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Title Cinema as a Tool for Development: Investigating the Power of Mobile Cinema in the Latin American Context
Publication Date
Degree Level masters
University/Publisher Universiteit Utrecht
Abstract Previous studies have shown that community arts bring many benefits to communities, but they also revealed that there are ethical challenges and limits to their efficacy. As a form of community arts, mobile cinema initiatives have multiplied around the world during the last two decades. However, no empirical research was found on the impacts of these interventions. Considering the need for new and innovative avenues for social change, addressing this research gap is relevant for both development theory and practice. The present study was carried out in order to investigate the organization of two mobile cinema projects, the contents of the films presented, and as well as the immediate intellectual and emotional reactions of their public. Data was collected by interviewing the leaders and the public of the Colombian project Cine en los Barrios and the Uruguayan project Ecocinema. Several types of immediate responses were reported by the public, which provided evidence for the immediate benefits of attending mobile cinema sessions. Nonetheless the results showed that the projects only include limited opportunities for participation, and need to work with communities on a deeper level and with a longer-term vision if they are to offer an avenue for community-based development. Following the formulation of conclusions on the impacts of the projects studied, the idea of merging mobile cinema with community video was proposed.
Subjects/Keywords Mobile Cinema, Community Development, Cultural Engagement, Citizen Activism, Agency, Community Arts, Film
Contributors Nijenhuis, Gery
Language en
Rights info:eu-repo/semantics/OpenAccess
Country of Publication nl
Format image/pdf
Record ID oai:dspace.library.uu.nl:1874/297350
Repository utrecht
Date Indexed 2016-10-11

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…who had worked in the field of mobile cinema. Through her, I got in contact with the director of a large solar powered mobile cinema project operating all over South America, and I realised that mobile cinema was precisely what I was looking for; a…

…for my research. From Cuba to Colombia and Uruguay, I encountered professors, filmmakers, students, and the public of mobile cinema events. They all contributed through their advices and comments to the realisation of the present work, which brings…

…number of misfortunes. The foundation Arells began a fundraising project based on the sale of fonts designed after the handwriting of homeless people. This project’s vision and the vision of mobile cinema are similar in the sense that they both believe in…

…film, and they begin to think about the topic that has just been presented to them. Before leaving, they learn that the screening was entirely powered by the energy captured by the truck’s solar panels. What many of them ignore, is that mobile cinema is…

…Brown, n.d.). Mobile cinema then progressively made its appearance around the globe, from African countries where it was used as a tool to educate people for the benefits of the colonial administrations in the 1930-50s, to post-revolutionary Cuba…

…where it was used as a medium for public education, and Great Britain where it served as a means to promote the national cinematic industry in the late 1960 (Vintage Mobile Cinema, n.d.). Nowadays, mobile cinema initiatives are being carried…

…of development agencies to lift up the condition of the economically, politically and culturally deprived, community based participative approaches to social change bring a new hope. Mobile cinema differs from other community based cultural activities…

…in the sense that the artistic contents presented are pre-produced audiovisual creations rather than interactive performances, and there is therefore a less direct type of relationship between public, artists, and their work. However, mobile cinema