The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Los Angeles Independent Film Oasis records, 1976-1981. Archives of American Art, Smithsonian Institution.
Scattered business records include contracts, grant proposals, film rental agreements, the constitution and by-laws, a check ledger, written histories of the organization, schedules of film screenings, tax information, a job description, forms, and publicity contacts. Also found are resumes of Oasis members Morgan Fisher, Roberta Friedman, Leslie Gehry, Lyn Gerry, Amy Halpern, Beverly and Pat O'Neill, and William Moritz.
See Appendix for a list of Los Angeles Independent Film Oasis screenings from Series 1.
Appendix: List of Los Angeles Independent Film Oasis Screenings from Series 1:
Below is a list of all known film screenings held at the Los Angeles Independent Film Oasis as documented within the records.
DateFilm Screening1976 March 7 -- Norman Zammitt
1976 April 8 -- New Westerns
1976 April 22 -- Films by Women Independent Filmmakers
1976 May 2 -- Landscapes: An Exploration of Open Spaces
1976 May 16 -- Chick Strand
1976 May 30 -- Funny Business
1976 June 6 -- Werner Schroeter
1976 June 6 -- Udo Serke
1976 June 13 -- Eastern Influences
1976 July 25 -- House Blend
1976 August 22 -- Thom Anderson
1976 August 22 -- David Lamelas
1976 August 22 -- Robert Nelson
1976 August 29 -- An Evening of Deranged Funnies
1976 October 3 -- Pat O'Neill
1976 October 17 -- Rudy Burckhardt
1976 October 31 -- William Raban
1976 November 21 -- New British Avant-Garde, Part 1
1976 November 28 -- New British Avant-Garde, Part 2
1976 December 12 -- L.A. Today
1977 January 9 -- Trollstenen
1977 January 23 -- Night Cleaners
1977 February 6 -- L.A. Today
1977 February 27 -- Jack Goldstein
1977 April 10 -- Robert Breer
1977 April 24 -- Hollis Frampton
1977 May 8 -- James McBride
1977 May 8 -- Kenneth Anger
1977 May 8 -- George Kuchar
1977 May 15 -- Robert Bresson
1977 May 29 -- Films with Few Images
1977 June 12 -- Michael Snow
1977 June 26 -- The Naked and the Nude
1977 July 10 -- Eye Music, San Francisco
1977 July 24 -- Films by Jean-Marie Straub and Thom Anderson
1977 September 18 -- Michael Snow
1977 September 18 -- Robert Nelson
1977 October 2 -- The Films of Gary Beydler
1977 October 16 -- Maya Deren
1977 October 16 -- Andrew Noren
1977 October 16 -- Dore O
1977 November 5 -- Paul Sharits
1977 November 6 -- Hollis Frampton
1977 November 6 -- David Wilson
1977 November 6 -- Victor Grauer
1977 November 6 -- Bruce Conner
1977 November 20 -- Films by Women
1977 December 4 -- Juvenile Liason
1977 December 18 -- Rosa von Praunheim
1978 January 15 -- Artifacts from the Machine Age
1978 January 29 -- Kenji Mizoguchi
1978 February 12 -- The Present Remembered
1978 February 26 -- Films by Jean-Marie Straub
1978 March 12 -- Oasis Potluck
1978 March 19 -- Warren Sonbert
1978 April 2 -- Dan Graham
1978 April 16 -- James Broughton
1978 April 30 -- Jon Jost
1978 May 21 -- John Whitney
1978 May 28 -- Hans Richter
1978 June 11 -- Hollis Frampton
1978 July 2 -- White, Scorsese, Gutman
1978 July 16 -- Gottheim, Benning
1978 July 23 -- Robert Nelson
1978 July 30 -- Lenny Lipton
1978 August 13 -- Some Interesting New Films
1978 August 27 -- Super 8 Films
1978 September 17 -- Kenji Mizoguchi
1978 September 24 -- Bruce Conner
1978 September 24 -- Bruce Baillie
1978 September 24 -- Danny Lyons
1978 October 1 -- Victor Faccinto
1978 October 15 -- Jon Rubin
1978 October 29 -- Lewis Hock
1978 November 19 -- Films of Ernie Gehr and Vincent Grenier
1978 November 26 -- Richard Meyers
1978 December 3 -- Yvonne Rainer
1978 December 10 -- Joseph Cornell
1979 January 14 -- Martha Haslanger
1979 January 28 -- William Moritz
1979 February 18 -- Roy Barge
1979 February 24-25 -- Ondine with Chelsea Girls
1979 March 11 -- James Benning
1979 April 1 -- Suzan Pitt
1979 April 8 -- Ericka Beckman
1979 April 22 -- Animation
1979 May 27 -- Ernie Gehr
1979 June 3 -- Babette Mangolte
1979 June 10 -- Robert Bresson
1979 June 17 -- Maya Deren
1979 June 24 -- Andrew Noren
1979 September 23 -- Stan Brakhage
1979 September 30 -- Emerson Woelffer
1979 October 7 -- Roberta Friedman
1979 October 7 -- Grahame Weinbren
1979 October 14 -- Larry Gottheim
1979 October 28 -- James Whitney
1979 November 4 -- Guvnor Nelson
1979 November 4 -- Dorothy Wiley
1979 November 11 -- George Griffin
1979 November 18 -- Bill Brand
1979 November 25 -- Chick Strand
1979 December 2 -- Malcolm Le Grice
1979 December 9 -- Suzan Pitt
1979 December 9 -- Tim Shepard
1979 December 9 -- Anita Thatcher
1979 December 16 -- New Animated Shorts
1980 January 1 -- Oskar Fischinger
1980 January 28 -- Roberta Friedman
1980 January 28 -- Grahame Weinbren
1980 February 10 -- Danny Lyons
1980 February 10 -- Chick Strand
1980 February 10 -- Bruce Conner
1980 February 17 -- Dennis Pies
1980 February 24 -- Amos Poe
1980 March 2 -- Pat's Selection
1980 March 9 -- Vincent Grenier
1980 March 16 -- Henry Hills
1980 March 23 -- New Bay Area Films
1980 March 30 -- Manuel De Landa
1980 April 6 -- Robert Huot
1980 April 13 -- Oblowitz, McCall, Gordon
1980 April 20 -- Lionel Soukaz
1980 April 20 -- Guy Hocquenhem
1980 April 27 -- J.J. Murphy
1980 May 11 -- Owen Land
1980 May 18 -- Rick Blanchard
1980 May 25 -- Yvonne Blanchard
1980 June 1 -- Larry Jordan
1980 June 15 -- Robert Frank
1980 June 22 -- Oasis Group Show
1980 June 29 -- The Italian Olfactory Cinema of Gianikian and Ricci Lucchi
1980 September 21 -- Salt for Svanetia
1980 September 28 -- John Baldessari
1980 October 5 -- Ann Arbor Film Festival
1980 October 12 -- Bruce Baillie
1980 October 19 -- Birnbaum, Haslanger, Keller
1980 October 26 -- Ethnographic Films
1980 November 2 -- Rob Danielson
1980 November 9 -- Smithson, Serra, Oldenburg, Mangolte and Childs
1980 November 16 -- Jonas Mekas
1980 November 23 -- Saint Carmin's Choice
1980 December 7 -- Jean Pierre Gorin
1980 December 14 -- Pat O'Neill
1981 March 15 -- Susan Kleckner
1981 June 21 -- Michael Snow
1981 June 28 -- Polish Avant-Garde
1981 July 5 -- Alex Cox
1981 July 5 -- Amy Halpern
1981 July 12 -- Chicago Filmmakers; Edited by Harvey Nosowitz
1981 July 19 -- The Oasis Police Show
1981 July 26 -- Stan Brakhage
1981 August 2 -- Political Newsreels
1981 August 23 -- Pat O'Neill
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Los Angeles Independent Film Oasis records, 1976-1981. Archives of American Art, Smithsonian Institution.
File consists of handwritten notes, preliminary program, conference program and abstracts, diagrams of film and video equipment, charts, proposal for the founding of a society for visual anthropology, program of the American Anthropological Association in ethnographic film.
Collection Restrictions:
Large portions of this collection are digitized, and while these materials are being prepared for public access through this finding aid, researchers can request digital copies by contacting the Rinzler Archives at rinzlerarchives@si.edu or (202) 633-7322.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Full film record made in association with the University of California, Los Angeles, Ethnographic Film Program documenting a male initiation ceremony among the Gisu of the Mt. Elgon region of eastern Uganda. Footage explores circumcision as a central social institution which defines adult male identity and the unity of the Gisu as a people. Footage includes: discussions among kinsmen of the candidates' fitness, dancing and drumming around the initiates' compounds,ll animal sacrifce and divination by reading entrails to assess the propitiousness of the event, brewing of millet beer for the ceremony, annointing of initiates with beer yeast, and initiates' seculsion and circumcision by a ritual specialist.
Local Number:
HSFA 1985.1.1
Collection Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Richard Hawkins Imbalu films, Human Studies Film Archives, Smithsonian Institution
Edited film made in association with the University of California, Los Angeles, Ethnographic Film Program documents a male initiation ceremony among the Gisu of the Mt. Elgon region of eastern Uganda. The story of Gisu circumcision emerges through the narrative of two boys who announce their intention to undergo the ordeal of circumcision together. Film provides insight into circumcision as a central social institution which defines adult male identity and the unity of the Gisu as a people. Film includes: discussions among kinsmen of the candidates' fitness, dancing and drumming around the initiates' compounds, animal sacrifice and divination by reading entrails to assess the propitiousness of the event, brewing of millet beer for the ceremony, annointing of initiates with beer yeast, and initiates' seculsion and circumcision by a ritual specialist.
Local Number:
HSFA 1985.1.2
Collection Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Richard Hawkins Imbalu films, Human Studies Film Archives, Smithsonian Institution
Full video record of John Homiak's introduction to and panel discussion following HSFA's screening of Jorge Preloran's newly preserved film, Imaginero, at National Museum of Natural History, Baird auditorium, June 10, 2010. John Homiak (Human Studies Film Archives) also moderated the panel with Joshua Bell (National Museum of Natural History, Department of Anthropology), Pat Aufderheide (American University), Edgardo Krebs (National Museum of Natural History) and Melissa Bisagni (National Museum of the American Indian). From the audience, Mabel Preloran extemporaneously spoke about her husband's work.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or Anthropology Archives, but is available in its original form to facilitate research.
Local Numbers:
HSFA 2012.10.1
Provenance:
Created by the Human Studies Film Archives.
Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
50 Film reels (50 completed films and 1 film series; 110,600 feet of original film outtakes (51 hours); 412 hours of audiotape; 31 digital books)
22 Linear feet (Papers and photographs)
Type:
Collection descriptions
Archival materials
Film reels
Place:
Patagonia (Argentina and Chile)
Argentina
Date:
1954-circa 2008
Summary:
Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.
Scope and Contents:
This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.
The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. Several films focus on natural history and science. There are also a number of experimental and fiction films.
Prelorán formed close friendships with many of the subjects of his films and corresponded with them long after the films were completed. This is reflected in the paper records, as is Prelorán's wide circle of colleagues and collaborators, including anthropologists, musicians, animators, historians, painters, writers, photographers, current and former students at UCLA, and fellow filmmakers. The extensive collection of press clippings, screening notices, and festival catalogs documents Prelorán's influence in Argentina, Europe, and the United States.
In the series of digital books, Prelorán presents the personal stories of individuals involved in creative work. Some books feature subjects profiled in the films, updating or expanding on their stories.
Arrangement:
This collection is arranged in 11 series: (1) Completed Films and Videos, 1954-circa 2008; (2) Film Outtakes, 1960s-1980s; (3) Audio, 1969-2008; (4) Correspondence, 1954-2005 (bulk 1967-1992); (5) Production Files, 1961-1998; (6) Project Files, 1967-1995; (7) UCLA, 1968-2005 (bulk 1980s); (8) Press Clippings, 1960-2005; (9) Photographs, 1961-2000; (10) Books, 1994-1998, undated; (11) Electronic Files, circa 2000-circa 2006
Biographical Note:
Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." In films such as Hermógenes Cayo (Imaginero) (1970), Los Hijos de Zerda (Zerda's Children) (1974), and Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), Prelorán's protagonists tell their personal stories, while also revealing the stories of their communities and cultures. Prelorán worked in Latin America and the United States, but primarily in his native country of Argentina. His career spanned from 1954 to 2008, including nearly twenty years as a film professor at the University of California, Los Angeles (UCLA).
Prelorán was born May 28, 1933 in Buenos Aires, Argentina. His father, an engineer, was Argentine and had studied at the Massachusetts Institute of Technology, where he met his wife, an American. Prelorán grew up speaking both Spanish and English. Initially pursuing a career in architecture, he studied at the Universidad Nacional de Buenos Aires. He made his first film, Venganza, with neighborhood friends in Buenos Aires in 1954. The film won the Beginner's Festival of Cine Club Argentina that same year. Prelorán was accepted as an undergraduate at the University of California, Berkeley, and studied architecture there for one year. In 1956 he withdrew from UC Berkeley and was drafted into the US Army. Prelorán served in West Germany until 1958. Upon his return he changed educational plans and began formal study of filmmaking, receiving a Bachelor of Arts in Motion Pictures from UCLA in 1960.
Shortly before the end of his service in the US Army, Prelorán married Elsa Dondi, a former classmate from Buenos Aires. They lived together in Los Angeles until Elsa returned to Argentina for the birth of their daughter, Adriana, in 1961. The couple separated shortly thereafter.
Prelorán's professional career as a filmmaker began in 1961 with a commission from the Tinker Foundation of New York for a series of films on the Argentine gaucho. In the course of shooting for these films, Prelorán traveled extensively throughout Argentina, visiting many locations in Patagonia and in the northwest where he would later return to make many of his films. From 1963-1969, Prelorán was under contract at the Universidad Nacional de Tucumán to produce educational films; he also produced a series of short films on Argentine folklife with support from Fondo Nacional de las Artes and under the mentorship of folklorist Augusto Raúl Cortazar, Ph.D.
In the late 1960s, Prelorán became involved with UCLA's Ethnographic Film Program and in 1970 he returned to UCLA as a lecturer for two semesters. Later that year he was a fellow at Harvard University's Film Study Center, where he produced the English-language version of Imaginero (Hermógenes Cayo). Prelorán was the recipient of two Guggenheim Fellowships, in 1971 and 1975, and used those opportunities to produce quite a number of films, including Damacio Caitruz (Araucanians of Ruca Choroy).
Prelorán remarried in 1972. His wife, Mabel Freddi, became a collaborator on his films. She wrote the screenplay for Mi Tia Nora (My Aunt Nora) (1983) and co-directed Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), among other credited and un-credited roles. After the Argentine military coup of March 1976 and the disappearances of fellow filmmaker Raymundo Gleyzer and Mabel's niece, Haydee, the Preloráns became fearful for their own safety. They fled to the United States, a move that would become permanent. Prelorán accepted a position as associate professor at UCLA's School of Theater, Film and Television. He later joined the faculty as a tenured professor.
During his time at UCLA, Prelorán was twice selected as a Fulbright Scholar, in 1987 and 1994. He continued to produce films, including the Academy Award-nominated documentary short Luther Metke at 94 (1980) and the 7-hour natural history television series Patagonia (1992). After retiring in 1994, Prelorán continued to mentor film students as Professor Emeritus; he also began work in a new medium, creating a series of digital books, "Nos = Otros" ("Sages Amongst Us") (unpublished), featuring individuals engaged in creative and educational pursuits.
Prelorán died at his home in Culver City, CA at the age of 75 on March 28, 2009.
Sources Consulted
UCLA, School of Theater, Film and Television. "Jorge Prelorán 1933 - 2009." Obituary. Last modified March 31, 2009. Accessed April 1, 2009. http://tft.ucla.edu/news/obituary
Jorge Prelorán Collection. Human Studies Film Archives, Smithsonian Institution.
Rivera, Fermín. Huellas Y Memoria de Jorge Prelorán. Documentary film. 2010.
Woo, Elaine."Jorge Prelorán dies at 75; Argentine filmmaker and former UCLA professor." Los Angeles Times, April 5, 2009. Web. 29 Apr 2009.
1933 -- Born May 28 in Buenos Aires, Argentina
1952-1954 -- Studies at the College of Architecture, Universidad Nacional de Buenos Aires, Argentina
1954 -- Completes first film, Venganza, a fictional short
1955 -- Studies at the College of Architecture, University of California at Berkeley
1956-1958 -- Drafted into United States Army, stationed in Schwetzingen, West Germany
1959-1960 -- Earns Bachelor of Arts in Motion Pictures from UCLA
1961-1963 -- Produces films on the Argentine gaucho for the Tinker Foundation, New York
1963-1969 -- Produces films at the Universidad Nacional de Tucumán, Argentina
1968 -- Attends the First International Colloquium on Ethnographic Film at UCLA
1969 -- Shoots film for The Warao People in Venezuela, under a grant from the Ford Foundation to the Ethnographic Film Program at UCLA
1970 -- Lecturer at UCLA School of Theater, Film, and Television Fellow at the Film Study Center, Harvard University
1971 -- Receives first Guggenheim Fellowship; completes several film projects in Argentina
1975 -- Receives second Guggenheim Fellowship; continues filming in Argentina
1976 -- Moves to United States Associate professor at UCLA School of Theater, Film, and Television
1978 -- Guest of Honor at the 2nd Margaret Mead Ethnographic Film Festival at the American Museum of Natural History, New York
1980 -- Academy Award nominee for Luther Metke at 94
1985 -- Guest at the White House for a State Dinner in honor of Argentine President Raul Alfonsin
1986 -- Naturalized as a United States citizen
1987 -- First selection as Fulbright Scholar; begins production of the series Patagonia, en Busca de su Remoto Pasado
1994 -- Second selection as Fulbright Scholar; completes pre-production for the narrative feature film "Vairoletto: The Last Gaucho Outlaw" Retires from UCLA as professor emeritus
2009 -- Dies on March 28 in Culver City, California
Related Materials:
The Human Studies Film Archives holds a copy of Fermín Rivera's edited biographical documentary film, Huellas y Memoria de Jorge Prelorán (HSFA 2015.1.27), as well as transcripts of interviews conducted with Jorge and Mabel Prelorán for the film (in Spanish).
The Harry Ransom Center, University of Texas at Austin, holds the original film for four titles Prelorán produced for the Tinker Foundation (New York, NY). These are: The Llanero; The Gaucho of Corrientes; The Gaucho of the Pampas; and The Gaucho of Salta. The Ransom Center has both English and Spanish versions of these titles. These four films were preserved in 2010 and 2011 with funding from the Tinker Foundation. HSFA holds high quality video masters of all four titles. A fifth film produced for the Tinker Foundation, El Gaucho Argentino, Hoy (The Argentine Gaucho, Today), is held at the HSFA in its Spanish version only.
The Arthur Hall Collection at Temple University, Phildadelphia, Pennsylvania and Ile Ife Films in Belfast, Maine hold a copy of The Unvictorious One that differs from the two versions held at the HSFA.
Provenance:
This collection was donated to the Human Studies Film Archives in two accessions. The first accession, 2007-10, contains the edited films, outtakes, audio recordings, papers, and photographs and was donated by Jorge Prelorán. Materials had been stored at Prelorán's home office and home editing suite before they were packed by the processing archivist and sent to the HSFA. The second accession, 2011-07, contains the digital books and some additional photographs. This accession was donated by Mabel Prelorán. These materials had also been stored at Prelorán's home office and were sent to the HSFA by Mabel Prelorán.
Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and the digital books.
Access to the Jorge Prelorán collection requires an appointment.
Ethnographic film documents life in a valley of the Llanos Riojanos, San Juan Province, western Argentina. Shot over several years, the film shows both tradition and change and features narration by local residents. Film was shot in the 1960s and released in 1972.
Series Restrictions:
Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.
Ethnographic film documents the life of a family in the Western Pampas, Argentina over the course of one year. The primary focus is Cochengo Miranda, a former folk singer who works as a rancher to support his family. Special attention is paid to the transculturation that is taking place and the differences in life for the older and younger generations. Film was shot in 1973 and 1974 and first released in 1974. In 1979, Prelorán produced an English language version and may have re-edited the Spanish version. In 2003, he updated the titles and credits in the English version. He may also have re-edited the English version at that time. The HSFA holds three version.
Series Restrictions:
Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.
Ethnographic film documents a family of woodcutters living in isolation in the mountains of Calden, at the geographic center of Argentina. Through his narration, Sixto Ramon Zerda explains his wish for his children to be educated and to avoid the punishing work and exploitation he has suffered. Film was shot in 1974 and released that same year. In 1978, Prelorán produced an English language version, introduced by Henry Fonda. In 1994, Prelorán updated the titles and credits in the Spanish version, and may also have re-edited the film. The HSFA holds two versions.
Series Restrictions:
Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.
Ethnographic film documents the Warao Indians who live along the waterways of the Orinoco Delta, Venezuela. Includes footage of daily life, conflict resolution, and a curing ritual. Some filming was done by Chick Strand, who shot her film, Mosori Monika, at the same time. Film was shot in the summer of 1969 and first edited and shown in 1970. The film was re-edited and officially released in 1974. The HSFA holds two versions.
Series Restrictions:
Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.
Ethnographic film presents a portrait of a well-preserved colonial church in the small town of Yavi, Jujuy Province, Argentina. A voice over narration by Zenaida Wayar, the church's caretaker for over forty years, provides the history of the church and the region. Film was shot in 1966 and released in 1977. Around 2008, Prelorán revisited the film again, creating a videotape master. There is also an English language soundtrack, though it does not appear an English version was completed.
Series Restrictions:
Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.
Ethnographic film based on a dialogue between Zulay Saravino, an indigenous Otavaleña of Equador, and Mabel Prelorán, an Argentine anthropologist living in Los Angeles, regarding the feelings and problems that both women encountered while adapting to a new country after emigrating. The film shows Zulay and her family in their village, Quinchuqui, near Otavalo, Ecuador, including many scenes of daily life, and also in her adopted home of Los Angeles. Co-directed by Mabel Prelorán and Zulay Saravino, this reflexive film addresses issues of cultural identity, trans-culturation, economic advancement, and personal emotional ties. Film was shot between 1982 and 1989 and was released in 1989 along with an English language version.
Series Restrictions:
Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.
