The Politics of Authorship in Latin American Indigenous Filmmaking

随着《观鸟人》（Marcho Bechis, 2008）、《La teta asustada》（Claudia Llosa, 2009）、《El abrazo de La serpiente》（Ciro Guerra, 2015）和《Ixcanul》（Jayro Bustamante, 2015）的上映，最近拉丁美洲电影对土著的报道有所增加，这为土著电影制作的学者提供了一个令人兴奋的关键时刻，可以很好地进行干预。对这些跨国制作和流通的作品的分析，尽管它们具有富有成效的见解，但往往掩盖了该地区土著创作作品的影响，这些作品由于多种原因无法接触到同样的“全球”受众。在不同学科和实践社区之间建立一个富有成效的界面，该奖学金旨在挑战这一立场，阐明拉丁美洲土著电影制作的当代性和全球相关性，并分析近期拉丁美洲和土著电影的交织和融合历史。该项目以我与拉丁美洲土著电影和媒体协调委员会（CLACPI）合作开展的现有工作为基础，该委员会是促进该地区土著电影制作的最重要的伞形组织。除了一本单独撰写的书外，通过三种合作产出的方式，该研究将在理论和实践中为该领域建立道德指导方法的模型。作者身份和制作语言之间的复杂关系构成了这些联合活动的焦点，除了它们的资金和发行前景之外，这些关系还表征了电影的不同美学。在目前的电影编程电路和教学规定中，拉丁美洲电影的语言被认为绝大多数是西班牙语或葡萄牙语。事实上，这些语言与拉丁美洲电影研究的发展之间的关系一直是该学科在现代语言学位课程中出现的关键。然而，这与该地区土著导演制作的多语言电影格格不入。因此，拉丁美洲土著电影制作迫使学者、观众和资助机构重新思考该地区与美学和作者实践有关的语言和文化多样性。为了应对这一迫切需要，2018年将在clacpi组织的FICMayab电影节期间举办翻译论坛，汇集视听翻译的主要从业者和土著语言学家，以解决这一关键问题。参与设计和实施该地区电影制作政策和倡议的决策者和公共机构将通过制定一份《良好做法守则》成为目标，该守则特别侧重于土著电影视听翻译问题。这些建议还将影响5部新字幕电影的制作，使它们有资格获得更广泛的展览和资助机会，这些电影将在奖学金结束时在史密森学会的母语节上放映。四个网络驻留计划将原住民电影制作人与学者配对，围绕指定主题制作“虚拟收购”页面，也将扩大对原住民电影实践的认识，并在学者与导演之间建立有益的交流，以提高该领域的公众形象。这本书将提供一种比较的方法来研究拉丁美洲土著电影制作的作者身份，提供对电影形式特征的详细考虑，同时保持与当地生产和流通环境的协调。总的来说，在整个奖学金项目中，作者身份、语言多样性和视听翻译的明确参与将影响人们对电影在反映文化异质性方面的作用的看法，并促进公众和学术接触更多样化的电影形式生态。

Heightened coverage of indigeneity in recent Latin American film, prompted by the release of Birdwatchers (Marcho Bechis, 2008), La teta asustada (Claudia Llosa, 2009), El abrazo de la serpiente (Ciro Guerra, 2015) and Ixcanul (Jayro Bustamante, 2015), has afforded an exciting critical juncture in which scholars of Indigenous filmmaking are well placed to intervene. Analyses of these transnationally-produced and circulated works, for all their productive insights, have tended to eclipse the influence of Indigenous-authored productions in the region which, for multiple reasons, are not able to reach the same 'global' audiences. In building a productive interface between diverse disciplines and communities of practice, this fellowship seeks to challenge this position, illuminating the contemporaneity and global relevance of Indigenous filmmaking from Latin America, and analyzing the enmeshed and coalescing histories of recent Latin American and Indigenous film.The project builds on my existing work conducted with the Latin American Coordinating Council for Indigenous Film and Media (CLACPI), the foremost umbrella organization promoting Indigenous filmmaking in the region. By way of three collaborative outputs, in addition to a single-authored book, the research will model ethically-guided methods to the field in theory and praxis. The complex relationship between authorship and the languages of production, which characterize the diverse aesthetics of the films in addition to their funding and distribution prospects, forms a focal point for these joint activities. In current film programming circuits and teaching provision, the languages of Latin American cinema are considered to be overwhelmingly Spanish or Portuguese. Indeed, the relationship between these languages and the development of Latin American Film Studies has been key to the discipline's emergence on Modern Languages degree programmes. This sits uncomfortably, however, with the multilingual films produced by Indigenous directors in the region. Latin American Indigenous filmmaking thus compels scholars, audiences and funding bodies alike to rethink the linguistic and cultural diversity of the region in relation to aesthetics and authorship practices.Responding to this imperative, a Translation Forum will be staged during the CLACPI-organized FICMayab' Film Festival in 2018, gathering leading practitioners of audiovisual translation alongside Indigenous linguists in order to tackle this crucial issue. Decision-makers and public institutions who work in the design and delivery of policy and initiatives for filmmaking in the region will be targeted through the production of a Code of Good Practice focusing specifically on the issue of audiovisual translation for Indigenous films. These recommendations will also influence the production of a set of 5 newly-subtitled films into English, enabling them to qualify for a wider range of exhibition and funding opportunities, and which will be screened during the Mother Tongue Festival at the Smithsonian Institution at the end of the fellowship. A series of 4 Web Residencies pairing Indigenous filmmakers with scholars to produce 'virtual takeovers' of pages around a designated theme, will also extend awareness of Indigenous film practice and create generative exchanges between scholarship and directors in order that the public profile of the field be raised. The book will provide a comparatist approach to authorship in Latin American Indigenous filmmaking, offering detailed consideration of formal characteristics of the films, while remaining attuned to local contexts of production and circulation. Overall, the explicit engagement with authorship, language diversity and audiovisual translation throughout the Fellowship will influence perceptions of film's role in reflecting cultural heterogeneity and facilitate public and scholarly access to a more diverse ecology of film form.