02/03/2017 44' 54''

In each of his roles as researcher, essayist, curator, and teacher, Alberto Berzosa is interested in the relationship between image and politics, particularly in the Spanish context and the aspects that he considers to have been largely neglected, before and after the transition to democracy. Berzosa, who has a PhD in Art History, looks to primary sources for much of his research, as a result of which he has an exhaustive personal collection of all kinds of documents that fall outside the bounds of official archives. His aim is to question the official narratives of the 1970s and 1980s, and to draw attention to the role of grassroots civic and political movements. Along these lines, he has writtten the book Homoherjías fílmicas: Cine homosexual subversivo en España en los años setenta y ochenta (Brumaria) and curated the exhibition Madrid Activisms (1968-1982).
SON[I]A talks to Alberto Berzosa about the role of cinema before the transition in reference to two case studies: gay cinema and militant cinema. We talk about the space for subversion that opened up with gay and amateur films, and about their use of camp and collage as narrative strategies and their rather unorthodox activism. As for militant cinema, Alberto explains the difference between worker and proletarian film, and shares the singularities of clandestine filmmaking, produced collectively, without censorship and a clear political agenda.

Timeline
02:25 Anti-Franco activist cinema in Catalonia: a mouthpiece for social movements
04:32 Filmic homo-heresies: beyond traditional activism
08:12 Els 5 Qks as a case study
13:42 Subversion as a common goal
16:53 Camp, collage and experimentation outside the avant-garde
19:22 Panties for men
22:10 Film as political strategy or an amateur tool
28:55 Primary sources
30:33 The document in the exhibition space: Madrid Activisms
34:07 Worker film and proletarian film
39:26 Clandestine filmmaking: censorship-free, collective, and with contradictions

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SON[I]AAlberta Berzosa