Eduardo Montes-Bradley

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Eduardo Montes-Bradley
Ebm portrait.jpg
Portrait, 2010
Born (1960-07-09) July 9, 1960 (age 54)
Cordoba
Nationality USA
Occupation Filmmaker, photographer, writer
Years active 1979–present
Religion None (Atheist)
Spouse(s) Soledad Liendo
Children
  • Thomas Benjamin (son)
  • William (son)
  • Raquel (daughter)
Relatives Ricardo Ernesto Montes i Bradley, Eduardo Bradley, Juan Alberto Montes
Awards Silver Eagle[1]
Website
www.montesbradleyphoto.com

Eduardo Montes-Bradley (born July 9, 1960) is a writer-filmmaker.[2][3] He has written and directed biographical film portraits on writers, composers, artists and intellectuals. His documentary Samba On Your Feet, a study on the origins of Samba traditions in Brazil, gained the recognition of African American Studies departments in campuses across the US.[4][5][6][7] He was awarded a Silver Condor in 2002 for his portrayal of Osvaldo Bayer in "Tells of the Helmsman" (Los cuentos del timonel).[8] Montes-Bradley has also written biographical essays and articles on Jorge Luis Borges, Julio Cortázar, Julian Bond, and Rita Dove amongst others literary and political figures.[9][10][11][12][13][14][15] Montes-Bradley resides in the United States since 1978.

Early life[edit]

Montes-Bradley was born in Córdoba, Argentina to Nelson Montes-Bradley, founder of Discos Qualiton and Sara Kaplan. The family name Montes-Bradley is the result of the union of in 1893 of Juan A. Montes Ziegler of Galician and German descent, and Elvira Bradley, descendant of Thomas Osgood Bradley of Haverhill, Massachusetts.[16] In 1961 the family relocated to Rosario, 250 miles east of Córdoba, and the third largest city in Argentina. By 1965 they are living in Buenos Aires. The cultural ambiance in the capital city and the relationship of the family with the arts were crucial during his formative years. He attended public school, was brought up agnostic and atheist in a progressive, predominantly left-wing radical environment. In 1973 Montes-Bradley enters High School at the Colegio Nacional Nicolás Avellaneda.[17] May 25, 1973, marked the end of seven years of military rule. General Alejandro Agustín Lanusse steps down as president and Héctor José Cámpora is elected on a Peronist ballot. Shortly after Héctor Campora's inauguration, former president and founder of the Peronist Party, General Juan Domingo Perón returned from exile in Madrid where he spent eighteen years under the protection of Generalisimo Francisco Franco.[18] On September 11, 1973 Salvador Allende is overthrown in a bloody military coup led by General Augusto Pinochet in neighboring Chile. It was a time of profound political turmoil. Montes-Bradley became involved as a student in political activism.[19] The deaths of Pablo Picasso, Pablo Casals, Pablo Neruda and Víctor Jara, all of which also occurred in 1973, had a profound impact in an entire generation. Montes-Bradley will frequently recall 1973 as turning point: "Not because of anything that I might have believed on then, which I most certainly don't believe in now, convictions come and go; but because of the extraordinary experience of living in a home full of music and poetry within the boundaries of a country at the brink Civil War." Three years later, General Jorge Rafael Videla ousted General Peron's third wife and his widow inaugurating a new era of terror which resulted in the death of thousands, thousands more joining the ranks of the desaparecidos and thousands forced into exile.

Life in America[edit]

Premier of "Calzada" at Tower Theatre in Miami, Florida

Shortly after the military coup of 1976 -which overthrew the government of Isabel Perón - Montes-Bradley migrated to the United States taking up residence in New York City.[20][21] During the late seventies, early eighties Montes-Bradley was a contributor and correspondent for The Hollywood Reporter and El Heraldo del Cine, a Buenos Aires based trade publication catering the film industry. His first contribution to film can be traced to Margareta Vinterheden's Man maste ju leva, Sweden, 1978.[22] During the same period (late seventies - early eighties) Montes-Bradley worked as editor and assistant editor in a series of documentaries on the Nicaraguan and Salvadorean civil wars. In 1984 Montes-Bradley moved to California as publisher-editor of The Entertainment Herald. The Entertainment Herald found advertising support from independent production and distribution companies, of the American Film Marketing Association (AFMA). Menahem Golan and Yoram Globus, owners of Cannon Films, were amongst the largest contributors to The Entertainment Herald.[23] By 1986, EM-B was working as a Director of International Sales for Filmtrust Motion Picture Licensing, an independent production and distribution company based in Los Angeles.[24] In 1989 Montes-Bradley teamed-up with producer Javier Gracia to write, produce, and direct Double Obsession,[25] a straight-to-video thriller released by Columbia Tri-Star.[26] In 1995 Montes-Bradley married actress Sandra Ballesteros,[25] leading-lady in The Kidnapping, a politically-incorrect parody on Latin American politics, a cult movie and Montes-Bradley's last known fiction.[23] In 1997 Montes-Bradley produced “Soriano”[27] a biographical sketch based on the life and works of Argentine writer Osvaldo Soriano. It was the first in a long list of documentary portrayals on intellectuals, artist, philosophers, and writers to follow. Montes-Bradley has been credited as a director under pseudonym inspired on fictitious character such as "Diana Hunter", the blind lady-director who "one day went deep into to the forest and was forever lost”, and Rita Clavel who followed on the footsteps of Hernán Cortés on "Crónicas Mexicas".[28] Although a constant in his work as a filmmaker and a writer, the actual number of pen-names used by Montes-Bradley is uncertain.

"Montes-Bradley is a provocative filmmaker who inaugurated a style by interrogating paradigmatic icons of the Latin American culture,çand by doing so with in the spirit of a cultural agitator."

—Alejandro Ricagno, La Cinémathèque, Toulouse, March 28, 2003.

Published work[edit]

Montes-Bradley’s published work comprises documentaries, fiction, shorts, experimental and music-videos listed under “Filmography”; books (fiction and non-fiction), articles, and photography are detailed further under “Bibliography".

Filmography[edit]

Documentary[edit]

2010–2014[edit]
  1. 'White: A Season in the Life of John Borden Evans. Heritage Film Project, 2014. The film explores the working artist John Borden Evans, capturing the quiet and the quotidian elements of life in Virginia's countryside. This documentary is part of a series of artist at work which so far includes Ernesto Deira, in Paris, Perez Celis, in Little Haiti, Andres Waissman, in Palermo, Buenos Aires, and Humberto Calzada in Coral Gables. HD | 30 minutes. Shot during between September 2013 and March 2014. The title is in reference to the fact the entire film takes place in the snow and the cold weather, also the prevalent base calor on John Borden’s paintings during the period in which the film was being produced. Main Location in North Garden, VA. Original Music by Alice Parker. Distributed by Alexander Street Press.[29][30][31]
Still from the documentary “Rita Dove: An American Poet”
Julian Bond on the steps of Lincoln Memorial
Still from the film “Lisboa”.
  1. Rita Dove: An American Poet. Heritage Film Project, 2014. Distributed by Filmakers Library - Alexander Street Press, USA.[32] Color and Black and White, HD, 50 min. Biographical sketch of Rita Dove. The film, premiered in Charlottesville on January 31, 2014, is structured around a considerable number of original interviews, and a collection of home-movies and early childhood images from the archives of the Dove family in Akron.[33][34] In the documentary, Rita Dove evoques family stories going back to the Great Migration, childhood experiences, segregation, the March on Washington, meeting Nixon at the White House, her fascination with music, and with the cello in particular, and a first experience abroad when her father (Ray Dove) drove the family on a road-trip to Mexico.[35][36][37] The film concludes after Ms. Dove’s returns from Germany where she studied at Universität Tübingen on a Fulbright Scholarship.[38]Rita Dove: An American Poet, does not explore the public figure and literary career of the poet laureate, ir rather focuses in the personal experiences, and process leading to the literary personae,[39] and the celebrated American poet that Rita Dove would ultimately become.[40]
  2. Saavedra: Between Berlin and a place called Peixoto''. Heritage Film Project + Writers Made in Brazil, 2013. HD, 30 min. (Portuguese) Produced in part with the support of the Brazilian Ministry of External Relations | Embassy of Brazil, Washington, D.C. Biographical Sketch about Brazilian author Carola Saavedra. The documentary was filmed on location in Berlin and Rio de Janeiro. Premiered October 9, 2013 On Line, during the Frankfurt International Book Fair.[41][42][43][44]
  3. Julian Bond: Reflections from the Frontlines of the Civil Rights Movement. Heritage Film Project, 2012. Distributed by Filmakers Library - Alexander Street Press, USA.[32] Color and Black and White, HD, 34 min. This film is a portrait of social activist and former Georgia legislator Julian Bond approaches the story of the Civil Rights Movement in the United States from a personal perspective. “Bond's father was the first African-American president of Pennsylvania's Lincoln University, and the family hosted black luminaries in education and the arts, but Bond recalls growing up in the era of "separate but equal" laws”.[45] Bond also talks about his early involvement with the Civil Rights Movement, his nomination at the age of 28 for vice president of the United States, and the Georgia legislature's efforts to prevent him from being seated as a representative on the grounds that he had not supported the Vietnam War. The film explores the 1963 March on Washington, Martin Luther King Jr., the assassinations of King and President John F. Kennedy, and Lyndon B. Johnson's impact on U.S. race relations. On this film Bond also offers his own insights, and adds some personal revelations, such as the fact that he was a published poet during his college years. The film closes with a montage of major African-American figures from Frederick Douglass to Spike Lee.[7] Julian Bond, Premiered at the Virginia Film Festival on November 4, 2012.[10]
  4. Lisboa. Heritage Film Project + Writers Made in Brazil, 2012. HD, 30 min. (English) Produced in part with the support of the Brazilian Ministry of External Relations | Embassy of Brazil, Washington, D.C.. Based on the experiences of Brazilian Writer Adriana Lisboa now living in Louisville, Colorado. Shot in February 2012 on location in and around Boulder, Co. Premiered on WHTJ PBS / WCVE PBS, Virginia, also aired by Rocky Mountain PBS.[21][46][47][48][49][50] Italian Avant Premier with Italian subtitles at Festivaletteratura | Mantova, Italy on September 5, 2014[51]
  5. Loewenstein. Heritage Film Project, 2012.[52] Part of the series U.Va. Collection.[53] The film portraits Jared Loewenstein whose commitment, and dedication were instrumental in the preservation of Jorge Luis Borges's first editions, manuscripts, letters and drawings.[36][54] These documents known as the Jorge Luis Borges Collection, are preserved at the Albert and Shirley Small Library Special Collections at UVa.[55]
  6. Baragiola. Heritage Film Project, 2011.[56] First on a series U.Va. Collection. The film is a biographical sketch on Raúl Baragiola, Alice and Guy Wilson Professor of Engineering Physics and Materials Science. The film was shot on location in Charlottesville, VA. YouTube
  7. Waissman. Heritage Film Project, 2010. HD, 30 min. Documentary based on the life and works of contemporary artist Andrés Waissman. Produced by Soledad Liendo. "Waissman" premiered on November 23, 2010 on WPBT Channel 2 (PBS). 30 min. 16:9 HD[57][58][59]
  8. Calzada. Heritage Film Project, 2010. HD, 30 min. Produced by Soledad Liendo.[60] Documentary on the life and works of Cuban-American artist Humberto Calzada. Theatrical Premier took place on January 7, 2010 at the Tower Theatre; TV premier on January 12, 2010 WPBT Channel 2 (PBS). Featuring Humberto Calzada, his early life in Havana, Cuba before the Cuban Revolution that brought Fidel Castro to power, the first years in exile in Miami, and details on his current life as a highly regarded visual artist in the Caribbean. Original Music by Gerardo Aguillón (violin) and José Angel Navarro (guitar). 30 min. 16:9 HD[61][62]Your Tube exhibit.
2007–2010[edit]
  1. Low Blows: La Raulito. NOA Producciones, 2009. The documentary follows Mary Esher Duffau aka "La Raulito", the fan-mascot of Boca Juniors and eccentric folk character of Buenos Aires. La Raulito as Duffau was known, was immortalize in a film by the same name directed by Lautaro Murúa in 1975. However, in this film, director Emiliano Serra follows the real character during the last days of her life. Low Blows: La Raulitopremiered at Mar del Plata International Film Festival on December, 2009. Latin American Selection.[63]
  2. Evita (Documentary). Patagonia Film Group, USA, 2007. Documentary on Eva Duarte, former First Lady of Argentina. Evita, illegitimate child without social or economic standing, was determined to make it big in the world of entertainment. Her love affair with a rising political star (Juan Domingo Perón) transformed her into a vital part of Perón's plans to seduce a nation. The charming Evita became a skilled public speaker that fitted perfectly with politics in Argentina. Just imagine Marilyn Monroe with the charisma of Princess Diana, elevated by Joseph Goebbels´s propaganda machine as the indisputable Spiritual Leader of the Nation. The documentary appears to be fair, perhaps the first biography on the subject that strives to be balanced. "Evita" was screened at the Virginia Film Festival, in Charlottesville, on November 4, 2011.[64][65]
  3. Deira. EMB Entertainment, 2007. Biographical-sketch on renowned artist Ernesto Deira. The film screened during the first retrospective of Deira's work at the National Art Gallery, MNBA (Museo Nacional de Bellas Artes), commemorating twenty years of his passing. “Deira" includes rare 8mm footage captured by the artist during a visit to Belgium and interviews with Olga Galperin and Luis Felipe Noé amongst others.
2004–2007[edit]
  1. Che: Rise & Fall. Patagonia Film Group, 2006. US release: Nov. 2008 through Westlake Entertainment and Latin American release through NatGeo. CHE: Rise and Fall, follows on the trials and tribulations of Ernesto Guevara in the words of old friends and comrades-in-arms.[66] The fundamental recollection of Ernesto Guevara’s early journey comes from the testimony of Alberto Granados, Guevara’s long-time friend and companion on the legendary motorcycle ride immortalized in Motorcycle Dairies. The film unveils a different Che Guevara, not so divine as the one often portrayed. According to Lourdes Vázquez from Rutgers University Library, Che: Rise & Fall documents Che’s frustrated experience for the period spent fighting a in Congo's Revolutionary War as well as his sense of failure.[67] The documentary includes original archival footage, original photographs taken by Che Guevara himself, and images from the ceremony of the returning of Che’s remains to Santa Clara, Cuba originally included on the documentary Che, a man of this world (1998) by Marcelo Schapces. The film is divided in three four main chapters: Infancy, Cuba, Congo and Bolivia.
  2. The Great Pretender (El gran simulador). Verbum, 2006. Released in Uruguay as "No a los papelones". El gran simulador begins with Montes-Bradley's quest to find Nahuel Maciel, a journalist who fifteen years before fooled the press core of Argentina by posing as a Native from the Mapuche Nation in Patagonia. Disguised as Chief Nahuel the impostor sold alleged interviews with Gabriel García Márquez, Umberto Ecco, Mario Vargas Llosa and others to prestigious local newspapers such as El Cronista Comercial. Nahuel Maciel later published a book with a bogus interview with the Colombian Nobel Prize preceded by a foreword by Eduardo Galeano. Montes-Bradley finally finds Maciel some 300 miles from Buenos Aires in a frontier town called Gualeguaychú where Maciel was working close to the leadership of a group of environmentalists battling a paper-mill in the Argentina-Uruguay border. The film is witty, provocative and politically incorrect in all possible ways. El gran simulador was initially banned from theaters in Argentina for its politics (only to be shown at BAFICI, the Independent Film Festival of Buenos Aires and later released on DVD) and it was effectively released in Uruguay (across the border) with good B.O. results.[68][69] Two years later, in April 2008, El gran simulador was finally released in Argentina by Editorial Perfil, the opposition media conglomerate own by Jorge Fontevecchia.
  3. Samba On Your Feet. Patagonia Film Group, USA | Brazil 2005. The documentary explores behind the scenes of Samba and Carnival in Rio de Janeiro, revealing the preambles of the cultural clash leading to Samba an indigenous cultural tradition in Brazil. Actor-Narrator Haroldo Costa explains on the film that Samba is the direct result of a complex cocktail of religions and beliefs. African slaves adapted many of their traditions to the cannon of the Catholic conquistadores; and also the Native indigenous brought their own and quite remarkable cosmogony to the fusion. The result of all that is what we called today Samba. And what today is considered the first samba ever, was a composition played during the Carnival of Rio de Janeiro in 1917.[70] Multiple use of archival material. "Samba On Your Feet" includes interviews with veteran sambista Xango da Mangueira who would in-camera recalls the early days of Carnival when he and his fellow sambistas were treated like vagrants, harassed and arrested by the police. Mae Helena D'Oxosse, a priestess in the umbanda tradition, incorporates samba in her religious practices and carries on a tradition among her working-class followers that is five hundred years old. "Samba On Your Feet" has been selected to participate at the Toulouse Latin American Film Festival 2008, at the Rio de Janeiro International Film Festival 2006, Buenos Aires Independent Film Festival (BAFICI) 2007 and Toronto Latino Film Festival.[71][72] The film is distributed by The Filmmakers Library. Worldwide rights by Alexander Street Press.
  4. From Frankfurt to Humahuaca’'. Contrakultura, 2005. Second in the trilogy of documentaries directed by Norberto "Negro" Ramírez and produced by Eduardo Montes-Bradley on the culture of the NorthWest region of Argentina known as la Puna, mainly Jujuy and Salta provinces. From Frankfurt to Humahuaca focuses on the life and works of Jorge Lovisolo, disciple of The Frankfurt School of philosophy, author of numerous essays. The film deals with Lovisolo's obsessions in a sort of self-imposed exile in Salta; his takes on religion within the local communities, the thoughts of Walter Benjamin, Herbert Marcuse, Theodore Adorno and others.[73]
  5. Kopla Vera. Contrakultura, c. 2006. First of a trilogy by director Norberto N. Ramírez on intellectuals residing in the Northwest region of Argentina known as la Puna, mainly Jujuy and Salta provinces. Kopla Vera focuses on the life and works of Jesús Ramón Vera, author of numerous verses inspired in the liturgical carnival of Jujuy.
  6. El hombre invisible. Contrakultura, 2005. Directed by Eduardo López. The film is a tribute to film editors of News Reel in Argentina from the 1940s through the 1960s.
  7. Yo y el tiempo. Contrakultura, 2005. Third documentary on Norberto N. Ramírez trilogy on intellectuals. Yo y el tiempo is a documentary on Juan José Botelli, poet.
  8. Marcos Ribak aka Andrés Rivera. Contrakultura, 2005. Biographical film about Andrés Rivera author of "La revolución es un sueño eterno". Shot in Córdoba province, Argentina.
  9. No matarás, (Thou Shall Not Kill). Contrakultura 2004. Biographical film on Marcelo Birmajer, a Jewish-Argentine writer, frequently at odds with the overwhelming "progressive"-minded cultural aparatik of Buenos Aires. In the film, Birmajer seems lost somewhere between Buenos Aires and the Middle East; holding a tight grip on the umbilical cord that his Jewish-mother preserves intact for generations to-come.
  10. Insurgentes. Contrakultura, c. 2006. The documentary focuses on the connections between revolutionary movements in Chile, Argentina and Uruguay.
  11. Ecce Homo. Contrakultura, c. 2005. Film based on the last known interview to Juan Filloy Ana Da Costa from Biblioteca Nacional.
  12. Crónicas Mexicas. Contrakultura, 2004. Montes-Bradley (as Rita Clavel) teams-up with Martín Caparrós following on the steps of Hernán Cortés from Veracruz, on golf coast of Mexico, to Tenochtitlan, the ancient capital of the Aztec empire. Caparrós becomes the omnipresent and omniscient protagonist of this journey through geography and time. His acute sense of irony and wit becomes a permanent fixtures throughout the entire film, provoking the audience into uncharted: the politically incorrect history of Latin America.
  13. Las memorias del señor Alzheimer. Contrakultura, 2004. Directed by Sergio Belloti. The film has as sole protagonist Jorge "Dipi" Di Paola, a dadaist-exentric, writer-poet, an unconventional character of the Buenos Aires underground during the seventies. The film was shot in 2007, shortly before Di Paola's death in Tandil, some 450 kilometers from the capital of Argentina. In the film, Di Paola, a disciple of Witold Gombrowicz recalls the bygone days when the polish writer and himself shared a small apartment in the city of Buenos Aires and later in Di Paola's home-town of Tandil.
  14. Negro sobre blanco. Contrakultura, 2004. Dir. Eduardo López. Legendary negative cutting Margarita Bróndolo recalls the early days of cinematography in Argentina. As an employee of Estudios San Miguel and other pioneer studios in Buenos Aires, Bróndolo worked alongside iconic figures of the golden era of film such as Eva Duarte . The documentary abunds in newsreels, and clips from some of the most celebrated film titles of Argentina. Montes-Bradley commissioned Eduardo López to direct "Negro sobre blanco". López, himself a local celebrity having edited over 100 titles and worked alongside some of the best known directors in Argentina such as Academy Award Nominee Adolfo Aristarain.[74]
  15. La oficina. Contrakultura, 2004. A documentary by first-time director Blas Eloy Martínez, son of laureate Tomás Eloy Martínez. The plot is set in the background of a red-tape paradise in the institutional nightmare of Argentine bureaucracy. "Office of Notifications" (as translated from the original title), shown life in the office or department is which all court notices are prepared and later delivered. The film centers on the lives of the bureaucrats and the art of delivering citations.
  16. Una cierta mirada. Contrakultura, 2004. Built as a series of conversations with Juan José Sebreli (philosopher), is perhaps one of the most interesting of the documentaries on writers by Montes-Bradley. Sebreli recalls his entire life in front of camera taking the audience for a ride through timeless Buenos Aires. Sebreli's extraordinary perception of the surroundings, the arts, the architecture and the music of the city he was born in and he loves is a constant throughout the entire film. In a way, this doc can be watch as a 20th-century Tour Guide of Buenos Aires, a sketch on Peronism and yet, more.
  17. Dirigido por.... Contrakultura, 2004. Interviews to some of Argentina's best known directors and filmmakers on the art of filmmaking in Argentina. Includes the contributions of Adolfo Aristarain, Academy Award Winner for Best Foreign Film Luis Puenzo, and others.
  18. Planeta Bizzio, Contrakultura, 2003. Montes-Bradley, hires fresh-out-of-film school Nadina Fushimi to direct, and interview Sergio Bizzio, an offbeat-poet, playwright and novelist.
1998–2003[edit]
  1. Testigo del siglo (Witness of a Century). Argentina, 2003. Directed by Montes-Bradley as Diana Hunter. Premiered at the Buenos Aires International Festival of Independent Cinema (BAFICI). Based on the memoirs of Ismael Viñas, legendary political figure, economist, founder of Movimiento de Liberación Nacional (MALENA), former undersecretary of culture during the Revolución Libertadora. Viñas reappears in front of camera after twenty-six years in self-imposed exile, first in Israel and finally in the US. During a series of conversations with Montes-Bradley in Florida, USA, Viñas reflects on his youth, on his brother David, on his father, a well political character during the times of Hipólito Yrigoyen, and a Federal Judge in Patagonia during the uprisings portrayed in Rebellion in Patagonia[75] in the early 1920s. Viñas also recalls his imprisonment during the Peronist period, and with particular emphasis his relationship with Ernesto Che Guevara, and Salvador Allende amongst many other relevant figures of the period. On release, the film caused somewhat of a commotion. It was acclaimed and criticize by extremist elements on the right and particularly on the left where the Ismael Viñas portrayed on the documentary was perceived as a traitor to the Marxist principles he once so strongly embraced.[76][77]
  2. El equilibrista Contrakultura, 2003[78] Not much is know about this documentary based on the trials and tribulations of writer Dalmiro Saenz.
  3. Deliciosas perversiones polimorfas. Argentina, 2002. Some of the main issues discussed on this film are the relationship of the protagonist with his father, life in rural province of Córdoba in the Pampas, Edgar A. Poe, William Shakespeare and the imminent arrival of the Antichrist.
  4. Recóndita Armonía. Contrakultura, 2002. Mario Diament is a journalist and professor of journalism at the University of Miami On the film Diament recalls Jacobo Timerman and the years prior to and after the military coup of 1976 in Argentina.
  5. Pérez Celis Contrakultura 2005. A portrait of Pérez Celis, portraits the artist at work in his atelier in Little Haiti. Throughout a series of conversations with Celis, Montes-Bradley manages to capture rare moments showing the artist at work. The creative process, the brushes on canvas, the mixing of colors, and the drawing of sketches share time on the screen with the anecdotal, and traces of a political road map followed by Celis from the mid-1940s to the present.[79]
  6. Le mot Juste, (The Right Word) Contrakultura, 200? The documentary tracks Héctor Tizón to his hometown of Yala in Jujuy, Argentina. In a series of interviews the writer refers to his early childhood and the traumatic experience on living on the edge of two extremely different cultures: the Quechua universe of his native homeland and the Spanish culture of the conquistadores[80]
  7. La otra orilla. Contrakultura, 2003. A biographical sketch on writer and psychotherapist Luis Gusmán.
  8. Saludablemente en pelotas. Contrakultura, 2003. A biographical sketch of Argentine writer-journalist Juan Sasturain.
  9. La célula fugitiva. Contrakultura, 2002. A biographical sketch of writer- journalist José Pablo Feinmann. Interview conducted by Mariana Russo.
  10. Desandando el tiempo. Contrakultura, 200?. A biographical sketch of poet Juan Jacobo Bajarlía (1914-2005). Directed by Rodolfo Durán as "Valentina Carrasco".
  11. En el nombre del padre. Contrakultura, 2002. Biographical sketch of Argentine short-story writer Ana María Shua.
  12. Espléndida decadencia. Contrakultura, 2002. A biographical sketch of novelist-journalist Daniel Guebel.
  13. Cortázar: apuntes para un documental. Contrakultura, 2002. The documentary approaches the argument dividing critics over the nature of Cortazar's political views and perspectives. The film includes previously unseen footage of Julio Cortazar shot by the author himself[81] in front of a mirror and other scenes of Cortázar next to his first wife Aurora Bernárdez, and Octavio Paz in India,[82][83][84][85][86] and with Carole Dunlop in Paris.
  14. Los cuentos del timonel. Contrakultura, 2001. The documentary deals with Osvaldo Bayer, a controversial political figure and historian. The film was shot on Bayer's residence in Linz am Rhein, Germany, where he spends six months of every year.[87]
  15. Harto The Borges. Contrakultura, 1999. Documentary on Jorge Luis Borges. The film Includes rare TV footage of Jorge Luis Borges and María Kodama produced to celebrate Borge's 80th birthday. The film also includes interviews with Franco Lucentini, Martín Caparrós and Ariel Dorfman. Harto The Borges was shot in Milan, Rome, Paris, Geneva and Buenos Aires. Writer, Producer, Director, Editor.[88][89][90][91][92] Harto The Borges had a theatrical release in Buenos Aires on September 2000 and was well received by the local critics.[93] Most recently the film was presented in digital format on Diario Clarín's literary magazine "Revista de Cultura Ñ" under the title: "Harto The Borges: Ten Years After"[94]
  16. Soriano (The documentary). Iruña Films, 1998. Perhaps the only film ever made on Osvaldo Soriano, a Best-Seller author in Spanish and Italian throughout the 1980s and 1990s. At least three of Soriano's novels were made into successful movies: "No habrá más penas ni olvidos", "Das Autogramm" (1984), "Funny Dirty Little War" (1983), "Cuarteles de invierno" (1984). Soriano also includes a rare short film made by the writer himself and a few of his friends in his home town of Tandil.[95] Soriano was shot in Paris, Rome and Buenos Aires following on the footsteps of Osvaldo Soriano into exile in the 1970s. The film is not a celebration of Soriano but rather a fair and balanced approach to his life through the voice of friends and detractors. With testimonies by Rodrigo Fresán, Juan Forn, Martín Caparrós, Osvaldo Bayer, Eduardo Galeano and more.[96][97][98][99][100][101]

Fiction[edit]

Production still: Eduardo Montes-Bradley and Margaux Hemingway.
Production still:
  1. El sekuestro (The KidNapping) Iruña Films, 1997. Satire. Starting Sandra Ballesteros and Rodolfo Ranni. El Sekuestro is set in an imaginary country named Rio Hondo where a band of revolutionary improvisers kidnap the wrong man, one that no one is prepared to pay a ransom for.[102] The critics hammered the film following its premier at the Mar del Plata International Film Festival. However, The KidNapping remains the director's favorite to this date.The film was shot in South Beach in 1995 and, on November 4 of the same year Montes-Bradley married the leading-actress Sandra Ballesteros.[103] The film is a political farce taking on the events that so profoundly marked Argentine society during the nineteen seventies. It has been said that the plot is an excuse to mock the struggle of the guerrilla organizations that confronted the military regime led by General Jorge Rafael Videla. According to Montes-Bradley, The Kid Napping is a farce and nothing more than a farce.
  2. Double Obsession. Drama. Starring Margaux Hemingway, Beth Fisher, Scott Valentine, Jamie Horton and Frederic Forrest. Edited by John Venzon. TriStar Columbia / Reivaj Films, 1992. The film falls in the B-Movie category which did well with distributors in the eighties and nineties, particularly in the straight to video and cable markets. Double Obsession was shot on 35mm on campus at the University of Colorado at Boulder. Montes-Bradley hardly ever talks about this film written by himself in collaboration with Jeffrey Delman and Rick Marx. The film was also known as Mirror Image.[104][105][106][107][108]
  3. Smoothtalker. Thriller. Starring Blair (Lisa) Weikgenant as Lisa Charles, Peter Crombi as Jack Perdue, Stuart Whitman as Lt. Gallagher, Paul Raci as Peri and Burt Ward. USA, 1992. Original score by Tony Roman; Production Design by Brian Densmore. US Release: June 18, 1992[109]
  4. Man maste ju leva, Actor. Film Directed by Margareta Vinterheden. Sweden, 1978. Very little information is available on this first movie.

Short films[edit]

  1. La Ventana de Leon Rozitchner. Independent, 2011.[110][111] Anecdotical documentary with philosopher León Rozitchner. Shot in Buenos Aires, Argentina.
  2. Tríptico Vertical, (Short) USA, 1986. Not much is known about the nearly fifteen minutes art-documentary on the Madres de Plaza de Mayo. It was shot in Buenos Aires shortly after the return to democratic rule. Music by Julio Lacarra.
  3. American Manifesto, (English). (short) Writer, Producer, Director, Editor. Argentina (1993). American Manifesto premiered at the Buenos Aires Independent Film Festival (BAFICI) in 2005. It was shot in a club called Muddy's, in Denver, in the winter of 1993. The protagonist name is Steve, last name unknown. The film was shot on Hi-8 and is all-in-one take. Steve has just been released from jail and he is quite unhappy with America where says what prevails is a dysfunctional "shistem". The film became a cult film in internet and still can be found in several YouTube-like sites.

Music videos[edit]

Montes-Bradley directed music-videos at odds with the dominant trends at a time in which MTV Latino was still in the experimental stage. Rumbera, by Willy Chirino, (Sony Music, 1994[112] is a cult video extravaganza shot in one single take of 7 minutes. Rumbera was shot in a South Beach cabaret and included dancing-monkeys, transvestites, fire-eaters, a salsa-band, dancers and almost a hundred extras. Rumbera opened the doors to salsa in the regular basis in MTV Latino, until then, exclusively focused to Rock, Pop and ballads from South America. Rumbera, shot on S-16 mm, screened and compete in Havana, Cuba at the Festival Internacional del Nuevo Cine Latinoamericano, in December 1994. That was the first time the public had the opportunity to see Willy Chirino on the Cuban screen where he remains, like Olga Guillot, strictly blacklisted. Another off-beat music-video by Montes-Bradley was Dale Pascual by the Argentine pop-group "Los enanitos verdes". Dale Pascual was shot in 35mm in La Cava, a slum in San Isidro, some 20 miles North of the City of Buenos Aires. The track spells out the hardships of the have-not in Argentina. La Cava provided the setting typical of neo-realism which emphasized the hard living conditions, unemployment and recession. To underline the sacrifice the director staged the crucifixion of a naked child. The image was too much for the networks in most Latin American countries. In Chile the film was censured and MTV refused to play it across the board. Dale Pascual marked a turning point and the end of Montes-Bradley's career as a music-video producer/director.

Bibliography[edit]

Books[edit]

Random House Mondadori, 2005.
Editorial Norma.
Sperling & Kupfer, 2001
  • Los dedos del huracán. Short story. Children Literature. Included on "De Ola en Ola 3" School Textbook for Third Grade. Group Macmillian. Editorial Estrada S.A., Buenos Aires, Argentina. Illustrated by Eugenia Nobati. p. 62-67[113]
  • Cortázar sin barba. Madrid: Random House Mondadori. 2005. pp. 394 Hard Cover. ISBN 84-8306-603-3.  In less than five hundred pages the author exposes the mechanisms used to build Cortázar: the myth, providing at the same time the tools to destroy the myth. The first edition of Cortázar sin barba was published by Sudamericana, Argentina, 2004.[114][115][116][117]
  • Água No Terceiro Milenio Bilingual Anthology of Short Stories. Selection of awarded works at the Literary Award "Agua no terceiro Milenio",[118] Brazil. Published in Portuguese and Spanish. Pilar Editors, Brasília, 2000. P. 142, 143, 144. Includes the short story "Das schwerste gewicht" previously published in "Its All a Lie" Ya se que todo es mentira, Editorial del Nuevo Extremo, Buenos Aires 1999.
  • Osvaldo Soriano, un retrato. Grupo Editorial Norma, Buenos Aires, Argentina, 2000. Sperling & Kupfer Editori, Milan, Italy, 2001, 164pp. Collection: Continente Desaparecido, directed and coordinated by Gianni Minà. Translated from Spanish to Italian by Gina Maneri. The book summons a series of interviews in connection with the documentary by Montes-Bradley on the same subject. The list of interviewed men and women includes the following: Ariel Dorfman, Eduardo Galeano, Ana María Shua, Martín Caparrós, and Gianni Minà. There are also a few chapters, introduction and epilogue by Montes-Bradley with a significant number of footnotes and references.[119][120][121]
  • Ya sé que todo es mentira (Its All a Lie). Short Stories. Editorial Nuevo Extremo, Buenos Aires, Argentina 1999. Some of the short stories included in this compilation have been originally published in literary magazines in the US. Foreword by Osvaldo Bayer. 199 pp.
  • Senxo, Selected Poems. Editorial Grupo Archivo de Comunicación, New York, 1984. Foreword by Armando Tejada Gómez. Out of print.

Journalism[edit]

Montes-Bradley has contributed with the following publications: Les cinemas de la Amerique Latine,[122] by the Association Rencontres Cinémas d'Amérique Latine de Toulouse France; La Jornada, México; the monthly review Latinoamérica e Tutto il Sud dell Mondo, Italy; and in Argentina with the literary magazine Esperando a Godot; the art-magazine Revista Lote, Venado Tuerto, Suplemento Radar published weekly by Página/12, El Amante de cine, "Diario Perfil", "Revista Ñ" Clarin,[123] Critica de Argentina; and La Nación. Montes-Bradley is also a frequent collaborator with the literary blog "Nación Apache"[124]

His interventions in the media can be classified as: a. In-depth articles on subjects as diverse as the life of Dean Reed[125] in the Soviet Union, and the aftermath of the Battleship Potemkin;[126] b. Sudden and brief pieces on current affairs with a particular emphasis in domestic politics in Argentina. One of Montes-Bradley's bull's eye of choice appears to be the National Institute of Cinematography (INCAA) a government institution repeatedly denounced for its high levels of corruption, censorship and the discretionary handling of public resources. c. Letters to the Editor.In this the most singular form of interventionism Montes-Bradley has written a considerable number of letters to the editors becoming a regular de facto columnist.[127][128]

Photography[edit]

Montes-Bradley's photos have been published on La Nacion,[129] The Independent,[130] Deutsche Welle,[131] Diario Clarin[132] other newspapers[133] and magazines[134] as well as commemorative books such as “Escenas de la memoria. La Casa Argentina en la voz de sus antiguos residentes”,[135][136] and “Aventura Turnberry Jewish Center 20th Anniversary”.[137] Montes-Bradley portraits are preserved at the Claude Moore Health Sciences Library at the University of Virginia.[138]

Appearances in other documentaries[edit]

  1. Margaux Hemingway from the series E! True Hollywood Story produced by E! Entertainment Television[139]
  2. Jorge Giannoni. NN, ése soy yo (NN, The One In The Picture Is Me). A film on Jorge Giannoni. Guest Appearance by EM-B as having personally known the protagonist. Dir by: Gabriela Jaime, Argentina, 2000.[140]

As public speaker/panelist[edit]

  • Coordinator: "Film and literature". II Seminar on Documentary Film, Gijón, Asturias, Spain. June 1999
  • Coordinator: "Soriano: A Portrait" and "Harto The Borges". 1999: Hispanic Literature and Film at the End of the Millennium. Florida International University, Department of Modern Languages, November 1999.
  • Coordinator: II Annual Congress on Hispanic film and Literature. Centro Cultural Español de Cooperación Americana, Miami, Florida. USA. October 1999
  • Panelist next to Donald Shaw y Jared Loewenstein. Screening of "Harto The Borges", fundamentals. The Latin American Studies Program, University of Virginia, November 1999
  • Director of the Film Week at Casa de América: Images on Borges / Borges on Film. Casa de América, Madrid, Spain. December 1999.
  • Conference: The Subject on Film: "The Documentary". Universite de Toulouse – Le Mirail, Toulouse, France. Film Department and Department of Hispanic Resources.March 2000
  • Panelist: "Luis Buñuel Today". Centro Cultural Español de Cooperación Americana, Miami,FL. USA. September 2000
  • Conference: "Las vidas paralelas de Montes-Bradley" Critic Essay by Dr. Pilar Roca. Department of Foreign Languages.[141]

Interviews[edit]

  • Virginia Film Festival. Premier Julian Bond. November 4, 2012. Charlottesville Virginia. Podcast with Sean McCord [8]
  • Virginia Film Festival. Premier Evita. November 4, 2011. Charlottesville Virginia. Podcast with Sean McCord [9]
  • CNN: One Hour Interview with Ismael Cala. September 5, 2011 [10]
  • Entretien avec Eduardo Montes-Bradley. Rencontres du cinema 2008, Toulouse, France [11]
  • Premier of Los Cuentos del Timonel. Volver, El acomodador, Canal 7. Buenos Aires, Argentina [12]
  • Behind the scenes. Music Video with Manuel Wirtz. Canal 13. Buenos Aires, Argentina [13]

Associations[edit]

  1. International Documentary Association. Member # 2832[142]

Notes[edit]

  1. ^ Condor de Plata by the Union of Critics of Argentina
  2. ^ The Encyclopedia of Argentine Cinema by Adolfo C. Martinez, 2004. p. 136.
  3. ^ A Dictionary of Argentine Films by Raúl Manrupe, Ma. Alejandra Portela. Published by Corregidor, 1995. pp. 16, 63, 109.
  4. ^ Cornell University Library
  5. ^ University of California, Center for Media and Independent Learning
  6. ^ Binghamton University Libraries
  7. ^ a b Morris, Giles. "Local Filmmaker takes on the civil rights struggle..." C-Ville Weekly, November 1, 2012 p. 18
  8. ^ Critics Association of Argentina (FIPRESI)
  9. ^ "Rita Dove: la poeta de Barak Obama" La Nacion. ADN | Cultura. Buenos Aires, Argentina. Friday, May 10th, 2013.
  10. ^ a b "Les boîtes ouvertes de l’Amérique numérique. Aveux d’un documentariste indocile" Revue Annuelle de L'association Rencontres Cinémas D'Amerique Latine de Toulouse. Toulouse, France. Issue Number 21. p. 171
  11. ^ Documentaries About Writers: Manufacturing Consent. Noam Chomsky and the Media. General Books, LLC. p 81
  12. ^ New Argentine Cinema: Themes, authors, and trends of innovation, by Bernardez, Lerer, Wolf, Batlle. Ediciones Tatanka, 2002. p 88, 166.
  13. ^ El sabueso de Borges. Revista Ñ, Grupo Clarin, Buenos Aires, Argentina. Cover Story on 9-10-11
  14. ^ "La resurrección de Ocantos". Hispamérica. Published by the University of Maryland, XXXVIII, issue 114. 2009
  15. ^ "Conversación con Eduardo Montes-Bradley". Interview with Ismael Cala on CNN en Español, September 5, 2011.
  16. ^ Thomas Osgood Bradley Foundation. Genealogical Research.
  17. ^ "Nicolás Avellaneda” Colegio Nacional Nº 4 | Public Education.
  18. ^ Peron: A Biography by Joseph Page. Random House; 1st edition (July 12, 1983)
  19. ^ Maia, Luiza. "Assombraçoes de Cinema". Diario de Pernambuco. Supplement Viver. July 9, 2013. Recife, Brazil.
  20. ^ El Heraldo del Cine, Vol 13. 1980.
  21. ^ a b Macau, Clarissa. "Cinema como forma escrita" Revista Continente. August 7, 2013
  22. ^ Turner Classic Movies
  23. ^ a b Museo del Cine Pablo C. Ducrós Hicken. Biblioteca y Centro de Documentación. Salmún Feijóo 555, 2º piso. Buenos Aires, Argentina.
  24. ^ The Business of Film
  25. ^ a b El Infierno tan temido. Diario Clarin, September 8th, 1996
  26. ^ IMDB
  27. ^ Bernárdez, Horacio. "El gordo cerraba bien". Pagina | 12. Buenos Aires
  28. ^ Une interview avec Eduardo Montes-Bradley, cinéaste argentin, documentariste et producteur. Université Toulouse le Mirail, France, 2008
  29. ^ Official Screening Site
  30. ^ International Movie Database
  31. ^ Les Yeux du Monde | Fine Arts Gallery
  32. ^ a b Filmakers Library, an imprint of Alexander Street Press. Official Website.
  33. ^ Maurer. David. The Daily Progress. January 31st, 2014.
  34. ^ Community Martin Luther King Celebration | University of Virginia
  35. ^ N.S.W. "Rita Dove: Beloved UVA Professor, Pulitzer Prize Winner & Poet Laureate”. February 25, 2014
  36. ^ a b University of Virginia. Department of English. Rita Dove. Audiovisual
  37. ^ Montes-Bradley, Eduardo. “Rita Dove: La poeta de Barak Obama” La Nación|ADN . Buenos Aires, Argentina May 10, 2013 [1]
  38. ^ Montes-Bradley, Eduardo. "Poesía y poder político". La Nación|ADN . Buenos Aires, Argentina May 10, 2013 [2]
  39. ^ Film About Rita Dove Explores the Poet’s Formative Years (University of Virginia). [3]
  40. ^ Premier Announcement
  41. ^ International Movie Data Base
  42. ^ Brasil Papeles Sueltos
  43. ^ On Vimeo
  44. ^ Macau, Clarisa. Revista Continente. Cinema como forma de escrita. August 7, 2013. Recife, Pernambuco, Brazil. [4]
  45. ^ Puffer-Rothenberg, M | Video Librarian. Film review. September 2013. USA
  46. ^ http://www.imdb.com/title/tt2261777/combined IMDB
  47. ^ Heritage Film Project
  48. ^ https://vimeo.com/37715421 Vimeo
  49. ^ http://www.amazon.com/Lisboa-Adriana/dp/B007IM0EJU Amazon.com
  50. ^ "Lisboa menina é moça...menina" by Alejandro Ninin
  51. ^ Cineagenzia. “Lisboa” di Eduardo Montes-Bradley | Stati Uniti, 2013, 27 minuti | Anteprima Italiana [5]
  52. ^ Diario Clarin, Revista Ñ. September 9, 2011. "Cada pieza es de un valor incalculable". Featured video.
  53. ^ ¨Borges in Charlottesville" Virginia Magazine, UVA Alumni. Summer 2012. Arts, Page 61
  54. ^ Ambito Financiero. August 24, 2011. "Jared Loewenstein: el guardián de Borges" by Marcelo Zapata.
  55. ^ UVa. Special Collections Library: http://www2.lib.virginia.edu/small/collections/borges/
  56. ^ School of Engineering & Applied Science, University of Virginia. E/News Online September 2011
  57. ^ "Waissman es como un Robinson devuelto al bullicio" by Marcelo Zapata. Ambito Financiero, Nov. 25. 2010
  58. ^ WPBT Channel 2 (PBS) Program Guide. November 2010.
  59. ^ Heritage Film Project Official Site
  60. ^ Heritage Film Project Official Site. The Films, credits.
  61. ^ El Nuevo Herald. Revista Aplausos. By Olga Connor, Miami, January 7, 2010
  62. ^ Diario de las Americas. Miami, January 5, 2010
  63. ^ Catalogue and website for the Mar del Plata Film Festival, 2009
  64. ^ Eduardo Montes-Bradley on his film “Evita” | Virginia Film Festival
  65. ^ Schedule | Virginia Film Festival
  66. ^ Konno, Kiyoshi. Illustrations by Shimano, Chie. “Che Guevara”. Pinguin Group. New York, USA. Bibliography
  67. ^ Vázquez, Lourdes, Rutgers University Library. Educational Media Reviews Online. October 2, 2007
  68. ^ Daily Variety. Article by Jonathan Holland. April 24, 2007.
  69. ^ Le bassin du Rio de la Plata: Développement régional et intégration régionale by Martine Guibert, Silvina Carrizo, Pablo Ligrone, Bruno Mallard. Page 201
  70. ^ Montes-Bradley, Eduardo. "Samba On Your Fee" 2006 Testimony of Haroldo Costa with regards to the origin of Samba.
  71. ^ History 206.403 "Africans and their Descendants in Latin America" Professor Tamara J. Walker. University of Pennsylvania.
  72. ^ Iparabiba, Brazil. http://www.iparaiba.com.br/noticias,185106,2,espaco+cine+digital+exibe+filmes+de+documentarista+argentino.html
  73. ^ "Africans and their Descendants in Latin America" Professor Tamara J. Walker. University of Pennsylvania
  74. ^ International Movie Data Base (IMDB)
  75. ^ Olga Connor, “Miami en la cultura latinoamericana” El Nuevo Herald, (Miami Herald). June 1o, 2014.
  76. ^ Ideografía de un mestizo, by Pilar Roca. p. 8
  77. ^ El tiempo de una vida by Juan José Sebreli, Ed. Sudamericana, Argentina, 2005. p.186
  78. ^ International Movie Data Base
  79. ^ Perez Celis: Mi padre. By Maria Jose Gabin. p/251.
  80. ^ "Las vidas paralelas de Montes-Bradley" by Dr. Pilar Roca. Universidade Federal de Paraíba. Brazil.
  81. ^ "Del papel al celuloide: escritores argentinos en el cine", by Agustin Neifert. La Crujía Ediciones, 2003. p. 361
  82. ^ ¨Moros en la costa: orientalismo en Latinoamérica. By Silvia Nagy, Iberoamericana, Madrid, Spain 2008. p.192
  83. ^ Boletín Octavio Paz. Vol. 1. Issue 1. April–May 2009. www.octaviopaz.org
  84. ^ Zekmi, Silvia Nagy. Moros en la costa: orientalismo en Latinoamérica. Published by Iberoamericana, 2008. p. 194.
  85. ^ Silva Costa, Júlia Morena. Cortázar: Cinema e Performance em Un tal Lucas. Published by Facultade de Letras da Universidade Federal de Minas Gerais. Belo Horizonte, Brazil 2009. Filmografía.
  86. ^ "Moros en la costa: orientalismo en Latinoamérica" by Silvia Nagy-Zekmi. Iberoamericana. Madrid, 2008. Page 194
  87. ^ Osvaldo Bayer íntimo: Conversaciones con el eterno libertario. by Osvaldo Bayer, Julio Ferrer. Published by Ediciones Madres de Plaza de Mayo, 2007. pp.17,18,298.
  88. ^ Diccionario de directores del cine argentino by Adolfo Martinez. Ed. Corregidor. 221 pages, 2004, Buenos Aires, Argentina.
  89. ^ Jorge Luis Borges as a Writer and Social Critic by Gregary Joseph Racz. Edwin Mellen Press, 2003. ISBN
  90. ^ Xul Solar by Alvaro Abos. Editorial Sudamericana, 2004. ISBN
  91. ^ Jorge Luis Borges: une autre littérature: (parcours d'une œuvre), by Jean-François Gérault. Published by Encrage, 2003. p. 168
  92. ^ Farina, Alberto. El cine en Borges. Cuadernos del Centro de Estudios en Diseño y Comunicación. Cuaderno 27, Año XIX. Issue 27. p. 25. December 2008.
  93. ^ Diario Clarín, Cine: Crítica. Buenos Aires Thursday, September 14th, 2000. "De Ideas y paradojas" by AMV.
  94. ^ "Harto The Borges: diez años después". Diario Clarín, Revista Ñ. Monday October 4, 2011. Escenarios/Cine.
  95. ^ "Del papel al celuloide: escritores argentinos en el cine", by Agustin Neifert. La Crujía Ediciones, 2003. p. 48, p. 55.
  96. ^ Carlos Gardel a la luz de la historia by Nelson Bayardo. Fundación Bank Boston, 2000. ISBN
  97. ^ Violentas imágenes de un tango peronista by Brent J. Carbajal. Department of Modern and Classical Languages Western Washington University. Alpha, dic. 2007, no.25, p.185-191. ISSN .
  98. ^ Para textos bastan y sobran by Juan Pablo Neyret. Universidad Nacional de Mar del Plata. Espéculo. Revista de estudios literarios. Universidad Complutense de Madrid. Spain 2003
  99. ^ Paz, Carlos. Efemérides literarias argentinas. Biblioteca Nacional; Sociedad Argentina de Escritores, 1999.
  100. ^ Polo, David Prieto. La subversión de la historia: parodia, humor, cine y música en las novelas de Osvaldo Soriano. Universidad Complutense de Madrid. Spain. Facultad de Filología. Dep. de Filología Española IV. Madrid 2006. p. 21.
  101. ^ Mesa Gancedo, Daniel. Vicissitudes of the Artificial Character in the Argentine Novel of the 19090's. p. 168. Ediciones Universidad de Salamanca. Spain. Am'erica Latina Hoy. Issue 30. Year 2002.
  102. ^ De la fuga a la fuga: diccionario de films policiales. By Roberto Blanco Pazos, Raúl Clemente. Published by Corregidor, January 1, 2004. p. 427.
  103. ^ "El próximo vecino de los Kirchner". Diario Perfil, December 11, 2006.
  104. ^ Rocky Mountain News, July 22, 1991. Arts & Entertainment.
  105. ^ Colorado Daily. Agugust 2-5, 1991 Vol. 98 No. 183
  106. ^ Sunday Camera. Boulder, Colorado. July 14, 1991
  107. ^ The Denver Post, September 25, 1992.
  108. ^ The Profile. Denver, October 1992. Volume 15.
  109. ^ Rotten Tomatoes Movie Database
  110. ^ Rivista Ñ | Diario Clarin. Buenos Aires, Argentina. September 5, 2011
  111. ^ Montes-Bradley, Eduardo. "Rozitchner íntimo en tres tomas continuas".Revista de Cultura Ñ|Ideas-Filosofía| Diaro Clarin. September 5, 2011 [6]
  112. ^ You Tube
  113. ^ Editorial Estrada. Catálogo 2010
  114. ^ Anales de literatura hispanoamericana by Universidad Complutense de Madrid Cátedra de Literatura Hispanoamericana, Universidad Complutense de Madrid Departamento de Filología Española IV. Vol. )
  115. ^ Julio Cortázar: El otro lado de las cosas by Miguel Herráez. Institució Alfons el Magnànim, Diputació de València,2001.
  116. ^ Julio Cortázar y el hombre nuevo, by Graciela Maturo, 2004. p. 241.
  117. ^ Broichhagen, Vera. "Julio Cortázar o las barbas del diablo". Cuadernos Lirico. Revista de la red interuniversitaria de estudios sobre las literaturas rioplatenses contemporáneas en Francia. Université Paris 8 Vincennes – Saint-Denis/Princeton University. October 11, 2012.
  118. ^ Premiaушes
  119. ^ Osvaldo Soriano, by Cristián Montes. Published by RIL Editores, 2004. Original from the University of Michigan
  120. ^ Osvaldo Soriano: Una contrautopía posmoderna, by Cristián Montes, Published by RIL Editores, 2004. pp. 45, 53, 87.
  121. ^ Budassi, Sonia, "Más allá de la nostalgia”. Diario Perfil. Buenos Aires, January 26, 2007
  122. ^ Rueda, Amanda: "Las relaciones Norte-Sur en el cine contemporaneo" Revista CIDOB d'Afers. December 2009. p.137 Internacionals. p
  123. ^ Revista Ñ. "Cada pieza es de un valor incalculable" Buenos Aires, Argentina, 09-09-11. http://www.revistaenie.clarin.com/edicion-impresa/La_Coleccion_Borges_en_la_Universidad_de_Virginia_0_551944809.html
  124. ^ Nacionapache.com.ar
  125. ^ "El Elvis Rojo". Suplemento Radar (Nota de Tapa). Página/12. Buenos AIres, Sunday, January 23, 2005.
  126. ^ "Marea Roja" Suplemento Radar (Nota de Tapa). Página/12. Buenos Aires, Sunday March 6th, 2005.
  127. ^ Rueda, Amanda. LAS RELACIONES NORTE/SUR EN EL CINE CONTEMPORÁNEO. Representaciones del "otro"en la construcción de redes transnacionales. Revista CIDOB d'AFERS INTERNACIONALS No. 88. pp. 137, 138, 140
  128. ^ Bousquet, Franck. "Cinéma et identités collectives: actes du 3e Colloque de Sorèze" p. 199
  129. ^ "Rita Dove: la poeta de Barak Obama" Photos by Montes-Bradley. La Nacion. ADN | Cultura. Buenos Aires, Argentina. Friday, May 10th, 2013.
  130. ^ Alison Entrekin. The Independent. November 18, 2013. Book review: Crow Blue, By Adriana Lisboa. Portrait of Adriana Lisboa in Boulder, Co. USA
  131. ^ Saavedra, Carola. “Die Fiktion des Fremden”. Deutsche Welle, Ausgabe 5, 2013 | Page 19. Portrait of Carola Saavedra in Berlin, Germany
  132. ^ [7] Leon Rozitchner | Photo by Eduardo Montes-Bradley
  133. ^ Diario Perfil. Buenos Aires, Argentina. Sábado 11 de Junio de 2011. El Observador, page 50. Portrait of Ismael Viñas.
  134. ^ We The People. The Publication of James Madison’s Montpellier. Orange, Virginia. Spring 2014. Credited on Cover photo. p. 3 top, p.4-5, p. 6, p.7, p.9, p. 19.
  135. ^ “Escenas de la memoria. La Casa Argentina en la voz de sus antiguos residentes” Ministerio de Educación, Presidencia de la Nación. Buenos Aires, Argentina 2012. Portrait of Leon Rozitchner
  136. ^ Ensemble. Revista electrónica de la Casa Argentina en París. Año 5 - número 11 - ISSN 1852-5911. Portrait of Leon Rozitchner
  137. ^ “Aventura Turnberry Jewish Center 20th Anniversary” Stern | Bloom Media. Aventura, FL, USA 2011.
  138. ^ Joan Klein, Department Head. Historical Collections & Services. Claude Moore Health Sciences Library. UVA
  139. ^ E! True Hollywood Story Official Site
  140. ^ "Jorge Giannoni. NN, That Is Me.” Queen Mary, University of London, Library. Guillermo Olivera
  141. ^ Universidade Federal de Paraiba.
  142. ^ International Documentary Association. Main Site. Membership

References[edit]

  1. Xul Solar: Pintor del misterio. by Alvaro Abos. Published by Sudamericana, 2004. p. 289
  2. Cooke: El heredero maldito de Perón: la biografía. by Franco Lindner. Published by Editorial Sudamericana, 2006
  3. Revista de critica literaria latinoamericana. by Jorg Arnold. Published by Latinoamericana Editores.
  4. Moros en la costa: Orientalismo en America Latina. by Silvia Nagy-Zekmi. Iberoamericana.p. 192.
  5. El tiempo de una vida: Autobiografía. by Juan Jose Sebreli. Published by Editorial Sudamericana, 2005
  6. "Reviews on Latin American and Chinese Art by Eduardo Montes-Bradley" Art and Wealth [14]
  7. Audiovisuales de combate: Acerca del Videoactivismo Contemporáneo. By Gabriela Bustos. Published by Centro Cult. de España, Bs.As., 2006. p. 83
  8. Páginas de cine. by Clara Kriger, Silvana Spadaccini. Published by Archivo General de la Nación, República Argentina, 2003. p. 103
  9. Tiempo de hoy. Published by Ediciones Tiempo, S.A., Spain, 2005. p. 84
  10. Osvaldo Bayer: Miradas sobre su obra. by Miguel Mazzeo, Ana María Ramb. Published by C.C.C., ED. del Inst. Movilizador de Fondos Coo., 2003. p. 96
  11. Del papel al celuloide: Escritores argentinos en el cine. by Agustín Neifert. Published by La Crujía Ediciones, 2003. pp. 48, 49, 54.
  12. Di Benedetto, Antonio and Lebenglik, Fabian El Pentágono: Novela en forma de cuentos. Published by Adriana Hidalgo, 2005. p. 13
  13. Aguilar, Gonzalo Moisés Otros mundos: Ensayo sobre el nuevo cine argentino. Published by Santiago Arcos Editor, 2006. pp. 228, 130, 231.
  14. Fernandez Naval, F.X. Respirar por el idioma: (los Gallegos y Julio Cortázar). Contributor Emilia Veiga Torre. Published by Corregidor, 2007. pp. 14, 38, 192
  15. Versants. By Collegium Romanicum. Published by L'age d'homme, 2001. 262, 266.
  16. Nelson Bayardo and José Pedro Rilla Carlos Gardel: A la luz de la historia. Published by Aguilar, 2000. p. 117
  17. María Gabriela Barbara, Cittadini. Vindicaciones del infinito. Published by Fundación Internacional Jorge Luis Borges, 2003. p. 38
  18. Neifert, Agustín. Del papel al celuloide Edition: illustrated. Published by La Crujía Ediciones, 2003
  19. Mesa Gancedo, Daniel Avatares del personaje artificial en la novela Argentina de los 90. America Latina Hy, 30, 2002, Ediciones Universidad de Salamanca. p. 168.
  20. Neyret, Juan Pablo. Para textos bastan y sobran. La conformación del espacio paratextual en Triste, solitario y final, de Osvaldo Soriano. Universidad Nacional de Mar del Plata.
  21. Eduardo Montes-Bradley at the Internet Movie Database
  22. Sainz Borgo, Karina. "Julio Cortázar: franquista en Buenos Aires, marxista en Estados Unidos y burgués en Cuba" [15]
  23. Montes-Bradley, Eduardo. “Notes On Myself" [16]
  24. Interview at the Toulouse University # [17]
  25. Les cinemas de la Amerique Latine [18]
  26. The Filmakers Library [19]
  27. Greenacord [20]
  28. Thomas Osgood Bradley Foundation TOBF
  29. Amazon.com Amazon.com Search Results
  30. Mar del Plata Film Festival [21]