Eduardo Montes-Bradley

Eduardo Montes-Bradley
Portrait, 2010
Born (1960-07-09) July 9, 1960
Córdoba, Argentina
Nationality USA
Occupation Filmmaker, photographer, writer
Years active 1979–present
Spouse(s) Soledad Liendo
Relatives Ricardo Ernesto Montes i Bradley, Eduardo Bradley, Juan Alberto Montes
Awards "Outstanding Public History Project Award" by the National Council on Public History to the exhibit "The Mere Distinction of Colour". Best Documentary 4th International Documentary Festival of Ierapetra[1] Jefferson Trust Award.[2] Best Documentary 4th Annual Baltimore International Black Film Festival. Three Silver Cóndor nominations,[3] Silver Cóndor Award 2002[4] Best Documentary Richmond International Film Festival.[5]
Website www.heritagefilmproject.comwww.montesbradleyphotography.com

Eduardo Montes-Bradley (born July 9, 1960) is an award-winning documentarianlecturer, and published author.[6][7][8][9][10] His documentaries have been selected to participate in domestic and international film festivals, and incorporated in the syllabus of academic courses,[11][12] and are frequently screened at cultural events such as the Frankfurt Book Fair. Montes-Bradley is a founding member of Contrakultura Films, board member with the African American Heritage Center,[13] and member of the UCLA UNESCO Chair on Global Citizenship Education Advisory Committee,[14] and was most recently awarded as UCLA Regents Lecturer.[15] Montes-Bradley resides in Charlottesville where he produces photographic work, and documentary films for Heritage Film Project.[16][17] Among his most recent productions is Monroe Hill, documentary-essay tracing the roots and the historical context of James Monroe's first home in Albemarle County. Montes-Bradley is currently working on "Lankes, A Yankee Printmaker in Virginia",[18] and "Tabernero" a documentary exploring the life of cinematographer Peter Paul Weinschenk (1910-1996).

Early life

Still from "Railroad terminal in Rosario"

Montes-Bradley was born Eduardo Esteban Montes-Kaplan[19] in Cordoba to Nelson Montes-Bradley, and Sara Kaplan Bernstein. In 1961 the family relocated to Rosario, and by 1965 they are living in Buenos Aires. The prevailing cultural ambiance in the capital city, and the family relationship with the arts was instrumental during his formative years. Montes-Bradley attended public school, was raised, agnostic and atheist in a progressive, predominantly left-wing-radical environment. In 1973 Montes-Bradley was admitted to Colegio Nacional Nicolás Avellaneda.[20] May 25, 1973, marked the end of seven years of military rule. President Alejandro Agustín Lanusse is succeeded by Héctor José Cámpora, elected by the popular vote on a Peronist Party ballot. Shortly after Héctor Campora's inauguration, former president and founder of the Peronist Party, General Juan Domingo Perón returns from exile in Madrid where he had spent eighteen years under the protection of Francisco Franco.[21] On September 11, 1973 Salvador Allende is overthrown in a CIA backed military coup led by General Augusto Pinochet in neighboring Chile. In June of 1973, shortly before his thirteenth birthdate, Montes-Bradley joined the Unión de Estudiantes Secundarios (UES) and became increasingly involved in political activism.[22] The deaths of Pablo Picasso, Pablo Casals, Pablo Neruda and Víctor Jara, all of which occurred in 1973, had a profound impact in his generation. Montes-Bradley will eventually recall 1973 as a milestone year in his life: "Not because of anything that I might have believed then, convictions come and go; but because of the unique 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, on March 24, 1976, general Jorge Rafael Videla ousted then-president Isabelita, inaugurating an era of state-sponsored terror and persecution, resulting in the death and despairing of thousands, while many others were forced into exile.

Career

Two years after the military coup of 1976, Montes-Bradley is living in New York[23][24] working as a correspondent for El Heraldo del Cine (HdC), a Buenos Aires-based trade publication catering the film industry in Latin America, and collaborating as freelance reporter forThe Hollywood Reporter. As correspondent for HdC, Montes-Bradley interviewed Jack Valenti, Menahem Golan, Lalo Schifrin and Umberto Eco.[25] His first contribution to filmmaking can be traced to Margareta Vinterheden's Man maste ju leva, Sweden, 1978.[26] In the early 1980s Montes-Bradley worked as assistant editor, and editor in documentaries about the civil wars in Nicaragua, and El Salvador. The documentaries on the civil war in El Salvador were produced by the insurgent collective of Radio Venceremos.[27] In 1984 Montes-Bradley is living in Los Angeles working as the editor for The Entertainment Herald, a bilingual, monthly film magazine with distribution in Europe and Latin America.[28][29] In 1986, he joins Filmtrust Motion Picture Licensing,[30] an independent production and distribution company based in Los Angeles as Director of International Sales.[31] In 1989 Montes-Bradley teamed-up with producer Javier Gracia to write, produce, and direct Double Obsession,[32] a straight-to-video thriller released by Columbia Tri-Star starring Maryam D'Abo, Margaux Hemingway, Scott Valentine and Frederick Forrest.[33] In 1995 he married actress Sandra Ballesteros, leading-lady in The Kidnapping, a politically-incorrect satiric-parody about a guerrilla group based in Rio Hondo, an imaginary country in Latin America in the 1970s. The film received negative reviews, and ultimately became a cult movie, as well as Montes-Bradley's last known fiction.[29] In 1997 he returned to the documentary format with "Soriano"[34] a biographical sketch based on the life and exile of the Argentine journalist, and novelist Osvaldo Soriano. Soriano[35] was the first of several 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".[36] 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, and by doing so within the spirit of a cultural agitator.

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

Montes-Bradley produces and directs documentary films for Heritage Film Project, a Charlottesville based studio. Among the most celebrated films in recent years is Julian Bond: Reflections from the Frontlines of the Civil Rights Movement, Rita Dove: An American Poet, Evita: The Documentary, White: A Season in the Life of John Borden Evans and Samba on Your Feet. Montes-Bradley is also engaged in philanthropic pursue and is a pro-bono advisor and International Board Member of UNESCO-UCLA Chair in Global Learning and Global Citizenship Education,[37] and Board Member of the African American Heritage Center.[38]

Partial Filmography

Montes-Bradley has contributed to the University of Virginia Collection and Latin American Collection by the Heritage Film Project. Most recent Personal biographies commissioned from Montes-Bradley are: "The Gillenwater Story", a documentary based on the work and life of Jay Y. Gillenwater[39][40] HD | 30 minutes.,[41] and "A Soldier's Dream: The Milt Feldman Story".[42][43] Previous biographical work by Montes-Bradley is collected on Contrakultura Films

University of Virginia Collection

Still from "Rita Dove: An American Poet"
Julian Bond on the steps of Lincoln Memorial
Still from "Lisboa".

The series consists of short as well as feature biographical essays on humanists, scientists and places at the University of Virginia produced by the Heritage Film Project. The series originated with a portrait of Jared Lowenstein where the founder and curator of the Jorge Luis Borges Collection recall his experience with the author of "The Aleph".

Monroe Hill (Cradle of the University of Virginia) Documentary-essay tracing the roots and historical context of James Monroe's first home in Albemarle County. The property known as Monroe Hill, which serves as the administrative offices of Brown Residential College, is located in grounds of the University of Virginia.[44] Color and Black and White | HFP | HD | 60 min. | 16:9

Unearthed and Understood. Produced for the President's Commission on Slavery and the University, University of Virginia. Presented at "Universities Confronting the Legacy of Slavery on October" on October 16, 2014, in Charlottesville. Heritage Film Project | University of Virginia Collection, 2014. HD | 18 minutes.[45]

Rita Dove: An American Poet.[46] Biographical sketch of Rita Dove. The film, premiered in Charlottesville on January 31, 2014[47][48][49][50][51][52][53] Heritage Film Project | University of Virginia Collection, 2014. Distributed by Filmakers Library & Alexander Street Press, USA.[54] Color and Black and White, HD, 50 min.[55]| HFP | HD | 50 min. | 16:9

Julian Bond: Reflections from the Frontlines of the Civil Rights Movement.[56][57] Best Documentary 4th Annual Baltimore International Black Film Festival, 2017. Portrait of social activist and former Georgia legislator Julian Bond. Best Documentary Award at the 4th Annual Baltimore International Black Film Festival, 2017.[58][59] Heritage Film Project | University of Virginia Collection, 2012. Distributed by Filmakers Library & Alexander Street Press, USA.[54] Color and Black and White, HD, 34 min.[60]

Visual Arts Collection

A collection of thirty-minute documentary films, exploring the relationship between contemporary artists and their place of residence. The ongoing series originated with a portrait of Perez Celis filmed in Little Haiti in 2005. The following titles are the most recent. Other visual artists included on the series are Ernesto Deira and Pérez Celis.

  • White: A Season in the Life of John Borden Evans Best Documentary 4th International Documentary Festival of Ierapetra[1] Best Documentary Richmond International Film Festival,2015.[5]
  • Waissman Biographical portrait on Latin American Master Andrés Waissman.
  • Calzada. Featuring Humberto Calzada the film looks back into the artist's early life in Havana, Cuba, before the Cuban Revolution that brought Fidel Castro to power. Humberto Calzada represents the side of the Cuban-American equation on the north side of the Gulf Stream. His meticulous attempt to reconstruct the past is evident in his attempts to reconstruct Havana-on-canvas. In many ways, Calzada epitomizes the exiled who acknowledges the impossibility of a return to Ithaca: "The Havana I used to know is just another imaginary place", he says on this intimate portrait of a man gravitating a constant state of melancholy. Original Music by Gerardo Aguillón (violin) and José Angel Navarro (guitar). 30 min. 16:9 HD [61] Heritage Film Project, 2010. HD, 30 min. Distributed by Alexander Street Press and Kanopy.

Latin American Writers Collection

Montes-Bradley with Rivera and crew members.

Ongoing biographical profiles on Latin American writers. At least sixteen films on Latin American Writers were produced under the auspice of Contrakultura Films, an imprint of Iruña Films no longer in existence, and are listed on a separate entry. The Contrakultura catalogue included biographical documentaries on Andrés Rivera, Héctor Tizón and Juan Filloy amongst others, was introduced by Eduardo Montes-Bradley at the Biennial Northeast Regional Meeting "Luso-Hispanic Presence in the Changing Cultural Landscape of America", organized by the American Association of Teachers of Spanish and Portuguese at Yale University.[62] Other significant titles in the Latin American Writers Collection are:

Ernesto Cardenal in Managua.
  • Cortázar: apuntes para un documental (Cortázar: Notes for a Documentary), approaches Julio Cortazar's political views, and perspectives on the Latin American Left.[63][64][65][66] The film also presents an original perspective on the relationship between the author and Carole Dunlop in Paris. Moments of this relationship are vividly recalled through the use of homemade movies made by the celebrated couple. The film also introduces previously unseen footage from filmed by Cortazar and his first wife Aurora Bernardez in the gardens of the Mexican Embassy in New Delhi during the period in which the ambassador was Octavio Paz.[67] The 8mm footage shows Cortázar and Bernardez, as well as Octavio Paz and his wife Elena Garro dancing with a large group of natives, presumably embassy personnel.[68] The film includes the testimonies of Claribel Alegría, Ernesto Cardenal, Manuel Antín, Carlos Montemayor, and Sergio Ramírez among others writers and intellectuals interviewed in Europe and in Latin America such as. Filming Locations included Managua, Buenos Aires, Paris, Linz Am Rhien, Madrid, and Rome. The film was nominated by the Argentine Film Critics Association for Best Documentary in 2003.[3][69]
Bayer with 16mm Bolex during the filming of Los cuentos del Timonel.

* Los cuentos del timonel (Tells of a Helmsman)[70] Biographical sketch on Osvaldo Bayer, a controversial political figure, a journalist and historian born in the German Colonies of Santa Fe province in 1927. However, Mr Bayer grew up in Buenos Aires, amidst the German community of barrio Belgrano where Bayer continued to live in the Summers of Argentina thus alternating with Linz Am Rhien from Summer to Summer. From this period in Belgrano Bayer evoques the Adolf Hitler´s birthday being celebrated by thousands at the German Club - Club Albatros "They came in into the streets of Belgrano in a caravan, often lead by the German Ambassador to Argentina Baron Edmund von Thurman. According to Bayer, on the film, when the ambassador arrived at the German Club the band will start playing Hitler's favourite tune the Badonviller Marsch. However, the director preferred to capture "the other Osvaldo Bayer" the one living significantly more comfortable in Linz am Rhein.[71] After its release in Buenos Aires, "Los cuentos del timonel" was awarded Best Documentary by the Argentine Film Critics Association 2002. The film finds Bayer a witness of privilege to the second half of the 20th century in Latin America and Europe, which seems to be a constant theme in Montes-Bradley documentary work. Bayer's recollections on camera include a highly politicized period during the Peronist regime, in which he worked as helmsman on a river Navy boat patrolling the Paraná river between Buenos Aires and Asuncion. The title of the film derives from that vignette. With a peculiar sense of humour, Mr Bayer explains how the strikes against Perón begun and how his political involvement ultimately lead to his determination to leave the country and move to Berlin where he arrived shortly after the end of World War II. This chapter focusing on his experience during this period is quite eloquent and revealing. According to Osvaldo Bayer´s his apartment had a clear view of the Berlin Tempelhof Airport from were the Berlin Airlift was carried on.At a different point in the film, Bayer also recalls the night the Berlin Wall was built and further describes the hazards of the everyday life with skyrocketing inflation. During the making of this documentary film between Linz Am Rhien and Berlin, Bayer also explores his relationship with Paco Urondo, Julio Cortázar, Hector Olivera, Osvaldo Soriano, Rodolfo Walsh and others.[72] Los cuentos del timonel was filmed using a Bolex 16mm and a Sony Handycam DCR-VX1000.

Other significant titles in the series were Harto The Borges. Nominated for a Cóndor de Plata, 2003[3] and Soriano (The documentary)

Writers Made in Brazil in an ongoing series of profiles on Brazilian writers produced -in part- with a grant from the Brazilian Ministry of External Relations | Embassy of Brazil, Washington, D.C..[73][74] The following titles are the most recent and relevant.

Saavedra: Between Berlin and a place called Peixoto. Biographical Sketch on Brazilian author Carola Saavedra. Filmed on location in Berlin and Rio de Janeiro. Premiered October 9, 2013, at Frankfurt International Book Fair.[75][76][77] Heritage Film Project + Writers Made in Brazil, 2013. HD, 30 min. Produced in part with a grant from the Brazilian Ministry of External Relations | Embassy of Brazil, Washington, D.C.[78]

Lisboa. Based on Adriana Lisboa's, experiences as a Brazilian novelist (and poet), now resident in Louisville. Lisboa was filmed in February 2012, on location, in and around Boulder. Lisboa premiered on WHTJ PBS / WCVE PBS, Virginia, also aired by Rocky Mountain PBS. Italian Avant Premier with Italian subtitles at Festivaletteratura | Mantova, Italy on September 5, 2014[79] Heritage Film Project + Writers Made in Brazil, 2012. HD, 30 min. (English) Produced in part with a grant from the Brazilian Ministry of External Relations | Embassy of Brazil, Washington, D.C..[80]

The Latin American Collection

Independently produced and distributed films dealing with Latin American cultural and political issues, and remarkable individuals.

Evita (Documentary). 2007. Documentary on Eva Duarte, former First Lady of Argentina. Evita, the 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.[81][82]

Lineup of Samba veterans in the favelas of Rio during the filming of Samba on your Feet

Che: Rise & Fall. DVD Release Date: July 13, 2006 by Westlake Entertainment, German Release, 20007, Latin American premiered on NatGeo. CHE: Rise and Fall, follows on the trials and tribulations of Ernesto Guevara in the words of old friends and comrades-in-arms.[83] Includes the testimonies of Guevara's friend Alberto Granado, and members of his elite military entourage Alberto Castellanos, Enrique Oltuski, Argudín Mendoza, Enrique "Pombo" Villegas. Locations: Havana, Congo, Bolivia. Super 16mm. Aspect Ratio: 1.66:1

Samba On Your Feet USA | Brazil 2005. The documentary explores behind the scenes of Carnival in Rio de Janeiro, revealing the preambles of the cultural clash leading to Samba, an indigenous cultural tradition in Brazil.[84] Samba On Your Feet includes archival material and interviews with iconic figures of Brazilian Carnival and Samba. "Samba On Your Feet" was selected to participate at the Toulouse Latin American Film Festival 2008, Rio de Janeiro International Film Festival 2006, Buenos Aires Independent Film Festival (BAFICI) 2007, and Toronto Latino Film Festival.[85][86] The film is distributed by Filmmakers Library. Worldwide rights by Alexander Street Press. The documentary gained the recognition of African American Studies.[87][88][89][90]

Ismael Viñas: Witness of a Century. Original title: Ismael Viñas: Testigo del siglo.[70] Film based on the memoirs and recollections of Ismael Viñas: legendary political figure, economist, founder of Movimiento de Liberación Nacional (MALENA),[91] former Undersecretary of Culture during the Revolución Libertadora. Viñas reappears in front of the 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[92] 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.[93][94] Directed by Montes-Bradley as Diana Hunter. Premiered at the Buenos Aires International Festival of Independent Cinema (BAFICI).

The Great Pretender. Official Selection of the International Film Festival of Buenos Aires (BAFICI), 2007. Released in Uruguay as "No a los papelones". Release in Argentina as El gran simulador. The documentary presents Montes-Bradley's quest to find Nahuel Maciel, a journalist who fifteen years before fooled the press core 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 Eco, 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.[95] El gran simulador was initially banned from theatres in Argentina for its politics, and it was effectively released in Uruguay (across the border) with good B.O. results.[96][97] However, the film was shown as part of the Official Selection of the Buenos Aires International Independent Film Festival (BAFICI), 2007.[98] On the director's request the film did not participate "in competition" to avoid further turmoil.[99] 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. HD | 75 min. 35 mm.

Crónicas Mexicas. The documentary follows on the footsteps of Hernán Cortés from the landing beaches of Veracruz on golf coast of Mexico, to Tenochtitlan, the ancient capital of the Aztec. Montes-Bradley (as Rita Clavel) teams-up with Martín Caparrós who becomes the omnipresent and omniscient protagonist of this journey through geography and time. Caparrós acute sense of irony becomes a permanent fixture throughout the film, provoking the audience into uncharted: the politically incorrect history of Latin America.

Other titles under this collection

El hombre invisible. The documentary explores the work of early film editors of News Reel in Argentina during the 1940s and through the 1960s. El hombre invisible was produced by Montes-Bradley and directed by Eduardo López formally an editor himself. Insurgentes. The documentary approaches the intricate connections between the (Revolutionary Left Movement), the (ERP), and (Tupamaros) in the 1970s. The film was produced by Montes-Bradley and directed by Pablo Doudchitzky. Low Blows: La Raulito. 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 immortalized in a film by the same name directed by Lautaro Murúa in 1975. However, in this film the director follows the real character during the last days of her life. Low Blows: La Raulito premiered at Mar del Plata International Film Festival on December, 2009. Latin American Selection.[100] Produced by Eduardo Montes-Bradley, directed by Emiliano Serra. Negro sobre blanco. Legendary negative cutting Margarita Bróndolo recalls the early days of cinematography when she worked as one of the first female film editor in Estudios San Miguel in Buenos Aires. At the time Bróndolo worked alongside iconic figures of the golden era of a film such as Eva Duarte. The documentary abounds 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 renown editor, had worked with some of the best-known filmmakers in Argentina such as Academy Award Nominee Adolfo Aristarain. Produced by Montes Bradley, edited and directed by Eduardo López. La oficina. Documentary by first-time director Blas Eloy Martínez, son of laureate Tomás Eloy Martínez. The film is set in the background of a red-tape Office of Vital Records in Buenos Aires. Dirigido por ... . Series on interviews with Argentina's best-known film directors on the art of filmmaking in Argentina. Includes interviews with Adolfo Aristarain, Academy Award Winner for Best Foreign Film Luis Puenzo, Lucrecia Martel, David José Kohon, Anibal DiSalvo, Daniel Burman, Mario Levin, Edmund Valladares, and others.

Fiction

Production still: Margaux Hemingway.
Production still: Stuart Whitman

El sekuestro (Feature Film). Miami Beach: Iruña Films. 1997. (The KidNapping) Satire-Farse.[101] El Sekuestro depicts an absurd revolutionary movement in Rio Hondo, a fictitious republic "lost somewhere in America," "outsider" Bruno (Tobias Meincke, from Germany) runs a classified ad for accomplices in a kidnapping. Joining the cause are a prostitute, Carmen (Sandra Ballesteros, from Argentina), an unemployed steel worker, Mario (Adam Black, of Spain), and a pretty boy, Luis (Luis Fernández, of Venezuela) all of whom want to change their own lives, but without the least interest in creating a socialist Utopia. They kidnap businessman Renato Cefalú (Lázaro Pérez, of Cuba) who doesn't have anywhere near the ransom the outlaws are demanding, and whose wife (Alex Pertile, of Italy) goes about seducing the chief of police in order to prevent him from tracking down her husband. An example of the movie's brand of cynical humour is the character Mario. dreaming of what he'll do with the ransom money, he says, "First, a small repair shop. One or two apprentices, tools and a hole in the ground ... Then I get my hands on someone as poor as I used to be, I teach him the craft and, Long Live the F ..... Revolution! I'll never have to work again as long as the sucker does the job for me."[102][103] The critics hammered the film following its premiere at the Mar del Plata International Film Festival, most of the blame focus on the sound quality. The director will argue that the soundtrack of the copy shipped to the film festival was sabotaged during the development process by groups that perceived the film as a mockery of Montoneros and possibly other revolutionary or terrorists organizations. However, El SeKuestro remains a director's favourite and is frequently aired on television (Canal Volver - ArteAr). "El Sekuestro" intentionally written with "K" instead of "C" as it should, has been recently interpreted as an attempt to ridicule Kirchner. El SeKuestro was filmed in South Beach in 1995. On November 4 of the same year Montes-Bradley and leading actress Sandra Ballesteros, were married.[104] 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.

Double Obsession (Feature Film). Boulder: Columbia Tri-Star. 1992. Thriller. Starring Margaux Hemingway, Beth Fisher, Scott Valentine, Jamie Horton, Maryam D'Abo and Frederic Forrest. Edited by John Venzon. TriStar Columbia and Reivaj Films, 1992. The film did well with foreign distribution, particularly in the straight to video and cable markets. Double Obsession was shot on 35mm at the University of Colorado in Boulder, a final transfer to video was later produced. Montes-Bradley hardly ever talks about this film written by himself in collaboration with Jeffrey Delman and Rick Marx. The film was initially referred to as Mirror Image.[105][106][107][108][109]

Smoothtalker (Feature Film). Boulder: Columbia Tri-Star. 1990. Thriller, Film Noire. USA, 1992. Produced by Smoothtalker Productions, Corp. Story: "The woman who 976 numbers offer the men who call a world of erotic fantasy. But they never know who lurks on the other side of the line". Starring Blair (Lisa) Weikgenant as Lisa Charles, Peter Crombie as Jack Perdue, Stuart Whitman as Lt. Gallagher, Sidney Lassick, Joe Guzaldo, Paul Raci as Peri and Burt Ward. Edited by Sandra Adair. Executive Producer Javier Gracia. Original score by Tony Roman; Production Design by Brian Densmore. US Release: June 18, 1992[110]

Music videos

Montes-Bradley directed music-videos at odds with the dominant trends at a time in which MTV was still in the experimental stage. Rumbera (trad. a woman who dances the rumba), is a song by Willy Chirino, (Sony Music, 1994. "Rumbera", the videoclip based on Willy Chirino's song is a film-extravaganza shot in the style of the neorealism with magic realism undertones. The seven-minute short was filmed in a single take, in the interior of a cabaret in South Beach. The Cameraman and Director of Photography was Scott Mumford. Rumbera opened the doors for other salsa music videos to be regularly programmed in MTV Latino, until then, exclusively reserved to Rock, Pop and ballads from South American and Spaniard bands and soloists. Rumbera, was filmed in Super 16mm and premiered in Havana, Cuba during the Festival Internacional del Nuevo Cine Latinoamericano, 1994. At the time, Willy Chirino just as Olga Guillot, and several other Cuban artists were blacklisted in their homeland. Another off-beat music-video by Montes-Bradley is Dale Pascual (Warner Music Group) by the Argentine pop-group "Los enanitos verdes". Dale Pascual was shot in 35mm in La Cava, a slum in San Isidro, 27 miles North of the City of Buenos Aires. The track spells out the hardships of the have-not in Argentina. The slums of La Cava provided the setting typical of neo-realism, a recurrent theme on Montes-Bradley's music videos, which emphasized the hard living conditions in Argentina, unemployment, and the recession. In an effort to exacerbate the excruciating living conditions of the children in the slums, the director conceived and staged the crucifixion of a naked boy. The image of a large wooden cross laying against the walls of a public school with the Argentine flag in high mast in the background was found to be inappropriate, and the film was censored in several Latin American countries. "Dale Pascual, marked a turning point, and proved to be the last music video produced and directed by Montes-Bradley.[111]

Uncategorized

Child of the Forest: The Story of Yona Bromberg. Heritage Film Project, 2014. The film documents the memories of Holocaust survivor Yona Bromberg who recalls being herded -along with the rest of the Jews in Rokitno- to the market where the occupying German forces open machine-gun fire killing almost everyone. Yona Bromberg, her mother and sister run for cover into the forest where they survived among other refugees until the arrival of the Soviet Army.[112] Child of the Forest: The Story of Yona Bromberg was filmed in Hallandale. La Ventana de Leon Rozitchner. Independent, 2011.[113][114] Anecdotical documentary with philosopher León Rozitchner. Shot in Buenos Aires, Argentina. Tríptico Vertical, USA, 1986. Not much is known about the nearly fifteen minutes art-documentary on Madres de Plaza de Mayo. It was shot in Buenos Aires shortly after the return to democratic rule. Music by Julio Lacarra. American Manifesto Avantgarde short film premiered at the Buenos Aires Independent Film Festival (BAFICI) in 2005. Filmed in Denver, in the winter of 1993. Man maste ju leva. Actor. Film Directed by Margareta Vinterheden. Sweden, 1978. Very little is known of this first movie.

Bibliography

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[115]

Cortázar sin barba. Madrid: Random House Mondadori. 2005. pp. 394 Hard Cover : illustrations, 23 cm. ISBN 84-8306-603-3. Biographical approach to Julio Cortázar, a fundamental name of the Latin American Boom, Montes-Bradley exposes the strategies used to build Cortázar:[116] the myth, simultaneously providing the arguments to challenge such myths while questioning Cortázar's political affiliations. A quick reference search on Google Scholar will show that "Cortázar sin Barba" has been widely cited by critics and scholars alike.[117][118][119] The first edition of Cortázar sin barba was published by Editorial Sudamericana, Argentina, 2004. A Third Edition (revised) was presented in Barcelona by Pesódromo 21 on September 30, 2014.[120][121][122][123][124][125][126]

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",[127] Brazil. Published in Portuguese and Spanish. Pilar Editors, Brasília, 2000. P. 142, 143, 144. Includes the short story "Das schwerste gewicht" previously published in "Ya se que todo es mentira" (1999), Editorial del Nuevo Extremo, Buenos Aires 1999.[128]

Osvaldo Soriano: Un retrato. Buenos Aires: Grupo Editorial Norma. 2000. pp. 171 Rustic. ISBN 9879334353. Italian edition by Sperling & Kupfer Editori, Milan, Italy, 2001, 164pp. Translated by Gina Maneri. Collection: Continente Desaparecido, directed and coordinated by Gianni Minà ISBN 88-200-3201-5. The book summons a series of interviews including: Ariel Dorfman, Eduardo Galeano, Ana María Shua, Martín Caparrós, Fernando Birri, Aida Bortnik, Roberto Cossa, Liliana Hecker, Federico Luppi, Hector Olivera, Nico Orengo, Dalmiro Saenz, Gianni Minà and others.[129] One of the recurrent themes thought the book is the idea of exile, Peronism, and the political turmoil in Argentina during the 1970s. The interviews were previously documented by the author on a documentary film on same subject.[130] There are also a few chapters, introduction and epilogue by Montes-Bradley with a significant number of footnotes and references. The book also includes correspondence between Osvaldo Soriano and Adolfo Bioy Casares, Julio Cortázar and Juan Gelman.[131][132][133]

Ya se que todo es mentita. Buenos Aires: Editorial del Nuevo Extremo. 1999. p. 200. ISBN 950-9681-85-7. trad. Its All a Lie. Short Stories. Some of the short stories included in this compilation have been originally published in literary magazines. Foreword by Osvaldo Bayer. 199 pp. 23 cm.[134] Foreword by Osvaldo Bayer. Design by Oscar "Negro" Díaz.

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

Journalism

Montes-Bradley has contributed with the following publications: El País, Babelia,[135] Les cinemas de la Amerique Latine,[136] 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,[137] Critica de Argentina; and La Nación. Montes-Bradley was a frequent collaborator with the literary blog "Nación Apache"

His interventions in the media can be classified as a. In-depth articles on subjects as diverse as the life of Dean Reed[138] in the Soviet Union, and the aftermath of the Battleship Potemkin;[139] 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 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.[140][141]

Photography

Montes-Bradley's photography has been recognized by the National Council on Public Historywith the "Outstanding Public History Project Award" as part of the exhibit "The Mere Distinction of Colour" produced by James Madison's Montpelier. His work appears in The Washington Post,[142] La Nacion,[143] The Independent,[144] Deutsche Welle,[145] Diario Clarin[146] other newspapers[147] and magazines[148] as well as commemorative books such as "Escenas de la memoria. La Casa Argentina en la voz de sus antiguos residentes",[149][150] and "Aventura Turnberry Jewish Center 20th Anniversary".[151] His portraits and filmed interviews with Research and Clinical Faculty are preserved at the Claude Moore Health Sciences Library, the University of Virginia under The Eduardo Montes-Bradley Photograph and Film Collection.[152]

Appearances in other media

Margaux Hemingway from the series E! True Hollywood Story produced by E! Entertainment Television.[153] Jorge Giannoni. NN, ése soy yo (NN, The One In The Picture Is Me). A documentary film about Jorge Giannoni, directed by Gabriela Jaime.[154] Guest Appearance by EM-B as having personally known the protagonist. Dir by: Gabriela Jaime, Argentina, 2000.[155] Derrumbe. Random House Mondadori, 2012. Eduardo Montes-Bradley is EMB, a fictional character in Daniel Guebel's novels Mis escritores muertos.[156]

Notes

  1. 1 2 Best Documentary Film awarded to "White: A Season in the Life of John Borden Evans"
  2. ↑ Jefferson Trust Award, 2015. Awarded for "Monroe Film". The award issued by The Trustees of the Jefferson Trust is shared with Soledad Liendo, Brown Residential College and the Curry School of Education.
  3. 1 2 3 Premio Cóndor de Plata. Wikipedia
  4. ↑ Awarded by the Argentine Film Critics Association
  5. 1 2 The 2015 Award Winners
  6. ↑ "Outstanding Public History Project Award" awarded by the National Council on Public History to the exhibit "The Mere Distinction of Colour" at James Madison's Montpelier
  7. ↑ Montes-Bradley, Eduardo. Regent's Lecturer 2015-2016, Graduate School of Education and Information Studies University of California-Los Angeles (UCLA)
  8. ↑ Universidade Federal da Paraiba: "Cortázar: Social Issues and Politics". Lecture, October 2014. João Pessoa, Brazil.
  9. ↑ The Encyclopedia of Argentine Cinema by Adolfo C. Martinez, 2004. p. 136.
  10. ↑ A Dictionary of Argentine Films by Raúl Manrupe, Ma. Alejandra Portela. Published by Ediciones Corregidor, 1995. pp. 16, 63, 109.
  11. ↑ "100 Years of Samba Films and Display at Alma Jordan Library" - University of West Indies at St. Agustin. | October 13, 2016
  12. ↑ Fundação Espaço Cultural da Paraíba - Funesc. Governo Da Paraíba. Ofício Sec No. 174-2010. September 2010
  13. ↑ African American Heritage Center
  14. ↑ UCLA Establishes New UNESCO Chair In Global Learning and Global Citizenship Education
  15. ↑ UCLA Events Calendar
  16. ↑ Adam, Charlottesville Star Power, Part II. November 26, 2015
  17. ↑ Heritage Film Project Official Site [www.heritagefilmproject.com]
  18. ↑ In conversation with Welford D. Taylor, professor emeritus at Richmond University interviewed for the documentary by Montes-Bradley on J.J. Lankes.
  19. ↑ Vital Records: Escuela Numero 1 del Consejo Escolar 1ro."Juan José Castelli". Archivo 1966. Boletín de calificaciones.
  20. ↑ "Nicolás Avellaneda" Colegio Nacional Nº 4. Public Education
  21. ↑ Page, JosephPeron: A Biography Random House; 1st edition (July 12, 1983)
  22. ↑ Maia, Luiza. "Assombraçoes de Cinema". Diario de Pernambuco. Supplement Viver. July 9, 2013. Recife, Brazil.
  23. ↑ El Heraldo del Cine, Vol 13. Buenos Aires, 1980.
  24. ↑ Macau, Clarissa. "Cinema como forma escrita" Revista Continente. August 7, 2013
  25. ↑ Museo del Cine. Colección Heraldo del Cine (1979-1983). Buenos Aires, Argentina.
  26. ↑ Turner Classic Movies
  27. ↑ Archivo Oficial de INCINE. Managua, Nicaragua.
  28. ↑ Rodriguez, Jorge Luis. "The Argentinean Connection" Diario Noticias del Mundo. Los Angeles, Lunes 13 de enero de 1986. Page 7B
  29. 1 2 Museo del Cine Pablo Ducrós Hicken. Biblioteca y Centro de Documentación. Salmún Feijóo 555, 2º piso. Buenos Aires, Argentina.
  30. ↑ The Hollywood Reporter. International. Worldwide News. p2. 4th column. April 26, 1986
  31. ↑ The Business of Film
  32. ↑ El Infierno tan temido. Diario Clarín, September 8th, 1996
  33. ↑ International Movie Data Base
  34. ↑ Bernárdez, Horacio. "El gordo cerraba bien". Pagina | 12. Buenos Aires
  35. ↑ Mesa Gancedo, Daniel: "Avatares del personaje artificial en la novela Argentina de los 90". América Latina Hoy, núm. 30, abril, 2002, pp. 157-178. Universidad de Salamanca, Spain
  36. ↑ Une interview avec Eduardo Montes-Bradley. Université Toulouse le Mirail, Toulouse. 2008
  37. ↑ The University of California - UCLA
  38. ↑ African American Heritage Center, Charlottesville, VA
  39. ↑ Bromley, Anne. UVA Today: "From Appalachia to Grand View, New Film Tells UVA Doctor's Life Story"
  40. ↑ Kelly, Ryan for The Daily Progress. "Retired area doctor subject of new film" Charlottesville, Va. December 30th, 2017
  41. ↑ The Gillenwater Story on IMDb
  42. ↑ Dolores Fox Ciardelli | "Heritage Film Project focuses on Pleasanton POW" Horrors of war forged Milt Feldman into a man of peace. / Pleasanton Weekly.March 8, 2018
  43. ↑ Official Selection at Great Western Catskills International Film Festival, 2018
  44. ↑ Documentary Illuminates History of Overshadowed Monroe Hill. UVA Today, July 1, 2015
  45. ↑ Unearthed & Understood on IMDb
  46. ↑ Online Computer Library Center, OCLC Number: 898079307
  47. ↑ Maurer. David. The Daily Progress. January 31st, 2014.
  48. ↑ N.S.W. "Rita Dove: Beloved UVA Professor, Pulitzer Prize Winner & Poet Laureate". February 25, 2014
  49. ↑ University of Virginia. Department of English. Rita Dove. Audiovisual
  50. ↑ Montes-Bradley, Eduardo. Rita Dove: La poeta de Barack Obama La Nación|ADN . Buenos Aires, Argentina May 10, 2013
  51. ↑ Montes-Bradley, Eduardo. "Poesía y poder político". La Nación|ADN . Buenos Aires, Argentina May 10, 2013
  52. ↑ Film About Rita Dove Explores the Poet's Formative Years (University of Virginia).
  53. ↑ Premier Announcement. Honoring Rita Dove: An American Poet. Community MLK Celebration, University of Virginia.
  54. 1 2 Filmakers Library, an imprint of Alexander Street Press. Official Website.
  55. ↑ Rita Dove: An American Poet on IMDb
  56. ↑ Online Computer Library Center, OCLC Number: 864629156
  57. ↑ Schudel, Matt "Julian Bond, charismatic civil rights figure, dies at 75". Washington Post. August 16, 2015
  58. ↑ Puffer-Rothenberg, M | Video Librarian. Film review. September 2013. USA
  59. ↑ "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
  60. ↑ Julian Bond on IMDb
  61. ↑ El Nuevo Herald. Revista Aplausos. By Olga Connor, Miami, January 7, 2010
  62. ↑ American Association of Teachers of Spanish and Portuguese at Yale University. Biennial Northeast Regional Meeting. Hosted by Fernando Rosenberg. Yale University William L. Harkness Hall, New Haven. September 10, 2004.
  63. ↑ "Del papel al celuloide: escritores argentinos en el cine", by Agustin Neifert. La Crujía Ediciones, 2003. p. 361
  64. ↑ Boletín Octavio Paz. Vol. 1. Issue 1. April–May 2009. www.octaviopaz.org
  65. ↑ 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.
  66. ↑ "Moros en la costa: orientalismo en Latinoamérica" by Silvia Nagy-Zekmi. Iberoamericana. Madrid, 2008. Page 194
  67. ↑ 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
  68. ↑ ¨Moros en la costa: orientalismo en Latinoamérica. By Silvia Nagy, Iberoamericana, Madrid, Spain 2008. p.192
  69. ↑ International Movie Data Base
  70. 1 2 Roca Escalante, Pilar. "Critique on Language and Political Emancipation in Contorno (1953-1959) University of Paraíba, Brazil. Cuadernos del CILHA a. 18 n. 26 2017 ISSN 1515-6125. References, page 153
  71. ↑ Bayer, Osvaldo and Ferrer. Osvaldo Bayer íntimo: Conversaciones con el eterno libertario. Ediciones Madres de Plaza de Mayo, 2007. pp.17,18,298.
  72. ↑ Montes-Bradley, Eduardo. "Tells Of A Helmsman: Historias de Amor y Anarquía" DVD, NTSC. Released January 18, 2007. ASIN: B000MR9J7G
  73. ↑ "Cinema como forma de escrita". Revista Continente. August, 2013.
  74. ↑ Suassuna, Marina: "Cineasta faz documentários sobre Ronaldo Correia de Brito e José Luiz Passos". Folha de Pernambuco, Recife, October 28th, 2014
  75. ↑ Macau, Clarisa. Revista Continente. Cinema como forma de escrita. August 7, 2013. Recife.
  76. ↑ "Filmmaker produces documentaries on Ronaldo Correia de Brito and José Luiz Passos" Diario de Pernambuco | Cinema | October 27th, 2014
  77. ↑ Germano, Tiago: "Un biógrafo de lentes" | Vida & Arte | Jornal da Paraiba. Editor: André Cananéa | Sunday, November 2, 2014.
  78. ↑ Saavedra on IMDb
  79. ↑ Cineagenzia. "Lisboa" di Eduardo Montes-Bradley | Stati Uniti, 2013, 27 minuti | Anteprima Italiana "Archived copy". Archived from the original on 2015-11-19. Retrieved 2015-11-18.
  80. ↑ 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
  81. ↑ Eduardo Montes-Bradley on his film "Evita" | Virginia Film Festival Archived 2013-04-16 at Archive.is
  82. ↑ Schedule | Virginia Film Festival
  83. ↑ Konno, Kiyoshi. Illustrations by Shimano, Chie. "Che Guevara". Pinguin Group. New York, USA. Bibliography
  84. ↑ AfolabiIlê, "Niyi Aiyê in Brazil and the Reinvention of Africa", African Histories and modernities. p. 267 Palgrave Macmillian
  85. ↑ History 206.403 "Africans and their Descendants in Latin America" Professor Tamara J. Walker. University of Pennsylvania.
  86. ↑ "Espaço Cine Digital exhibe filmes de documentarista argentino". Iparabiba, Brazil. Educação e Cultura. September 20, 2010.
  87. ↑ Cornell University Library
  88. ↑ University of California, Center for Media and Independent Learning
  89. ↑ Binghamton University Libraries
  90. ↑ Morris, Giles. "Local Filmmaker takes on the civil rights struggle ..." C-Ville Weekly, November 1, 2012 p. 18
  91. ↑ Sarlo, Beatriz: "Ismael Viñas: el largo exilio del pensador irreverente" Diario Perfil, Buenos Aires, 27|04|14
  92. ↑ Olga Connor, "Miami en la cultura latinoamericana" El Nuevo Herald, (Miami Herald). June 1o, 2014.
  93. ↑ Ideografía de un mestizo, by Pilar Roca. p. 8
  94. ↑ Sebreli, Juan José El tiempo de una vida. Ed. Sudamericana, Argentina, 2005. p.186
  95. ↑ Guibert, Martine et al. "La bassin du Río de la Plata. Développment local et intégration régionale" Presses Universitaires Du Mirail. Toulouse, France. 2009. p. 201
  96. ↑ Daily Variety. Article by Jonathan Holland. April 24, 2007.
  97. ↑ Guibert, Martine; Carrizo, Silvina; Ligrone, Pablo and Mallard, Bruno. Le bassin du Rio de la Plata: Développement régional et intégration régionale. Page 201
  98. ↑ Diario Clarin. Suplemento especial | "Las diferentes caras del cine nacional" | March 29, 2007,
  99. ↑ Agencia Nova. February 17th, 2007 | Espectáculos
  100. ↑ Catalogue and website for the Mar del Plata Film Festival, 2009
  101. ↑ Curubeto, Diego "Babilonia Gaucha" p. 161. Sudamericana, Buenos Aires, 1998.
  102. ↑ Allen, Noel C. "A Farce About Urban Terrorism" - Buenos Aires Herald. Wednesday, October 9, 1996. Entertainment, page 9.
  103. ↑ De la fuga a la fuga: diccionario de films policiales. By Roberto Blanco Pazos, Raúl Clemente. Published by Corregidor, January 1, 2004. p. 427.
  104. ↑ "El próximo vecino de los Kirchner". Diario Perfil, December 11, 2006.
  105. ↑ Rocky Mountain News, July 22, 1991. Arts & Entertainment.
  106. ↑ Colorado Daily. August 2–5, 1991 Vol. 98 No. 183, Staff Writer Michael Sandrock
  107. ↑ Sunday Camera. Boulder, Colorado. July 14, 1991
  108. ↑ The Denver Post, September 25, 1992.
  109. ↑ The Profile. Denver, October 1992. Volume 15.
  110. ↑ International Movie Data Base
  111. ↑ Paraná Sendrós, Daniel. Museo del Cine. Buenos Aires, Argentina
  112. ↑ United States Holocaust Memorial Museum
  113. ↑ Revista Ñ | Diario Clarin. Buenos Aires, Argentina. September 5, 2011
  114. ↑ Montes-Bradley, Eduardo. "Rozitchner íntimo en tres tomas continuas". Revista de Cultura Ñ. Ideas-Filosofía. Diario Clarin. September 5, 2011
  115. ↑ Editorial Estrada. Catálogo 2010
  116. ↑ 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, Mexico.
  117. ↑ Néspolo, Jimena. "Tracción a sangre. Ensayos sobre lectura y escritura" Katatay Ediciones. p. 30
  118. ↑ Broichhagen, Vera. 'Cristal invisible'. Sorbonne Nouvelle, Press. La chronique en Amérique latine XIXe-XXIe siècles (vol.1). Comienzos, poética y exilio en Julio Cortázar. Le projet biographique, Bibliographical notes #13
  119. ↑ Online Computer Library Center, OCLC Number: 55529178
  120. ↑ Anales de literatura hispanoamericana by Universidad Complutense de Madrid Cátedra de Literatura Hispanoamericana, Universidad Complutense de Madrid Departamento de Filología Española IV. Vol. )
  121. ↑ Julio Cortázar: El otro lado de las cosas by Miguel Herráez. Institució Alfons el Magnànim, Diputació de València,2001.
  122. ↑ Julio Cortázar y el hombre nuevo, by Graciela Maturo, 2004. p. 241.
  123. ↑ 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.
  124. ↑ Third Edition: Pensódromo 21. Barcelona, Spain. ISBN 8494247417 | 6.7 × 0.9 × 9.6 inches | 384 pages. Released on September 30, 2014
  125. ↑ Cortázar sin Barba Official Site | Pesódromo 21. Blog
  126. ↑ Carbajal, Brent J. "No habrá más pena ni plvido de Osvaldo Soriano: Violentas imágenes de un tango peronista". Department of Modern and Classical Languages Western Washington University* Bellingham, WA 98225-9057 U.S.A
  127. ↑ Premiaушes
  128. ↑ Online Computer Library Center, OCLC Number: 49794699
  129. ↑ Online Computer Library Center, OCLC Number: 43980246
  130. ↑ Montes Capó, Cristián, "Escritura y subjetividad en "La hora sin sombra" de Osvaldo Soriano". Revista Chilena de Literatura No. 62. Universidad de Chile, 2007. pp. 47-63
  131. ↑ Osvaldo Soriano, by Cristián Montes. Published by RIL Editores, 2004. Original from the University of Michigan
  132. ↑ Osvaldo Soriano: Una contrautopía posmoderna, by Cristián Montes, Published by RIL Editores, 2004. pp. 45, 53, 87.
  133. ↑ Budassi, Sonia, "Más allá de la nostalgia". Diario Perfil. Buenos Aires, January 26, 2007
  134. ↑ Online Computer Library Center, OCLC Number: 768995903
  135. ↑ Entrevista a Luis Harss | El País, Babelia | March 14, 2015
  136. ↑ Rueda, Amanda: "Las relaciones Norte-Sur en el cine contemporaneo" Revista CIDOB Center for International Affairs.December 2009. p.137
  137. ↑ Revista Ñ. "Cada pieza es de un valor incalculable" Buenos Aires, Argentina, September 9, 2011
  138. ↑ "El Elvis Rojo". Suplemento Radar (Nota de Tapa). Página/12. Buenos Aires, Sunday, January 23, 2005.
  139. ↑ "Marea Roja" Suplemento Radar (Nota de Tapa). Página/12. Buenos Aires, Sunday, March 6th, 2005.
  140. ↑ Rueda, Amanda. "Las relaciones Norte Sur en el cine contemporáneo". Representaciones del "otro" en la construcción de redes transnacionales. Revista CIDOB d'Afaires Internacionals No. 88. pp. 137, 138, 140
  141. ↑ Bousquet, Franck. "Cinéma et identités collectives: actes du 3e Colloque de Sorèze" p.199
  142. ↑ Thompson, Krissah. "'Always remember: You're a Madison'" The Washington Post, November 14, 2017.
  143. ↑ "Rita Dove: la poeta de Barack Obama" Photos by Montes-Bradley. La Nacion. ADN | Cultura. Buenos Aires, Argentina. Friday, May 10th, 2013.
  144. ↑ Alison Entrekin. The Independent. November 18, 2013. Book review: Crow Blue, By Adriana Lisboa. Portrait of Adriana Lisboa in Boulder. USA
  145. ↑ Saavedra, Carola. "Die Fiktion des Fremden". Deutsche Welle, Ausgabe 5, 2013 | Page 19. Portrait of Carola Saavedra in Berlin, Germany
  146. ↑ Leon Rozitchner | Photo by Eduardo Montes-Bradley
  147. ↑ Diario Perfil. Buenos Aires, Argentina. Sábado 11 de Junio de 2011. El Observador, page 50. Portrait of Ismael Viñas.
  148. ↑ We The People. Publication of James Madison's Montpellier. Orange. Spring 2014. Credited on Cover photo. p. 3 top, p.4-5, p. 6, p.7, p.9, p. 19.
  149. ↑ "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
  150. ↑ Ensemble. Revista electrónica de la Casa Argentina en París. Año 5 - número 11 - ISSN 1852-5911. Portrait of Leon Rozitchner
  151. ↑ "Aventura Turnberry Jewish Center 20th Anniversary" Stern | Bloom Media. Aventura, FL, USA 2011.
  152. ↑ University of Virginia Library, Catalogue Search
  153. ↑ "E! True Hollywood Story" Margaux Hemingway (USA, 1997). Documentary. Director: Claire Callahan.
  154. ↑ Jaime, Gabriela. Jorge Giannoni, NN ese soy yo. 64 min. Argentina. Colour
  155. ↑ "Jorge Giannoni. NN, That Is Me." Queen Mary, University of London, Library. Guillermo Olivera
  156. ↑ Guebel, Daniel. Mis escritores muertos. Mansalva Editorial, Buenos Aires, 2009

References

  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
  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
  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"
  23. Montes-Bradley, Eduardo. "Notes On Myself"
  24. Les cinemas de la Amerique Latine
  25. Alexander Street Press
  26. Greenacord
  27. Thomas Osgood Bradley Foundation TOBF
  28. Mar del Plata Film Festival
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