Cine colaborativoun análisis teórico-práctico sobre la cuestión de los movimientos de comunicación audiovisual participativa como herramienta de cambio social en el siglo XXI

Abstract

The present study explores film movements that have historically worked horizontally, focusing on socially marginalized groups as creative subjects. The main purpose is to understand the methods and motivations behind them and create an image of these cinemas in the 21st century, through theoretical-practical research. To fulfill this purpose, the research is divided into three objectives that structure the work. The first objective seeks to analyze the main concepts that have been used to define this type of practices: community cinema, participatory video and collaborative cinema. The study of the origins and evolution of these movements, their characteristics, and methodology, will allow us to work on a comparison that points out the relationships between them and their current situation, as well as other derived issues. As a result of this delving, some questions emerge that have been studied to a lesser extent. The second objective of this thesis is dedicated to analyzing the questions above in more detail, specifically the one related with the prioritizing of the film’s production over the work in itself as a result and its dissemination. Finally, the third objective presents specific case studies related to collaborative film projects in which there has been direct intervention. In this way, a closer look is provided, which in turn allows us to establish connections with the theoretical elements of this work. In addition, the personal perspectives and visions of the participants in these processes will be included here. This doctoral thesis proposes a terminological comparison that allows us to point out the connections between different participatory cinema movements, understanding that most distinctions are diffuse and that they preclude the discussion of similar movements that receive different names. This work also points out that the dissemination of these cinemas can entail a series of benefits that are often overlooked in the concentration of efforts in the production processes of the film.