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	<title>SAH Commons | Isabel Seguí | Activity</title>
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				<title>Isabel Seguí&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1709176/</link>
				<pubDate>Mon, 21 Sep 2020 08:33:12 -0400</pubDate>

				
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				<title>Isabel Seguí deposited Las mujeres del Grupo Ukamau: dentro y fuera de la pantalla in the group Red de Investigación Mujeres en el Cine Latinoamericano</title>
				<link>https://hcommons.org/activity/p/1697198/</link>
				<pubDate>Mon, 13 Jul 2020 19:13:50 -0400</pubDate>

									<content:encoded><![CDATA[<p>The Ukamau group has a long history that spans more than sixty years. The oral accounts acknowledge that women participated in all the different phases of the group,  undertaking instrumental roles in front of and behind the camera. However, they have been overshadowed and erased from the official history due to the auteurist and formalist&hellip;<span class="activity-read-more" id="activity-read-more-1697198"><a href="https://hcommons.org/activity/p/1697198/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Isabel Seguí deposited Las mujeres del Grupo Ukamau: dentro y fuera de la pantalla</title>
				<link>https://hcommons.org/activity/p/1696989/</link>
				<pubDate>Mon, 13 Jul 2020 07:24:43 -0400</pubDate>

									<content:encoded><![CDATA[<p>The Ukamau group has a long history that spans more than sixty years. The oral accounts acknowledge that women participated in all the different phases of the group,  undertaking instrumental roles in front of and behind the camera. However, they have been overshadowed and erased from the official history due to the auteurist and formalist&hellip;<span class="activity-read-more" id="activity-read-more-1696989"><a href="https://hcommons.org/activity/p/1696989/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Isabel Seguí replied to the topic Teste! in the discussion Red de Investigación Mujeres en el Cine Latinoamericano via email</title>
				<link>https://hcommons.org/groups/red-de-investigacion-mujeres-en-el-cine-latinoamericano/forum/topic/teste/#post-28815</link>
				<pubDate>Thu, 13 Feb 2020 15:33:22 -0500</pubDate>

									<content:encoded><![CDATA[<p>Probando</p>
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				<title>Isabel Seguí deposited Cine-Testimonio: Saturnino Huillca, estrella del documental revolucionario peruano in the group Red de Investigación Mujeres en el Cine Latinoamericano</title>
				<link>https://hcommons.org/activity/p/1678172/</link>
				<pubDate>Tue, 11 Feb 2020 16:26:17 -0500</pubDate>

									<content:encoded><![CDATA[<p>Este artículo busca recuperar y dar coherencia a la dispersa información disponible sobre cuatro testimonios fílmicos protagonizados por el líder campesino indígena peruano Saturnino Huillca, entre 1973 y 1977: Runan Caycu (Nora de Izcue, 1973); Jatun Auk’a (Jorge Sanjinés, 1974); Si esas puertas no se abren (Mario Arrieta y Marita Barea, 1975) y&hellip;<span class="activity-read-more" id="activity-read-more-1678172"><a href="https://hcommons.org/activity/p/1678172/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Isabel Seguí deposited The Embodied Testimony of Domitila Chungara in 'The Courage of the People' (Jorge Sanjinés, 1971) in the group Red de Investigación Mujeres en el Cine Latinoamericano</title>
				<link>https://hcommons.org/activity/p/1678171/</link>
				<pubDate>Tue, 11 Feb 2020 16:26:15 -0500</pubDate>

									<content:encoded><![CDATA[<p>Awarded in Europe but censored in Bolivia during thirteen years, The Courage of the People (Jorge Sanjinés, Bolivia, 1971) is an outstanding example of Latin American collaborative political cinema. The film is an account of the massacre of St John’s eve in the Bolivian mining settlement of Siglo XX in 1967. But it also situates its background, th&hellip;<span class="activity-read-more" id="activity-read-more-1678171"><a href="https://hcommons.org/activity/p/1678171/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Isabel Seguí deposited Auteurism, Machismo-Leninismo, and Other Issues: Women's Labor in Andean Oppositional Film Production in the group Red de Investigación Mujeres en el Cine Latinoamericano</title>
				<link>https://hcommons.org/activity/p/1678170/</link>
				<pubDate>Tue, 11 Feb 2020 16:26:14 -0500</pubDate>

									<content:encoded><![CDATA[<p>This article contextualizes and characterizes production practices in political cinema in Bolivia and Peru between the 1960s and 1990s, reading them as a communitarian endeavor that included many more women than official history acknowledges. It also documents the work of two overshadowed filmmakers—the Bolivian Beatriz Palacios and the Peruvian M&hellip;<span class="activity-read-more" id="activity-read-more-1678170"><a href="https://hcommons.org/activity/p/1678170/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Isabel Seguí deposited Cine-Testimonio: Saturnino Huillca, estrella del documental revolucionario peruano</title>
				<link>https://hcommons.org/activity/p/1678023/</link>
				<pubDate>Mon, 10 Feb 2020 12:46:50 -0500</pubDate>

									<content:encoded><![CDATA[<p>Este artículo busca recuperar y dar coherencia a la dispersa información disponible sobre cuatro testimonios fílmicos protagonizados por el líder campesino indígena peruano Saturnino Huillca, entre 1973 y 1977: Runan Caycu (Nora de Izcue, 1973); Jatun Auk’a (Jorge Sanjinés, 1974); Si esas puertas no se abren (Mario Arrieta y Marita Barea, 1975) y&hellip;<span class="activity-read-more" id="activity-read-more-1678023"><a href="https://hcommons.org/activity/p/1678023/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Isabel Seguí deposited The Embodied Testimony of Domitila Chungara in 'The Courage of the People' (Jorge Sanjinés, 1971)</title>
				<link>https://hcommons.org/activity/p/1678022/</link>
				<pubDate>Mon, 10 Feb 2020 12:34:28 -0500</pubDate>

									<content:encoded><![CDATA[<p>Awarded in Europe but censored in Bolivia during thirteen years, The Courage of the People (Jorge Sanjinés, Bolivia, 1971) is an outstanding example of Latin American collaborative political cinema. The film is an account of the massacre of St John’s eve in the Bolivian mining settlement of Siglo XX in 1967. But it also situates its background, th&hellip;<span class="activity-read-more" id="activity-read-more-1678022"><a href="https://hcommons.org/activity/p/1678022/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Isabel Seguí deposited Auteurism, Machismo-Leninismo, and Other Issues: Women's Labor in Andean Oppositional Film Production</title>
				<link>https://hcommons.org/activity/p/1678021/</link>
				<pubDate>Mon, 10 Feb 2020 12:26:20 -0500</pubDate>

									<content:encoded><![CDATA[<p>This article contextualizes and characterizes production practices in political cinema in Bolivia and Peru between the 1960s and 1990s, reading them as a communitarian endeavor that included many more women than official history acknowledges. It also documents the work of two overshadowed filmmakers—the Bolivian Beatriz Palacios and the Peruvian M&hellip;<span class="activity-read-more" id="activity-read-more-1678021"><a href="https://hcommons.org/activity/p/1678021/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Isabel Seguí&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1675097/</link>
				<pubDate>Mon, 13 Jan 2020 14:03:28 -0500</pubDate>

				
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