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This current study presents a unique approach to the examination of Hispanic film through the incorporation of a civic engagement project, the Mayerson Student Philanthropy Project (MSPP), into the curriculum. Students examined and assessed important global issues, and how they are portrayed in films from several Spanish-speaking countries, while simultaneously investigating nonprofits that address these same needs in the local community. At the end, through a class vote, students chose two nonprofits and awarded each with a $1,000 grant. The inclusion of the MSPP in the Hispanic film course offered students a shared experience and a chance to engage in a discussion of how fiction film can reflect, if not improve, their understanding of real world challenges. Qualitative survey results from students enrolled in the class reveal that combining film with community engagement not only improved their understanding of Hispanic cinema, but also empowered them to be more civic-minded and engaged as advocates of international social concerns in the area in which they live.
This current study presents a unique approach to the examination of Hispanic film through the incorporation of a civic engagement project, the Mayerson Student Philanthropy Project (MSPP), into the curriculum. Students examined and assessed important global issues, and how they are portrayed in films from several Spanish-speaking countries, while simultaneously investigating nonprofits that address these same needs in the local community. At the end, through a class vote, students chose two nonprofits and awarded each with a $1,000 grant. The inclusion of the MSPP in the Hispanic film course offered students a shared experience and a chance to engage in a discussion of how fiction film can reflect, if not improve, their understanding of real world challenges. Qualitative survey results from students enrolled in the class reveal that combining film with community engagement not only improved their understanding of Hispanic cinema, but also empowered them to be more civic-minded and engaged as advocates of international social concerns in the area in which they live.
Tenía bríos y, aún vieja, los sigo teniendo": entrevista a Matilde Landeta Author(s): Isabel Arredondo Source: Mexican Studies/JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. The interview with lmmaker Matilde Landeta shows that moving up within the lm union was conditioned by gender, and that such advancement was contingent upon the alliance or competition between the Mexican and North-American lm industries. The interview also shows that in her lms Landeta interpreted the Mexican meta-narratives, such as the Conquest, the Mexican Revolution and the Life of the Modern City, from a feminine point of view. Thus both Landeta's career and her lmic perspectives re ected her gendered position in the industr y. La entrevista con la cineasta mexicana Matilde Landeta (1910-1999) muestra que, durante los años cuarenta en México, el ser hombre o mujer afectaba la política de ascenso dentro del sindicato de cine y que dicha política dependía, a su vez, de la alianza o competencia entre las industrias de cine mexicana y norteamericana. La entrevista también prueba que, en sus películas, Landeta interpretó las metanarrativas mexicanas de la Conquista, la Revolución mexicana y la vida urbana moderna desde una perspectiva femenina. Por consiguiente, tanto su carrera como sus perspectivas fílmicas revelan su posición de mujer dentro de la industria.A la memoria de Matilde Landeta, a quien tanto le gustaba el mamey. ¿Cómo pudo Matilde Landeta dirigir cine a nales de los cuarenta, si esta profesión estaba restringida a los hombres? ¿Se trató de una personalidad singular o de una situación histórica excepcional? Y una vez que consiguió realizar tres largometrajes, ¿por qué no pudo dirigir durante cuarenta años? Para contestar estas preguntas hace falta relacionar la viMexican Studies/
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