{"id":9115,"date":"2023-06-15T16:58:52","date_gmt":"2023-06-15T14:58:52","guid":{"rendered":"https:\/\/zinegoak.com\/?page_id=9115"},"modified":"2023-06-19T12:56:26","modified_gmt":"2023-06-19T10:56:26","slug":"zgpro-master-class","status":"publish","type":"page","link":"https:\/\/zinegoak.com\/en\/zgpro-master-class\/","title":{"rendered":"ZGPRO MASTER CLASS"},"content":{"rendered":"

[vc_row][vc_column][vc_single_image image=”9116″ img_size=”full” alignment=”center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”Practices & Representations from the Body” font_container=”tag:h1|font_size:40|text_align:center|color:%23ed84cf” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Cineground: A Portuguese Queer Cinematography of the 1970\u2019s<\/h1>\n

<\/b>Joana de Sousa<\/b><\/p>\n

Cultural producer, curator and filmmaker<\/p>\n

A Portuguese Queer In 1975, artist \u00d3scar Alves and filmmaker Jo\u00e3o Paulo Ferreira founded the amateur film production cooperative Cineground. Inspired by the films of Andy Warhol, which reached Portugal after the 1974 Revolution that ended decades of repressive dictatorship, Cineground regarded Super8 as a \u201cprofessional format\u201d, exploring its technical limits to ensure the best artistic results possible. The group addressed for the first time in Portuguese cinema non-normative sexualities and gender expressions, something that was still criminalized in the 1970\u2019s. Underground filmmaking at its core, they screened their films in bars and nightclubs, developing an alternative screening circuit. The cooperative was short-lived, ending in 1978, but left an important heritage within the queer history of Portugal. Before passing, \u00d3scar Alves donated his screening rights to Queer Lisboa International Film Festival. Now, in a joint effort with Cinemateca Portuguesa, the surviving prints are being preserved and digitized.\u00a0<\/span><\/p>\n

Cineground\u2019s archive poses many important questions: how to preserve, activate and remediate LGBTQI+ collections, especially those which were produced under precarious conditions, requiring specific cataloguing and restoration methods?\u00a0<\/span><\/p>\n

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Queer Presence\/Representation in a List Festivals, Is the Future Really Bright?<\/h1>\n

<\/b>C\u00e9dric Succivalli <\/b><\/p>\n

Programmer and film critic<\/span><\/p>\n

Despite the growing presence of queer cinema in A list festivals over the past decade. It\u2019s the future really bright for LGTBIQ+ representation and visibility?<\/span><\/p>\n

The last Festival de Cannes saw the lowest number of eligible Queer Palm films in quite a while. Cedric Succivalli has been working as a programmer at Giornate Degli Autori, the independent section of the Venice Film Festival, according to him, since this year a dramatic decrease of queer stories submitted it\u2019s a fact. Is it just a peculiarity, an off year so to speak, or should we get worried? Through an overview of the past 10 years, we will try to see what the trend really is and most importantly: what we can do to revert a possible lack of representation again.<\/span><\/p>\n

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Body\/Excess: A Ruminant Exercise<\/h1>\n

<\/b>Lucrecia Masson C\u00f3rdoba<\/b><\/p>\n

Researcher<\/span><\/p>\n

Despite the growing presence of queer cinema in A list festivals over the past decade. It\u2019s the future really bright for LGTBIQ+ representation and visibility?<\/span><\/p>\n

This is a journey and a conversation about some visual proposals as -also- decolonising practices. It is the place of the dissident body in relation to that which is called nature that this exercise seeks to destabilize. At the rhythm of rumination we will invoke bodies that are not one.<\/span><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”Round table” font_container=”tag:h1|font_size:40|text_align:center|color:%23ed84cf” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_column_text]<\/p>\n

Non Binary Aesthetics<\/h1>\n

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Moderator<\/h2>\n

Mariona Borrull \/ Cr\u00edtique de cine \u00b7 Film Critic<\/span><\/p>\n

A so-called \u201cfemale gaze\u201d has been institutionalized within cinema, as if to capture the ways in which the normal (patriarchal) norms of the moving image are transgressed. Naturally, this \u201cfemale\u201d gaze starts from a binary approach and therefore has to be questioned. However, thinking about and reordering the transgressions that the \u201cfemale gaze\u201d has had on the canon has served to give name and entity to these revolutions.<\/span><\/p>\n

Now let us invent a third gaze, one that accepts change and vapidity as its most rigorous center. A queer, trans, neutral perspective: how does it take shape within the arts, and what forms does it take, what tools does it give us, and how do we embrace it without stifling it, also in a queer way?<\/span><\/p>\n

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Parte-hartzaileak<\/b> \u00b7 Participantes \u00b7 Participants<\/h2>\n

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Caru Basakatua<\/b><\/p>\n

Screenwriter, queer, from Vallekas, feels a particular attraction for stories that explore and celebrate the queer, dissident and counter-cultural. Caru holds a PhD cum laude in Clinical and Health Psychology, and is also interested in behaviorism, mental health and queer sexuality fields. Caru\u2019s short debut Desviaci\u00f3n t\u00edpica<\/i> has been selected at more than 40 festivals around the world.<\/span><\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”9023″][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]<\/p>\n

Zuz Martin Segarra<\/b><\/p>\n

Cartoonist since 2010 and non-binary queer activist and feminist. Among her long story work stands out Alicia en un mundo real<\/i>, Annemarie<\/i> and Residencia de Estudiantes.<\/i> Martin Segarra\u2019s works have the starting point from a dissident, critical and committed look, as also happens in the comics Irse o morir<\/i>, or Black is beltza II: Ainhoa<\/i>, in which Martin adapted the film script.<\/span><\/p>\n

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M. Benito P\u00edriz aka Panda<\/b><\/p>\n

His work is divided between sculpture (Pikete Tuning, Backpacks, Trends) and literature, for which seeks a new space with projects such as the autotune recital The Most Dramatic Panda EVER<\/i> or the always-on-the-process book M1 C4R4 N0 P3G4 C0N 3ST3 MUND0<\/i>. A storytelling of affective relationships interrupted by individual problems.<\/span><\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_single_image image=”9116″ img_size=”full” alignment=”center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”Practices & Representations from the Body” font_container=”tag:h1|font_size:40|text_align:center|color:%23ed84cf” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text] Cineground: A Portuguese Queer Cinematography of the 1970\u2019s Joana de Sousa Cultural producer, curator and filmmaker A Portuguese Queer In 1975, artist \u00d3scar Alves and filmmaker Jo\u00e3o Paulo Ferreira founded the amateur film production cooperative Cineground. Inspired by the films of Andy Warhol, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-9115","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/zinegoak.com\/en\/wp-json\/wp\/v2\/pages\/9115","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/zinegoak.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/zinegoak.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/zinegoak.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/zinegoak.com\/en\/wp-json\/wp\/v2\/comments?post=9115"}],"version-history":[{"count":8,"href":"https:\/\/zinegoak.com\/en\/wp-json\/wp\/v2\/pages\/9115\/revisions"}],"predecessor-version":[{"id":9171,"href":"https:\/\/zinegoak.com\/en\/wp-json\/wp\/v2\/pages\/9115\/revisions\/9171"}],"wp:attachment":[{"href":"https:\/\/zinegoak.com\/en\/wp-json\/wp\/v2\/media?parent=9115"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}