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“Esquecerte de quen es para ser ti mesma-outra”, dinos a voz e o corpo en exilio da actriz de orixe galega María Casares no filme de Alain Resnais Gernika, 1945. Para non esquecer a barbarie, o bombardeo sobre poboación civil, a perda. Para sentir o corpo algures, alén da perda, no lugar onde están os teus pés. Con esta idea paradoxal canda o cinema que lle pon rostro a ese sinal tráxico do século: o movemento incesante de masas humanas por fame, guerras, persecución, catástrofes... imos procurar un cinema no que o territorio é, singularmente, o desexo do retorno; imos cara as definicións de cine migrante, de cinema de e dende a diáspora e so as pegadas do feminino; imos cara a actitude do e da cineasta como constitutiva das obras para, na fin, exemplificalo a traveso dunha pequena viaxe no Cinema en Lingua Galega., Cinema & Território, N.º 3 (2018): CINEMA e IDENTIDADE

O presente trabalho busca produzir uma reflexão sobre as identidades suburbanas a partir do documentário Alma Suburbana, idealizado, produzido e exibido, inicialmente, no ano de 2007. Desde o início da produção do filme, a intenção era dar voz aos moradores dos subúrbios cariocas, que na maioria das vezes contestam a forma depreciativa que os bairros de subúrbio são retratados na mídia em geral. A equipe era formada por um grupo de alunos da rede municipal de ensino e a intenção foi mostrar como os subúrbios são realmente vistos por seus moradores e também por aqueles que procuram problematizar tal tema, mesmo não morando em um subúrbio. Os entrevistados foram escolhidos a partir da relevância de suas atividades culturais no campo da produção musical, cinematográfica, poética, da dança, entre outras atividades suburbanas. A estética escolhida foi o do cinema documentário de entrevistas inspirado no cineasta Eduardo Coutinho, que trabalhava buscando deixar o documentário bem enxuto. Aproveitando a influência do referido cineasta, nós autores do filme também nos colocamos como personagens do documentário, interrompendo os entrevistados, aparecendo nas cenas do filme e principalmente reivindicando o nosso espaço na cidade., Cinema & Território, N.º 3 (2018): CINEMA e IDENTIDADE

Segundo a antropóloga Els Lagrou, a reivindicação das identidades indígenas contemporâneas passa pela adesão a um “regime específico de produção estética do conhecimento”. Tomaremos tal “regime de produção” enquanto um território de pertencimento identitário para pensar a prática audiovisual em uma comunidade indígena da etnia xavante, localizada no Planalto Central do Brasil. A partir dessa questão, trabalha-se com filme média-metragem que mostra uma caminhada de adultos e crianças pela reserva, cujo destino final é a região de uma antiga aldeia. O local atualmente está fora dos limites do território demarcado e é ocupado por uma fazenda. Pensaremos no vídeo a relação entre imagem, memória e território, este último entendido como um espaço ao mesmo tempo físico, identitário e imagético. O filme trabalha a história comunitária a partir do deslocamento físico no território, ao qual corresponde um deslocamento no tempo na medida em que engendra a recuperação de uma memória. Esse duplo deslocamento projeta o olhar para o passado do território físico (a terra) de modo a ampliar as possibilidades de acesso ao território simbólico (a identidade) por meio da consolidação de um espaço imagético (o filme)., Cinema & Território, N.º 3 (2018): CINEMA e IDENTIDADE

Book review of Empatia e Alteridade – a figuração cinematográfica como jogo, by José Bogalheiro (2014).

Translation of the text originally published in Bruno, Giuliana. 2007. “Modernist Ruins, Filmic Archaeologies. Jane and Louise Wilson’s A Free and Anonymous Monument.” In Public Intimacy: Architecture and the Visual Arts, 43-86. Cambridge: MIT Press.

The passing of time in Alessandra Sanguinetti's photographs refer to aspects of the moving image if we assume its inherent qualities of change and duration. Those are images of an encounter between cinema and photography which contaminate each other reciprocally with its own processes by expanding towards each other. There is a real durational quality that comes from the referent (the daily life of the photographed characters) which turns up into fabulation giving access to other beings and other specificities of time, all of them living in the image. That is the realm of the imaginary documentary in which images evoke bifurcations, take shape and gain movement inasmuch as they cease to allude to a given and objective notion of the real referring rather to a broader notion of time as indeterminate forms of duration. The ten years that goes by during the photographic essay 'The adventures of Guille and Belinda and The enigmatic meaning of their dreams' appears therefore to be shot in a single afternoon. The durations and becomings in the passage from the characters childhoods to their adult lives - or from a superficial game to an intense performative encounter with theirselves and Sanguinetti - are based in a free indirect speech form. This particular photographic fashion of the free indirect speech comes to light by the means of apparatuses, understood in a broad sense. Those apparatuses guide the photographic and relational processes leading to the creation of slits between objectivity and subjectivity that ultimately act in order to favor temporal and immaterial aspects in the images.

Versão revista e alargada de “Conceptual Synchronicity: Intermedial Encounters between Film, Video and Computer”, publicado em Expanded Cinema: Art, Performance, Film, edited by, A. L. Rees, Duncan White, Steven Ball and David Curtis (London: Tate Publishing, 2011), 194-201.

Entrevista a André Parente gravada na Covilhã no dia 16 de maio de 2014.

Recensão crítica do livro Novas & Velhas Tendências no Cinema Português Contemporâneo, coordenado por João Maria Mendes (2013).

Aconteceu entre os dias 15 e 17 de maio de 2014 o IV Encontro Anual da AIM – Associação de Investigadores da Imagem em Movimento. A UBI – Universidade da Beira Interior –, na Covilhã, acolheu o evento que, em sua quarta edição, já goza o status de referência portuguesa entre investigadores nacionais e estrangeiros interessados em trabalhos dedicados ao cinema, ao audiovisual e em suas variáveis, bem como na inter-relação entre estes e múltiplas áreas da pesquisa científica.

Mobilizamos ideias relacionadas com a esfera do cinema expandido para identificar a estética e ideologia do uso de uma tecnologia que já não é fílmica, mas que deriva dela, mas que nunca foi um género ou forma cinematográfica por si. A ênfase do cinema expandido na participação, performance e numa experiência adaptada de espaço e tempo é igualmente útil para uma compreensão do fenómeno contemporâneo de dérive pós-situacionista e do seu ressurgimento enquanto prática artística crítica no mundo contemporâneo. Defendo que dérive pode ser entendido, pelo menos em algumas das suas manifestações, como um conceito fílmico, mas um conceito que não se associa ao cinema como uma tecnologia de projeção e um lugar devidamente históricos.

Recensão crítica do livro Cinema Português: Um Guia Essencial, organizado por Paulo Cunha & Michelle Sales (2013).

Pier Paulo Pasolini’s engagement with AntonioGramsci is both inspiring and tragic, beginning with Pasolini’s early poem,“The Ashes of Gramsci,” and ending with the film-maker’s murder in 1975. In hisessays and films, Pasolini explores his affective, aesthetic preoccupation withthe “sub-proletariat” of the Roman suburbs, contrasting it with Gramsci’spolitical and strategic concerns. This article analyses that material withspecial emphasis on its relation to Pasolini’s work on the semiotics of filmand his theory of the “cinema of poetry.”, Pasolini’nin ilk şiiri, “Gramsci’nin Külleri”, ile başlayan ve filmyapımcısının 1975’teki cinayeti ile sonlanan Pier Paulo Pasolini’nin AntonioGramsci ile olan etkileşimi hem ilham verici hem de trajiktir. Makalelerinde vefilmlerinde Pasolini, Gramsci’nin politik ve stratejik kaygıları ile çelişen,onun Roma banliyölerinin “alt-proleteryası” ile olan duygusal, estetikmeşgalesini araştırmaktadır. Bu makale bu bulguyu, onun Pasolini’nin filminsemiyotiği ve onun “şiir sineması”nın teorisi üzerine çalışmasıyla ilişkisineözel önem vererek analiz etmektedir.

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In the wake of the Holocaust and Hiroshima, the exploration of human creativity became central to reestablish the humanity of humankind. By closely following the art documentary, French film critic André Bazin focused on this genre in relation to painting, because the latter was the most elitist of all media. In the case of Alain Resnais’s Van Gogh (1948), Bazin used the encounter of cinema and painting as an example of symbiosis between the objects of still life and the objectifying impact of the camera lens. The critic’s writings on the art documentary also underlined the anti anthropocentric and cosmological vocation of the cinema. By turning the pictorial frame into the screen of cinema, Resnais’s Van Gogh de-centers the viewer into an introspective world of landscapes and rooms, where the painter himself is an absent participant or an anonymous figure rather than a protagonist in control. While self-portraiture in Van Gogh is elusive and Bazin’s scientific metaphors are vitalistic, the depth of human psychology remains as mysterious as the creativity of nature on this earth and the origin of life in the cosmos.

In the Spring of 2014, three different Tokyo institutions, the National Film Center, Espace Vuitton, and the Tokyo Museum of Modern art, all held exhibitions related to the moving image. From Yasujiro Ozu to Steve McQueen to Pierre Huyghe and others, this essay considers distinctions on the exhibiting of cinema.

This article is dedicated to an analysis of Chinese director Jia Zhang-ke’s film Still Life (San Xia Hao Ren 三峡好人, 2006) from the point of view of its intermedial relationship with Chinese landscape painting. As I will suggest, Jia’s discovery of a real landscape and a vanishing cityscape in this film, shot on location in the region of the Three Gorges of the Yangtze River, springs from a realist impulse and from an original aesthetic response to a new historical and social conjuncture. But while it seems firmly located in the landscape of contemporary China, the film also shares aesthetic qualities with the tradition of Chinese landscape painting, mounted on hanging or hand scrolls. A focus on this particular instance of intermediality leads to a reflection on cinema’s spatial organization in light of current revisions in film and audiovisual theory, which suggest that filmic space and its spectatorial experience should be considered above all from the point of view of touch and movement. It also allows for a broader understanding of the political implications of intermediality in Jia Zhang-ke’s oeuvre, fruit of an organic link between form and content that brings a historical resonance to a contemporary perspective.

Recensão crítica do livro O cinema em Portugal. Os documentários industriais de 1933 a 1985, de Paulo Miguel Martins (2011).

As has often been pointed out, museums and galleries have come to accommodate an ever growing number of moving image artworks in the past two decades. Contrasting the viewing conditions of conventional cinema and exhibition spaces, commentators have tended to emphasize the spatial parameters of installation works that allow the visitor to stroll freely, while spectatorship in the film-theatre traditionally means being fixed to your seat. This article suggests a reevaluation of this constellation by focusing on the different temporal protocols and regimes that the movie theater and exhibition spaces imply. Building on an essay by Georg Simmel and Peter Osborne’s concept of “distracted reception”, art exhibitions are characterized as places that confront the visitor with a multitude of options and synchronous stimuli, whereas the architecture of the film-theater provides, as Hollis Frampton claimed in 1968, “the only place left in our culture intended entirely for concentrated exercise of one, or at most two, of our senses”. Revisiting one of the canonical moments in the prehistory of “Artists’ Film”, the article investigates the early 1970s when Expanded Cinema and Structural Film suggested new answers to the question of concentration and distraction.

Retour sur la “XII MAGIS - Gorizia International Film Studies Spring School”, qui aura permis durant une semaine d’élaborer une somme de réflexions autour des images à l’heure du contemporain. Une conférence aux réflexions stimulantes et stimulées par l’approche plurielle du “FilmForum”.

Vanishing Point (Richard C. Sarafian, 1971), Two-lane Blacktop (Monte Hellmann, 1971) and Badlands (Terrence Malick, 1973) are road movies that incorporate distinctive journeys, which, at a certain moment, become similar. Their heroes act as non-mystical pilgrims to whom the trip is a journey in itself, even if they come up as a chase, a car race or an escape from the police.In a filmic genre built from the spatial element, the road life structures each narrative in each film. In this way, the moment when the journey looses its teleological sense acquires even more relevance, allowing us to understand the genre’s space dynamics with a different depth.In this essay, I will analyse comparatively the ways through which characters and directors relate to the scenery/landscape, in order to identify ideological constraints related to space, i.e., those symbolic limitations the road movie seems to conceal. Easy Rider (Dennis Hopper, 1969) will be a constant presence since, as the inaugural road movie, it has determined the genre’s underlying forces.

Cet article traite du Festival International du Cinéma Méditerranéen (Tétouan) et des Rencontres Internationales des Cinémas Arabes (Marseille), et interroge les enjeux communs à certains films programmés lors des dernières éditions de ces manifestations.

Blacklisted and exiled, American director Joseph Losey finished The Damned in England in 1961 but Hammer Films did not release it until 1963 (then with severe cuts) and it wasn’t seen until 1965 in the U.S., further changed and retitled These Are the Damned. Adapted by Evan Jones from The Children of Light, a novel by H.L. Lawrence, The Damned is a strange hybrid of science fiction, horror and social commentary that in some ways anticipates by a decade Kubrick’s A Clockwork Orange. Beautifully photographed in black-and-white on location in Weymouth, it brings a mysterious American stranger (Macdonald Carey)—perhaps a fugitive—into a violent confrontation with a gang of Teddy Boys and ultimately into a deadly, dystopic government experiment with radioactive children. Among the film’s considerable changes to Lawrence’s narrative was the addition of a major character: a sculptor, whose cliff-top studio is a vivid and key location and whose works function as visual omens of a social and technological apocalypse to come. Freya Neilson (Viveca Lindfors) was conceived expressly to employ the work of sculptor Elisabeth Frink (1930-1993), whose scarred, distressed figural works of the period included anthropomorphic birds, winged men, fallen men, horse heads and other morbid ciphers of existential dread. In the film these works of plaster and bronze embody the age of anxiety even as they represent art as a redemptive alternative to the cold-bloodedness of both lowbrow Teddy Boy (Oliver Reed) and highbrow Government scientist (Alexander Knox). Associated with the postwar structure of feeling that Herbert Read characterized as “the geometry of fear,” Frink’s work performs a major role in The Damned, giving form to psychosocial ills and fears of the postwar generation.

With the outbreak of World War II, cinema took on a particularly important role, as instrument of the regime's foreign propaganda, privileged ambassador of Portugal abroad. In this context, of the early forties, and of the national propaganda’s foreign policy - through the National Propaganda Office (SPN) directed by António Ferro - stood out the cultural relations established with Brazil and Spain, in what was understood as a "crusade of Lusitanity”, taking the cinema a relevant role for the Atlantic projection of the Nation.

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Recensão crítica do livro Cinema e censura em Portugal, de Lauro António (2001).

Book review of Cinema and Experience, by Miriam Bratu Hansen (2012).

Artigo sobre a exposição Film, Solar – Galeria de Arte Cinemática (Vila do Conde, Portugal), 29 de junho a 1 de setembro de 2013.

Book review of The Migrant Image: The Art and Politics of Documentary during Global Crisis, by TJ Demos (2013).

Artigo sobre a exposição Pasolini Roma, Cinémathèque Française (Paris, França), 16 de outubro de 2013 a 26 de janeiro de 2014.

Artigo sobre o Doc’s Kingdom 2013: Ideia de uma Ilha. Seminário Internacional sobre Cinema Documental (Faial, Pico — Açores, Portugal), 15-20 de setembro de 2013.

Este artigo apresenta uma definição de modelos para a produção dedocumentários transmídia a partir de um estudo de caso múltiplo de caráter analítico. Paratanto, foram analisadas três obras documentais de formatos distintos, mas relacionadosàs especificidades definidas pela narrativa transmídia. Com os resultados apresentados,espera-se orientar produtores e investigadores para o desenvolvimento de novos olhares.

Interactive documentaries are digital non-linear narratives that usenew media to relate and describe reality. Since this form of factual narrative has onlyestablished itself in the last ten years (we can track its emergence through the evolutionof Web 2.0), we can say that it is still in its infancy. As a result, a lack of terminology andunderstanding of the specificities of the form is flagrant. This article aims at positioninginteractive documentaries as a form of itself (and not as a continuation of lineardocumentaries). It also introduces the notion of “Living Documentary”, where interactivedocumentaries are seen as a “living forms”. Drawing on Maturana and Varela’s notion of“autopoiesis” and Deleuze’s assemblage theory the definition of “Living Documentary”wants to put the emphasis on the relational nature of interactive documentaries and ontheir capacity to engender change.

El artículo se propone analizar y reflexionar sobre los procesosparticipativos en la creación del vídeo documental, mediante la revisión de experienciasrealizadas en los años 70 hasta las prácticas emergentes en la actualidad. Se realiza unarevisión de la producción audiovisual y de los cambios en la concepción, elaboración ydistribución de documentales, desde las de cámaras de pequeño formatos en los 90, hastaInternet.

A partir del análisis de las cualidades específicas del cortometraje, y teniendo en cuenta la tipología de las identidades resaltadas, la enunciación y las formas de expresión utilizadas, los objetivos y los circuitos de exhibición, el presente artículo propone un estudio comparado entre un corpus de cortos documentales del período de gobierno de Juan Domingo Perón (1946-1955) y una selección de films breves documentales de los años sesenta, con el objetivo discernir las particularidades de cada práctica y reconocer las potencialidades del dispositivo corto como vehículo de aprehensión del receptor. Beginning with the analysis of the short film’s particular qualities, and going on with the identities’ typology, the enunciation and forms of expression used, the goals and exhibition circuits, this article proposes a comparative study among a corpus of documentary short films released during the presidency of Juan Domingo Perón (1946-1955) and a selection of documentary short films of the sixties, with the objective of distinguishing the specificities of each practice and recognize the potential of the short film dispositive as an instrument to reach the audience. A partir de l’analyse des qualités spécifiques du film de court métrage, et en tenant compte de la typologie des identités qui en ressortent, de l’énonciation et des formes d’expression utilisées, des objectifs et des circuits de diffusion, cet article propose une étude comparative entre un corpus de courts métrages documentaires de la période de gouvernement de Juan Domingo Perón (1946-1955) et une sélection de courts métrages documentaires des années soixante, afin de discerner les particularités de chaque pratique et de reconnaître le potentiel de la forme courte, dispositif appréhendé comme un moyen de parvenir à toucher une audience. A partir da análise das qualidades específicas do curta-metragem e levando em conta a tipologia das identidades ressaltadas, a enunciação e as formas de expressão utilizadas, os objetivos e os circuitos de exibição, o presente artigo propõe um estudo comparado entre um corpus de curtas documentais do período do governo de Juan Domingo Perón (1946-1955) e uma seleção de breves documentários dos anos 1960, com o objetivo de discernir as particularidades de cada prática e reconhecer as potencialidades do dispositivo curta-metragem como veículo de apreensão do receptor. Fil: Cossalter, Javier. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Departamento de Artes; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina

This article intents to understand the affectionate look of theBrazilian filmmaker Geórgia Guerra-Peixe. We can see that look in her documentarycalled O samba que mora em mim, winner of the jury special award of the São PauloFilm Festival [Mostra de Cinema de São Paulo], in 2010. For this study we interviewedGeórgia, collected information published in the press when the documentary was release,in february 2011, and we make a film analysis.

O artigo apresenta reflexões do filósofo Vilém Flusser comocontribuições para o esforço criativo de uma estética relacional do webdocumentário.Assim visto, o campo surge como um pensamento imagético marcado pelo engajamentopolítico e estético, no qual a indeterminação e o corpo são fundamentais no processocriativo. O webdocumentário HighRise (Katerina Cizek, 2010-2013) ilustra o cruzamentode Flusser com as abordagens de Bergson e Deleuze sobre a imagem.Palavras-chaves

Issue on Webdocumentary

El artículo analiza las prácticas de ruptura planteadas en el períodoclásico-industrial del cine argentino por cuatro directores emblemáticos. Se estudian dosaspectos que se destacan por su novedad: a) las tensiones vigentes entre la vocaciónhacia el entretenimiento y la emergente concepción educativa y formativa del mediocinematográfico, y b) los intercambios y contaminaciones manifiestos entre las prácticasficcionales y documentales, situación que otorga potencia expresiva y una inusualverosimilitud a las situaciones dramáticas.

La imagen perdida (L’image manquante / The Missing Picture, Rithy Panh, 2013) constituye una indagación, a la vez intimista e histórica, acerca de las posibilidades, y por tanto también los límites, de cualquier imagen para capturar acontecimientos extremos de la historia y de la experiencia humana del dolor, en este caso ante el teatro del genocidio camboyano perpetrado por los Jemeres Rojos (1975-1979). En realidad, las imágenes que se utilizan en ámbitos documentales y ficcionales para representar el genocidio son de muy diversa condición. En primer lugar, este artículo expone las modalidades de dichas imágenes en función de su relación con los hechos y el tipo de mirada que las funda (imágenes de perpetradores, de liberadores, testimoniales, post facto…) para adentrarse más tarde en el estudio de otras formas carentes de soporte físico (imágenes espectrales, traumáticas o interiores). Una vez considerada su migración en el tiempo y el tejido icónico que entre todas conforman, el artículo estudia cómo actúan estos distintos tipos de imagen en el film y cómo, además de imágenes socializadas, Rithy Panh da forma a imágenes memorísticas incorpóreas.Palabras clave: imagen y atrocidades, genocidio camboyano, Rithy Panh, cine documental.Abstract: L’image manquante / The Missing Picture (Rithy Panh, 2013) might be considered an investigation, both intimate and historical, on the possibilities and limits for any image to represent atrocities and the experience of atrocities. The theatre of this reflection is the Cambodian genocide (1975-1979). As a matter of fact, the range of images commonly used to embody the extermination perpetrated by the Khmer Rouge are extremely varied. First, this article analyzes their modality in relation to the facts they are supposed to convey, in particular, the kind of gaze they put forward so as to distinguish among perpetrators images, liberators images, testimonial images, images post facto. Then, it takes into consideration other images lacking physical support, such as spectral images, traumatic images and inner images. Once these cases have been studied in their interaction as well as in their temporal migration, this article closely examines how they intervened in the film and the way Rithy Panh gives shape to these incorporeal memorial images.Keywords: image and atrocities, Cambodian genocide, Rithy Panh, documentary film.

A partir del marco teórico de los estudios y la crítica postcolonial, el texto pretende reunir por primera vez una serie de obras audiovisuales a partir de las que esbozar un primer «archivo fílmico poscolonial español». Para ello, realiza una cartografía de obras recientes producidas por artistas visuales españoles y centradas en el ámbito latinoamericano, susceptibles de calificarse como postcoloniales por su discurso crítico y reflexivo tanto sobre el pasado colonial como sobre el propio dispositivo fílmico. El artículo analiza los dispositivos recurrentes, como el uso del archivo y del cuerpo como acción, en autores como Marcelo Expósito, Paco Cao, Virginia Villaplana, Alvaro Laiz, Iván Candeo, Carlos Motta, Daniela Ortiz & Xosé Quiroga o el colectivo Declinación magnética.Palabras clave: cine postcolonial en español, ensayo audiovisual, vídeocreación, documental postcolonial, archivo, performatividad.Abstract:Based on postcolonial theoretical and critical studies, this text pretends to gather, for the first time, a series of audio-visual works from which to sketch a first ‘Spanish postcolonial cinematic archive’. To that end, it draws a cartography of recent works produced by Spanish visual artists that are focussed on the Latin American sphere, which are susceptible of being qualified as postcolonial thanks to its critical and reflexive discourse, both on the colonial past and on the actual film dispositive. The article analyses the recurring dispositives, such as the use of the archive and the body as action, in authors like Marcelo Expósito, Paco Cao, Virginia Villaplana, Alvaro Laiz, Iván Candeo, Carlos Motta, Daniela Ortiz & Xosé Quiroga and the collective Declinación magnética.Keywords: postcolonial cinema in Spanish, audio-visual essay, video-creation, postcolonial documentary, archive, performativity.

En los años sesenta, el cine militante buscó compartir y expandir estrategias y herramientas para la lucha política alrededor del mundo. Ici et ailleurs (1969- 1974), la película que Godard filmó con Jean-Pierre Gorin bajo el marco del Grupo Dziga Vertov y editó con Anne-Marie Miéville, no es solo un ejemplo de cine político de vanguardia, sino un recuento auto-reflexivo del resultado de las revoluciones aquí y en otro lado, del devenir de la militancia y el cine comprometido y de su repudio a mediados de los años setenta. En este ensayo, me enfoco en tres elementos que forman parte del legado del cine militante en general, y específicamente de Ici et ailleurs: primero, las lecciones que se pueden derivar de las ordalías derivadas de simpatizar, hablar o imaginar procesos políticos de otros, en otros lados. Segundo, el problema que Godard plantea en películas posteriores a Ici et ailleurs, a lo que llamo la «mediatización de la mediación», como la forma de activismo que siguió al rechazo del marxismo-leninismo como depositario de la política progresiva. Tercero, la no poco problemática transformación de la política de la imagen de Godard en la «política sensible» post-política, un nicho en la producción cultural que se ha dado la tarea de codificar actos políticos inestables en formas mediáticas, transformando la acción y enunciación política en cuestión de expresión.Palabras clave: cine militante, Jean-Luc Godard, Palestina, activismo, política sensible, post-política, compromiso político.Abstract:In the 1960s, militant cinema aimed to share and expand strategies and tools for the political struggle around the world. Ici et ailleurs (1969-1974), the film that Godard shot with Jean-Pierre Gorin within the Dziga Vertov’s Group and edited with Anne-Marie Miéville, it is not only an example of avant-garde political cinema, but also an auto-reflexive account of the outcome of revolutions here and elsewhere, of the development of militancy and committed cinema and of its rejection in the mid of the 1970s. In this essay, I will focus on three elements that form part of the legacy of militant cinema in general and specifically of Ici et ailleurs. Firstly, the lessons that can be derived from the ordeals that come out from sympathizing, talking, and imagining political processes of others, in other places. Secondly, the problem that Godard suggested in films that came after Ici et ailleurs, which I call ‘mediatization of mediation’, such as the form of activism that followed the rejection of Marxism-Leninism as the repository of the progressive politics. Thirdly, the not less problematic transformation of Godard’s politics of the image to the post-politics’ ‘sensitive politics’, a niche in the cultural production that embarked on the role of encoding unstable political acts in media forms, transforming in terms of expression the political action and enunciation.Keywords: Militant cinema, Jean-Luc Godard, Palestine, activism, sensitive politics, post-politics, political commitment.