Son[i]a #235 Alberto Berzosa
- 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
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.