Human rights film festivals have been steadily growing in number in recent years. They are all bound by a common thread, human rights, and yet show distinctly different films. What leads them to be so different, and how is the universalism of human rights made sense by each?
Tabela de Conteúdo
Acknowledgements PART I: FRAMINGS Introduction 1. Human Rights: From Universalism to Internationalism 2. Film Festivals: Activism and The Gaze PART II: FESTIVAL INTERNACIONAL DE CINO DE DERECHOS HUMANOS, BUENOS AIRES 3. Context 1997-2003: History and Politics 4. The Festival 1997-2003: From the Desaparecidos to Neoliberalism 5. Context 2004-2014: Post-Dictatorship, Post-Neoliberalism and New Argentine Cinema 6. The Festival 2004-2014: The ‘Other’ and Cosmopolitan Visions PART III: HUMAN RIGHTS WATCH INTERNATIONAL FILM FESTIVAL, NEW YORK 7. Context: From the Cold War to The Yes Men 8. The Festival: Presences: Eastern Europe, Middle East and United States 9. Context: From Latin America to Political Documentary in the United States 10. The Festival: Absence: Latin America Conclusions Notes Bibliography Filmography Index
Sobre o autor
Sonia M. Tascón has been a practitioner and researcher in fields related to human rights for a considerable time. Her earlier work was as coordinator of a Refugee Action Group for Amnesty International. She has published a significant number of articles and book chapters in the area of refugee rights, some of which have been used to lend support as evidence in social policy reports. Her more recent work on human rights films has appeared in various human rights forums, lending weight to the need for this kind of work.
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