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253 INDEX “accented cinema,” 94–96 An Accented Cinema (Naficy), 13 activism, 165; cultural, 113; by indigenous people, 11, 92, 123; indigenous video in, 5, 10–11; media and, 7, 53–54, 160, 192; transnational, 9–10 activist documentaries, 183–84, 192, 198; goals of inciting action, 197, 200, 203; Latin American militant cinema, 200–202; optimism in, 195–96, 199–200, 202–4, 229n46; style of, 196–97. See also community video; indigenous video Adorno, Rolena, 93 aesthetics: of Mayan style videos, 30–32; of Taraspanglish project, 96–97. See also diaspora aesthetic affect, 9; in activist documentaries, 184, 199–200, 202–4; definitions of, 202–3; in Latin American militant cinema, 200–202 Afro Mexicans, as videographers, 50 Agricultural Industrial Units for Women, 74 Agustín, José, 110 Alma Punk (Punk soul, Minter), 53–54 Alsina, Miquel Rodrigo, 88 alternative media: collaborations among, 165–66, 169–71, 178; forming counterpublic , 167–70 Amós Martínez, Jorge, 50 Aquí cantamos (Turix Collective), 37 Aquino Moreschi, Alejandra, 124 Arcanocatorce collective, 24–27 Archivo Etnográfico Audiovisual (AEA), 41–43 Arroz con leche: K óol uti’al k kuxtal (Rice pudding: Our desire for life, Duarte Duarte and Wammack Weber), 8, 34–35, 71; audiences for, 84–86; compared to other indigenous videos, 73, 86; creation of, 83–85; goals of, 74–75, 86–89; languages in, 74–76, 86, 89; on life in Mayan communities, 74–75, 79–81; participants’ reactions to seeing, 83; relations among subjects and videographers of, 72–73, 75–77; screening at Sala de Arte, 73, 78; style of, 74, 84 art: as platform for subjectivization, 58–59; political, 197–98, 228n42; use of media for, 57–58 art video, 11, 18–19 Note: Page numbers in italics refer to figures. 254 INDEX Ascona, Yovegami, 127–28 Ashcroft, Bill, 34 “Asi son mis días,” 117 assemblage, theory of, 54–56, 64 Assembly of the Peoples of Oaxaca (APPO), 193–94, 227n31 assimilationism, in diaspora experience, 15 Atenco, 224n47, 224n53; films about, 178, 224n59; media attention to violence at, 152–54, 163, 171, 178; police violence at, 151–54, 163, 165, 166, 224n48 audiovisual expression, effects of, 40–41, 57 audiovisual genres, 23 audiovisual literacy, 208n5 authorship/ownership, 220n27; Canalseisdejulio and, 161, 177; collective, 161, 179, 197; lack of, 129, 176–77. See also copyright autoethnography, 92–93, 99 Autonomous University of Yucatán, 21–22, 75, 88 “A vuelo de pájaro” (Minter), 18–19 Ayer, hoy y siempre (Yesterday, today, and always, Mariano Estrada), 24 Ayuujk, 123–24; identity, 126, 218n3, 219n20 Ayuujk ja’ay, 120, 218n3 Baronnet, Bruno, 189–91, 226n12 Barrios de Chungara, Domitila, 92 Benhabib, 56–57 Benhumea, Alexis, 224n48 Bhabha, Homi, 91 biographical crossing experience, in Arroz con leche, 34 Bolivia, 10–11, 24 Brennan, Teresa, 203 Buddle, Kathleen, 155 business: of commercial videographers, 124, 132; commercial vs. noncommercial videos in, 160, 176, 179; fiestas as, 127, 135, 148–49; noncapitalist production and distribution by Promedios, 160–61; profit from videography of fiestas, 132, 135, 145; sales of fiesta videos, 128, 129, 130–36; sales of Promedios videos, 156, 160–61; sales of Romper el cerco, 224n60; sales of videos by Canalseisdejulio , 156–58, 177; video used in, 121– 22 cabildo system. See cargo system, civilreligious Campeche, 22, 26 Canada, 155 Canalseisdejulio: archive of, 159, 163, 176, 224n46; collaboration with Promedios, 163–64, 166, 176–77; collaboration on Romper el cerco, 152, 154, 156, 162, 173–75, 180–82, 224n60; goals of, 169–70, 174; independence of, 157, 159; Mendoza and, 156–57, 161–62; ownership of videos by, 176–77, 224n60; political videos by, 158–59; Promedios compared to, 155–56, 161–62; style of videos by, 155, 159, 174–75, 177–79 cargo system, civil-religious, 126–27, 141 Casas del Pueblo, 127–28, 137, 220n24 Castro, Rafaela, 110 censorship, 13, 32 Centro de Estudios Ecuménicos A.C. (CEE), 53, 211n26 Centro de Formación y Realización Cinematogr áfica (CEFREC-CAIB), 11 Centros de Video Indígena (CVIs), 19–20, 28, 215n3, 216n28; in Oaxaca, 25, 137; Valente Soto, 50–51; in Yucatán, 24–25 Cerano, Dante, 5, 50 charity model, of disability, 48 Chiapas: autonomy of, 189–91; EZLN in, 10, 168–69; video production in, 20, 22–24 Chiapas Media Project, 216n28; Promedios and, 9, 24–25, 94, 159–61, 223n31 cinema: conventions and codes of, 91–92; Latin American, 201–2 cinemas, demise of, 21 “Cine y video en la regi...


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