Enrique Fibla-Gutiérrez
Biographic Data
| ID | 4518488 |
|---|---|
| NAME | Enrique Fibla-Gutiérrez |
| GIVEN NAMES | Enrique |
| FAMILY NAME | Fibla-Gutiérrez |
| SIGNATURE | FIBLA-GUTIÉRREZ E |
| AFFILIATIONS | Concordia University |
| ORCID | 0000-0002-0296-6744 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
An acute sense of observation: Eusebi Ferré and the amateur documentary impulse
This paper builds on the research conducted for the Centenary of Amateur Cinema in Catalonia, which included the localisation, restoration, and digitalisation of 108 films made by amateur filmmakers from 1928 to 1938, 62 of which are nonfiction, to position amateur cinema as the missing link in documentary film history. I will do so through the figure of Eusebi Ferré, whose archive was partially recovered in the context of the project. 90 years a…
Cinema of Crisis and the Documentary Impulse: The UPF Masters in Creative Documentary
In this article, I analyse the relationship between contemporary Spanish documentary and the two crises that have deeply affected the country’s film industry in the last years: the financial crisis and the crisis of legitimacy of Spanish cinema amongst spectators and critical discourse. Specifically, I look at how the Masters in Creative Documentary of the UPF (Universidad Pompeu Fabra) has fostered an alternative documentary culture aimed at rec…
Turning the camera into a weapon: Juan Piqueras’s radical noncommercial film projects and their afterlives (1930s–1970s)
This essay explores the resonances between two moments in Spanish alternative film-culture history: the 1930s and the 1970s. We analyze how an anachronistic network of referents and practices regarding the democratization of film production and the political potential of nonprofessional film technologies was articulated across epochs. We locate these practices in an expanded genealogy of political nontheatrical film culture, from which the Spanis…
Film called into action: Juan Piqueras, Léon Moussinac, Harry Alan Potamkin and the Internationale of film pedagogy
In 1931 New York critic Harry Alan Potamkin published a manifesto titled 'A movie call to action!', in which he encouraged film critics to educate workers and called for the creation of a Film Action Federation.1 Its ultimate goal was to mobilize the cinematic apparatus beyond its commercial purposes, envisioning a pedagogical role that would educate spectators in social justice and political action. His arguments and concrete proposals are strik…
Revolutionizing the ‘national means of expression’: The influence of Soviet film culture in pre-Civil War Spain
This article examines the influence of the USSR on the film culture of 1930s Spain. It focuses on the years before the Civil War, researching the role that Cominternaligned initiatives had on Spanish non theatrical educational and political filmmaking, as well as institutional developments associated with these movements. It analyses the complex dynamics of representation fostered by film as a tool for cultural and social progress, in a country t…
Cine epistolar: Imaginación Y Política Del Intercambio Estético
Este artículo estudia las implicaciones políticas del intercambio estético, mediante el estudio de un proyecto de correspondencias fílmicas desarrollado por el Centro de Cultura Contemporánea de Barcelona (CCCB), entre 2005 y 2011. Propone el intercambio epistolar como una forma de interpelación cinematográfica capaz de crear afinidades geopolíticas a través de la puesta en común y el ensamblaje de realidades sensibles. En definitiva, el objetivo…
Cine epistolar: Imaginación Y Política Del Intercambio Estético
Este artículo estudia las implicaciones políticas del intercambio estético, mediante el estudio de un proyecto de correspondencias fílmicas desarrollado por el Centro de Cultura Contemporánea de Barcelona (CCCB), entre 2005 y 2011. Propone el intercambio epistolar como una forma de interpelación cinematográfica capaz de crear afinidades geopolíticas a través de la puesta en común y el ensamblaje de realidades sensibles. En definitiva, el objetivo…
Cine epistolar: Imaginación Y Política Del Intercambio Estético
Este artículo estudia las implicaciones políticas del intercambio estético, mediante el estudio de un proyecto de correspondencias fílmicas desarrollado por el Centro de Cultura Contemporánea de Barcelona (CCCB), entre 2005 y 2011. Propone el intercambio epistolar como una forma de interpelación cinematográfica capaz de crear afinidades geopolíticas a través de la puesta en común y el ensamblaje de realidades sensibles. En definitiva, el objetivo…
Revolutionizing the ‘national means of expression’: The influence of Soviet film culture in pre-Civil War Spain
This article examines the influence of the USSR on the film culture of 1930s Spain. It focuses on the years before the Civil War, researching the role that Cominternaligned initiatives had on Spanish non theatrical educational and political filmmaking, as well as institutional developments associated with these movements. It analyses the complex dynamics of representation fostered by film as a tool for cultural and social progress, in a country t…
Turning the camera into a weapon: Juan Piqueras’s radical noncommercial film projects and their afterlives (1930s–1970s)
This essay explores the resonances between two moments in Spanish alternative film-culture history: the 1930s and the 1970s. We analyze how an anachronistic network of referents and practices regarding the democratization of film production and the political potential of nonprofessional film technologies was articulated across epochs. We locate these practices in an expanded genealogy of political nontheatrical film culture, from which the Spanis…
Film called into action: Juan Piqueras, Léon Moussinac, Harry Alan Potamkin and the Internationale of film pedagogy
In 1931 New York critic Harry Alan Potamkin published a manifesto titled 'A movie call to action!', in which he encouraged film critics to educate workers and called for the creation of a Film Action Federation.1 Its ultimate goal was to mobilize the cinematic apparatus beyond its commercial purposes, envisioning a pedagogical role that would educate spectators in social justice and political action. His arguments and concrete proposals are strik…
Cinema of Crisis and the Documentary Impulse: The UPF Masters in Creative Documentary
In this article, I analyse the relationship between contemporary Spanish documentary and the two crises that have deeply affected the country’s film industry in the last years: the financial crisis and the crisis of legitimacy of Spanish cinema amongst spectators and critical discourse. Specifically, I look at how the Masters in Creative Documentary of the UPF (Universidad Pompeu Fabra) has fostered an alternative documentary culture aimed at rec…
An acute sense of observation: Eusebi Ferré and the amateur documentary impulse
This paper builds on the research conducted for the Centenary of Amateur Cinema in Catalonia, which included the localisation, restoration, and digitalisation of 108 films made by amateur filmmakers from 1928 to 1938, 62 of which are nonfiction, to position amateur cinema as the missing link in documentary film history. I will do so through the figure of Eusebi Ferré, whose archive was partially recovered in the context of the project. 90 years a…
Political science (5 works) · Art (4 works) · Art history (4 works) · History (4 works) · Law (4 works) · Law (4 works) · Movie theater (4 works) · Politics (4 works) · Sociology (4 works) · History (3 works)