Eduardo Montes-Bradley

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Eduardo Montes-Bradley
Born (1960-07-09) July 9, 1960 (age 63)
Córdoba, Argentina
Nationality
  • Argentina
  • United States
OccupationDocumentarian
Years active1979–present
Notable workJulian Bond, Rita Dove, Evita
RelativesEduardo Bradley, Enrique Ferrarese
Websitewww.montesbradley.com

Eduardo Montes-Bradley (born July 1960) is an Argentine-American filmmaker known for his documentaries films Evita, Rita Dove: An American Poet, and Harto The Borges. His most recent films are Black Fiddlers and Daniel Chester French: American Sculptor[1] He’s currently working on The Italian Factor: The Piccirilli Story.[2]

Early and personal life[edit]

Eduardo was born in Cordoba, Argentina to Nelson Montes-Bradley, founder of Discos Qualiton and Sara Kaplan, and he grew up in Buenos Aires. He moved to the United States in 1979 and currently resides in Charlottesville with his wife, producer Soledad Liendo and children.

Non-fiction[edit]

Carolina Chocolate Drops
Montes-Bradley with Rivera and crew members
Lineup of Samba veterans in the favelas of Rio during the filming of Samba on your Feet
  • Leon Rozitchner's Window, 2008[53][54] Anecdotical documentary with philosopher León Rozitchner.*
  • The Unanimous Night, 2018.
  • Dialogue and Moisture, 2018.[55]
  • Child of the Forest, 2014. Holocaust survivor Yona Bromberg recalls her life as a child during the Holocaust in Rokitno[56]
  • American Manifesto, 2005.[57]
  • Che: Rise & Fall, 2006.
  • Samba On Your Feet, 2005. The one-hour documentary traces the influences that contributed to shaping the music that consecrated Carnival and Samba as powerful cultural manifestations in Rio rooted in the African diaspora.[58][59][60][61]
  • Ismael Viñas: Witness of a Century.[39] Documentary on Ismael Viñas, founder of Movimiento de Liberación Nacional (MALENA),[62][63][64][65] Directed by Montes-Bradley as Diana Hunter.
  • The Great Pretender, 2007. Official Selection of the International Film Festival of Buenos Aires (BAFICI). Released in Uruguay as "No a los papelones".[66][67][68][69] On the director's request the film did not participate "in competition" to avoid further turmoil.[70] Released by Editorial Perfil on April 2008.
  • Crónicas Mexicas, 2004. Martín Caparrós follows on the trail of Hernán Cortés in Mexico: from Veracruz to Tenochtitlan.
  • Le Mot Just, 2004. Biographical portrayal of Héctor Tizón. Produced by Contrakultura.

Fiction[edit]

Production still: Margaux Hemingway

Experimental[edit]

  • Frogments, (USA, 2000). Experimental work on images captured by Julio Cortázar in 8 mm and verses by Allen Ginsberg. The gestation of this short film was part of the dialogue between the director and Aurora Bernárdez during the investigation period that ended with Cortázar: notes form a documentary (2002) and Cortázar without a beard (Random House Mondadori, 2004). (3').
  • Freedom, (USA, 1986). Experimental work based on images captured by Montes-Bradley in 8 mm in and around Los Angeles, Chicago, and Miami in which the filmmaker highlights the marginal precariousness of those who survive in the streets of the most prosperous nation. In this short film, the United States emerges as a society with the same conflicts as developing countries. (3').

Music videos[edit]

Bibliography[edit]

Habeas corpus: Peter Paul Weinschenk, alias Pablo Tabernero. Buenos Aires, Argentina: 34th Mar del Plata International Film Festival, INCAA. 2019. pp. 144 : photographs, 23 cm.Ideography, Biographical approach to Peter Paul Weinschenk, life and works of Pablo Tabernero, cinematographer of Prisioneros de la tierra directed by Mario Soffici.

Los dedos del huracán. Short story. Children Literature. Included on "De Ola en Ola 3" School Textbook for Third Grade. Group Macmillan. Editorial Estrada S.A., Buenos Aires, Argentina. Illustrated by Eugenia Nobati. p. 62–67[82]

Montes-Bradley, Eduardo (2012). La resurreción de Ocantos. Los Angeles, CA. pp. 62 Hard Cover : illustrations, 23 cm. ISBN 978-1449907402.{{cite book}}: CS1 maint: location missing publisher (link) Bio-bibliographical essay on Carlos María Ocantos.[83][84]

Cortázar sin barba. Madrid: Random House Mondadori. 2005. pp. 394 Hard Cover : illustrations, 23 cm. ISBN 84-8306-603-3. Biography of Julio Cortázar.[85][86] 1st edition Editorial Sudamericana, Argentina 2004. 3rd edition, Pesódromo 21, 2014.[87][88][89]

Água No Terceiro Milenio. Brasilia Montevideo: Bianchi Editores Ediciones Pilar, Collección Señales de Vida. 2000. pp. 318, 21 cm. ISBN 9974-663-17-2. Bilingual Anthology of Short Stories. Selection of awarded works at the Literary Award "Agua no terceiro Milenio",[90] Brazil. Bilingual: Portuguese-Spanish. Pilar Editors, Brasília, 2000. Includes the short story "Das schwerste gewicht" previously published in "Ya se que todo es mentira" (1999), Editorial del Nuevo Extremo, Buenos Aires 1999.[91]

'Osvaldo Soriano': Un retrato. Buenos Aires: Grupo Editorial Norma. 2000. pp. 171 Rustic. ISBN 9879334353. Sperling & Kupfer Editori, Milan, Italy, 2001, 164pp. Translated by Gina Maneri. Collection: Continente Desaparecido, directed by Gianni Minà ISBN 88-200-3201-5.[92][93] Based on the homonymous documentary by the author.[94][95][96]

Ya se que todo es mentira. Buenos Aires: Editorial del Nuevo Extremo. 1999. p. 200. ISBN 950-9681-85-7. (trad. I know It's All Lies). Some of the short stories included have been previously published in literary magazines. Foreword by Osvaldo Bayer. 199 pp. 23 cm.[97] Foreword by Osvaldo Bayer.

'Senxo', Selected Poems. Editorial Grupo Archivo de Comunicación, New York City, 1984. Foreword by Armando Tejada Gómez. Out of print.

Journalism[edit]

Montes-Bradley contributed to El País, Babelia,[98] Les cinemas de la Amerique Latine[99] by 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 to the literary magazine Esperando a Godot; the art-magazine Revista Lote, Venado Tuerto, Suplemento Radar published by Página/12, El Amante de cine, "Diario Perfil," "Revista Ñ" Clarin,[100] Critica de Argentina; and La Nación. Montes-Bradley was a frequent collaborator with the literary blog "Nación Apache."

Photography[edit]

Montes-Bradley has been recognized by the National Council on Public History with the "Outstanding Public History Project Award" as part of the exhibit "The Mere Distinction of Colour" produced by James Madison's Montpelier.[101] His photo-work appeared in The Atlantic,[102] The Washington Post,[103] La Nacion,[104]The Independent,[105] Deutsche Welle,[106] Diario Clarin[107] other newspapers[108] and magazines[109] as well as "Escenas de la memoria. La Casa Argentina en la voz de sus antiguos residentes",[110][111] and "Aventura Turnberry Jewish Center 20th Anniversary".[112] His work is partially preserved at the Claude Moore Health Sciences Library, the University of Virginia.[113]

Awards and honors[edit]

Appearances in other media[edit]

References[edit]

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  7. ^ Bromley, Anne. UVA Today, November 26, 2022
  8. ^ Virginia Film Festival, 2022
  9. ^ Montes-Bradley, Eduardo (December 29, 2021). "RADIO IQ | All Things Considered BLACK FIDDLERS". Montes-Bradley. Retrieved March 31, 2022.
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  38. ^ Ilarregui Gladys. "Moros en la costa" Cap. El mono gramático: Orientalismo y Poetica de Octavio Paz. p.192. Editor Silvia Nagy-Zekmi. Verbuert, 2008. www.ibero-americana.net ISBN 978-84-8489-403-2
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  49. ^ CAIXETA, Sheila Couto. Memória e identidade em narrativas de migrantes : A chave de casa de Tatiana Salem Levy e Azul-corvo de Adriana Lisboa. 2014. 75 f. Dissertação (Mestrado em Literatura)—Universidade de Brasília, Brasília, 2014.
  50. ^ Cineagenzia. "Lisboa" di Eduardo Montes-Bradley | Stati Uniti, 2013, 27 minuti | Anteprima Italiana "PAGINE NASCOSTE| 10a edizione | Festivaletteratura 2014 | CineAgenzia". Archived from the original on November 19, 2015. Retrieved November 18, 2015.
  51. ^ Bringel de Oliveira, Marcus Rodolfo. "A metonímia do pertencimento em Adriana Lisboa: identidade nacional e familiar em Azul-corvo, Rakushisha e Hanói". University of Brasilia,Instituto de letras. Departamento de teoría literária e literaturas. Programa de Pós-Graduaçao em literatura. Brasilia, 2016. p.3 [5]
  52. ^ "Virginia Film Festival". www.virginiafilmfestival.org. September 4, 2014.
  53. ^ "Clarin.com". Clarin.com.
  54. ^ Montes-Bradley, Eduardo. "Rozitchner íntimo en tres tomas continuas". Revista de Cultura Ñ. Ideas-Filosofía. Diario Clarin. September 5, 2011 [6]
  55. ^ "Retrospectiva de Eduardo Montes-Bradley: documentales de Norte a Sur". Grieco y Bavio, Alfredo. Diario Clarín. December 6, 2019.
  56. ^ United States Holocaust Memorial Museum
  57. ^ Buenos Aires Festival de Cine Independiente, official catalog 2005. Volume 6. pages 206 and 230. Ed. GobBsAs, Secretaría de Cultura, Subsecretaría de Gestión e Industrias Culturales.
  58. ^ Kanopy Streaming
  59. ^ Folha de Sao Paulo."Mostra reúne olhar gringo sobre o Brasil". September 25, 2005,
  60. ^ AfolabiIlê, "Niyi Aiyê in Brazil and the Reinvention of Africa," African Histories and modernities. p.267 Palgrave Macmillan
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  62. ^ Sarlo, Beatriz: "Ismael Viñas: el largo exilio del pensador irreverente" Diario Perfil, Buenos Aires, 27|04|14
  63. ^ Olga Connor, "Miami en la cultura latinoamericana" El Nuevo Herald, (Miami Herald). June 1o, 2014.
  64. ^ Ideografía de un mestizo, by Pilar Roca. p. 8
  65. ^ Sebreli, Juan José El tiempo de una vida. Editorial Sudamericana, 2005. p.186
  66. ^ Folha de Sao Paulo. "Filme sobre fábricas de celulose cria polêmica na Argentina e no Uruguai" ANSA, Montevideo.May 12, 2006
  67. ^ Guibert, Martine et al. "La bassin du Río de la Plata. Développement local et intégration régionale" Presses Universitaires Du Mirail. Toulouse, France. 2009. p. 201
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  85. ^ Stephen Gregory (2015) No Need To Worry, Largázar, We Know What Mafalda Would Think of You, Journal of Iberian and Latin American Research, 21:1, 142–155, DOI: 10.1080/13260219.2015.1022349
  86. ^ Barrientos, Juan José. Review of "Cortázar sin barba". Revista de Crítica Literaria Latinoamericana Año 32, No. 63/64 (2006), pp. 371–374 Published by Centro de Estudios Literarios "Antonio Cornejo Polar". Xalapa University, México. [7]
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  89. ^ Broichhagen, Vera. "Julio Cortázar o las barbas del diablo". Cuadernos Lirico. Revista de la red inter-universitaria de estudios sobre las literaturas rioplatenses contemporáneas en Francia. Université Paris VIII Vincennes – Saint-Denis/Princeton University. October 11, 2012.
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  103. ^ Thompson, Krissah. "'Always remember: You're a Madison'" The Washington Post, November 14, 2017. [9]
  104. ^ "Rita Dove: la poeta de Barack Obama" Photos by Montes-Bradley. La Nacion. ADN | Cultura. Buenos Aires, Argentina. Friday, May 10, 2013.
  105. ^ Alison Entrekin. The Independent. November 18, 2013. Book review: Crow Blue, By Adriana Lisboa. Portrait of Adriana Lisboa in Boulder. USA
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  107. ^ [10] Leon Rozitchner | Photo by Eduardo Montes-Bradley
  108. ^ Diario Perfil. Buenos Aires, Argentina. Sábado 11 de Junio de 2011. El Observador, page 50. Portrait of Ismael Viñas.
  109. ^ We The People. Publication of James Madison's Montpellier. Orange. Spring 2014. Credited on the Cover photo. p. 3 top, p.4-5, p. 6, p.7, p.9, p. 19.
  110. ^ "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
  111. ^ Ensemble. Revista electrónica de la Casa Argentina en París. Año 5 – número 11 – ISSN 1852-5911. Portrait of Leon Rozitchner
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  120. ^ Jefferson Trust Award, 2015. Awarded for "Monroe Film"
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  124. ^ Guebel, Daniel. Mis escritores muertos. Mansalva Editorial, Buenos Aires, 2009
  125. ^ International Movie Data Base

External links[edit]

Notes[edit]

  1. Roca, Pilar Las vidas paralelas de Montes-Bradley Grupo Archivo de Comunicación. New York, 2010. University of Virginia Libraries; University of Virginia Library; UVa Library [11]
  2. Abos, Alvaro Xul Solar: Pintor del misterio. Sudamericana, 2004. p. 289
  3. Lindner, Franco Cooke: El heredero maldito de Perón: la biografía. Editorial Sudamericana, 2006
  4. Arnold, Jorge Revista de critica literaria latinoamericana.. Latinoamericana Editores.
  5. Nagy-Zekmi, Silvia Moros en la costa: Orientalismo en America Latina. Iberoamericana.p. 192.
  6. Sebreli, Juan JoseEl tiempo de una vida: Autobiografía. Editorial Sudamericana, 2005
  7. "Reviews on Latin American and Chinese Art by Eduardo Montes-Bradley" Art and Wealth [12]
  8. Bustos, Graciela Audiovisuales de combate: Acerca del Videoactivismo Contemporáneo. Published by Centro Cult. de España, Bs.As., 2006. p. 83
  9. Kriger, Clara / Spadaccini, Silvana Páginas de cine. Archivo General de la Nación, República Argentina, 2003. p. 103
  10. Tiempo de hoy. Published by Ediciones Tiempo, S.A., Spain, 2005. p. 84
  11. Mazzeo, Miguel / Ramb, Ana María Osvaldo Bayer: Miradas sobre su obra. C.C.C., ED. del Inst. Movilizador de Fondos Coo., 2003. p. 96
  12. Neifert, Agustin, Del papel al celuloide: Escritores argentinos en el cine. La Crujía Ediciones, 2003. pp. 48, 49, 54.
  13. Di Benedetto, Antonio and Lebenglik, Fabian El Pentágono: Novela en forma de cuentos. Adriana Hidalgo Editores, 2005. p. 13
  14. Aguilar, Gonzalo Moisés Otros mundos: Ensayo sobre el nuevo cine argentino. Santiago Arcos Editor, 2006. pp. 228, 130, 231.
  15. Fernandez Naval, F.X. Respirar por el idioma: (los Gallegos y Julio Cortázar). Contributor Emilia Veiga Torre. Editorial Corregidor, 2007. pp. 14, 38, 192
  16. Versants. By Collegium Romanicum. Published by L'age d'homme, 2001. 262, 266.
  17. Nelson Bayardo and José Pedro Rilla Carlos Gardel: A la luz de la historia. Editorial Aguilar, 2000. p. 117
  18. María Gabriela Barbara, Cittadini. Vindicaciones del infinito.Fundación Internacional Jorge Luis Borges, 2003. p. 38
  19. Neifert, Agustín. Del papel al celuloide Edition: illustrated. La Crujía Ediciones, 2003
  20. 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.
  21. 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.
  22. Sainz Borgo, Karina. "Julio Cortázar: franquista en Buenos Aires, marxista en Estados Unidos y burgués en Cuba" [13]
  23. Montes-Bradley, Eduardo. "Notes On Myself" [14]
  24. Les cinemas de la Amerique Latine
  25. Alexander Street Press
  26. Greenacord [15][permanent dead link]
  27. Thomas Osgood Bradley Foundation TOBF
  28. Mar del Plata Film Festival [16]
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