in Cine Cubano (Cuba), no. 125, 1989. ‘‘Voraussetzung fuer das Verstaendnis sind Interesse an und Achtung gegenueber der anderen Kultur,’’ an interview with R. Nierich and P. B. Schumann, in Filmbulletin, vol. 33, no. 4, 1991. On SANJINÉS: books— Gisbert, Carlos D. Mesa, and others, Cine Boliviano: Del realizador al critico, La Paz, 1979. Gisbert, Carlos D. Mesa, La aventura del cine boliviano 1952–85, La Paz, 1985. Armes, Roy, Third-World Filmmaking and the West, Berkeley, 1987. On SANJINÉS: articles— Wilson, David, ‘‘Aspects of Latin American Political Cinema,’’ in Sight and Sound (London), Summer 1972. Campbell, Leon G., and Carlos Cortes, ‘‘Film as Revolutionary Weapon: A Jorge Sanjinés Retrospective,’’ in History Teacher, May 1979. Ledgard, M., ‘‘Jorge Sanjinés: El cine urgente,’’ in Hablemos de Cine (Lima), June 1981. West, Dennis, ‘‘Film and Revolution in the Andes,’’ in New Scholar (San Diego), vol. 8, no. 1/2, 1982. West, Dennis, ‘‘Alternative Cinema in Latin America,’’ in Roads to Freedom: The Struggle against Dependence in the Developing World, edited by Edwin G. Clausen and Jack Bermingham, Brookfield, Vermont, 1989. Ruggle, W., ‘‘Die eigene Identitaet zurueckerobern,’’ in Filmbulletin, vol. 33, no. 4, 1991. Malandrin, Stéphane, ‘‘Toulouse à l’heure latine,’’ in Cahiers du Cinéma (Paris), June 1995. Convents, G., in Film en Televisie + Video (Brussels), October 1995. Chaput, Luc, ‘‘Jorge Sanjines: Amérindien mon frére,’’ in Séquences (Haute-Ville), September-October 1997. *** The Bolivian Jorge Sanjinés has become internationally recog￾nized as a leading filmmaker in spite of the fact that his country has few significant filmmaking traditions or production facilities. Work￾ing outside of a film-industry context, Sanjinés has doggedly over￾come formidable obstacles, including economic ones. For instance, to finance the fiction feature Yawar mallku Sanjinés and other members of his Ukamau production group sold personal belongings and accepted contributions. After finishing Yawar mallku, members of the Ukamau collective toured the Bolivian highlands with a 16mm print and portable projection equipment in an effort to reach the film’s intended audience—the Indian peasantry. Sanjinés is a militant filmmaker whose primary goal is to bring a revolutionary Marxist political agenda to peasant and working-class audiences. His principal films respond to a militant Marxist aesthetic by examining oppressed collective protagonists (for example, an Andean peasant community) in their historical situations, by educat￾ing viewers to an understanding of those situations, and by inspiring audiences to transform the political and socioeconomic status quo in order to build a higher stage of society. The depiction of oppression in these films has in some cases been based on documented histori￾cal events. Sanjinés’s works offer a defense of the Andean Indian way of life and expose and attack the Indians’ enemies. Yawar mallku denounces a Progress Corps (read Peace Corps) pediatrics clinic that sterilizes unsuspecting Andean women, while in the documentary reconstruc￾tion El coraje del pueblo, Bolivian government and military officials responsible for the massacres of Indian miners are specifically identified. The fiction feature El enemigo principal illustrates the exploitation and brutality suffered by indigenous peasants at the hands of powerful landowners and links the power of the landowners to U.S. imperialism. The mise-en-scène of these films reflects Sanjinés’s defense of the Indian way of life. For instance, in El enemigo principal the Inca heritage of the modern Andean Indian pervades the mise-en-scène: the predominance of Quechua dialogue, the centuries￾old custom of chewing coca leaves, the trapezoidal niches and doors characterizing Inca masonry, the ancient agricultural ritual, the every￾day work of spinning and weaving. The structural, narrative, and stylistic approaches used by Sanjinés have evolved in accordance with his basic goal of optimum communi￾cation with his peasant and working-class audiences. When exhibit￾ing Yawar mallku to Indians in remote areas, Sanjinés drew on an Inca oral tradition; and before showing the film he first had a narrator introduce the story and the characters to the cinematically unsophisti￾cated audiences. Later, in El enemigo principal, Sanjinés built a nar￾rator into the film itself: a well-known Indian peasant leader periodi￾cally appears to speak, in Quechua, directly to viewers in order to introduce the characters and events which will follow. From peasant reaction to his early films, Sanjinés found that unsophisticated viewers were shocked when a close shot follows an establishing shot. Therefore, in El enemigo principal outdoor group scenes appear initially in long shot; and then the camera slowly zooms in, much as a spectator would approach. Although Yawar mallku involved an Indian community in the filming, Sanjinés later sought from indige￾nous groups an even more active collective participation in an effort