DG - Ella Es El Matador

Transcription

Season
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Ella Es El Matador
(She Is the Matador)
A film by Gemma Cubero and Celeste Carrasco
www.pbs.org/pov
Ella Es El Matador (She Is the Matador)
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Letter frOm the fiLmmakers
Filmmakers Gemma Cubero and Celeste Carrasco.
Photo courtesy of Talcual Films
S PAIN , A UGUST 2009
Dear Viewer,
Bullfighting is the quintessential symbol of masculinity and bravery in Spanish culture. As two people born and raised in
Spain, we saw making this documentary about female matadors as a way of changing this symbol and shifting gender roles
that have been defined for centuries. Making the film has also been a personal journey of exploring and questioning a culture.
As we worked on the film for eight years, our goal was to create an intuitive, provocative and intimate film. Our intention in
this, our directorial debut, is to open a window for viewers to enter into a unique world without judgment, focusing on the
universal struggle of our two protagonists.
Gemma Cubero and Celeste Carrasco,
Filmmakers, ella es el matador (she is the matador)
© American Documentary, Inc.
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tabLe Of COntents
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Credits, aCknOwLedgements
4
Introduction
writer
5
Potential Partners
Faith Rogow, PhD
5
Key Issues
Insighters Educational Consulting
5
Using This Guide
research editor
6
Background Information
Daniel McDermon
6
Bullfighting History
9
Women in Bullfighting
P.O.V.
11
Selected People Featured
eliza Licht
in Ella Es El Matador
Director,
Community Engagement and Education, P.O.V.
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General Discussion Questions
13
Discussion Prompts
Outreach and Development Coordinator, P.O.V.
16
Taking Action
Design: Rafael Jiménez
17
Resources
20
Jessica Lee
Copy editor: Natalie Danford
How to Buy the Film
thanks to those who reviewed this guide:
Gemma Cubero
Filmmaker, Ella Es El Matador
Celeste Carrasco
Filmmaker, Ella Es El Matador
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intrOduCtiOn
Mari Paz Vega in the bullring at Zaragoza.
For Spaniards — and for the world — nothing has expressed
their country’s traditionally rigid gender roles more powerfully than the image of the male matador. So central was the
bullfighter’s masculinity to Spanish identity that a 1908 law
barred women from the sport. ella es el matador (she is the
matador), an hour-long documentary, reveals the surprising
history of the women who made such a law necessary and
offers fascinating profiles of two female matadors: the acclaimed Mari Paz Vega and neophyte eva Florencia. These
women are gender pioneers by necessity. Their common
threads include a deep passion for bullfighting and an
equally deep frustration over the entrenched culture of discrimination against women in the ring.
controversial ritual that is modern bullfighting. In the
process, the film can serve as an outreach tool to explore
classic feminist questions: Does the courage displayed by female bullfighters, by definition, make them agents of social
change? And does women’s participation in the sport challenge the essence of bullfighting as a celebration of
machismo, or are women strengthening classic notions of
masculinity by claiming the right to express machismo themselves? The questions provide viewers with a rich opportunity to examine their own beliefs about gender roles and
By looking at women, ella es el matador (she is the
what they see as appropriate boundaries in a changing
matador) adds another layer of controversy to the already
world.
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key issues
POtentiaL Partners
ella es el matador (she is the matador) is well suited for
ella es el matador is an excellent tool for outreach and
use in a variety of settings and is especially recommended
will be of special interest to people interested in the
for use with:
following topics:
•
your local Pbs station
•
animal rights
•
groups that have discussed previous Pbs and
•
bullfighting
P.O.V. films relating to women in traditionally
•
Cultural expression
male domains, including Chisholm ’72 and
•
dance
•
feminism
•
gender
•
machismo
•
Performance art
•
sociology
institutions and museums
•
spain
•
Civic, fraternal and community groups
•
women in sports
•
academic departments or student groups at
•
women’s studies
Lioness.
•
groups focused on any of the issues listed in the
key issues section
•
high school students
•
faith-based organizations and institutions
•
Cultural, art and historical organizations,
colleges, universities and high schools
•
Community organizations with a mission to
promote education and learning, such as local
libraries
using this guide
This guide is an invitation to dialogue. It is based on a belief in the power of human connection, designed for people
who want to use Ella Es El Matador (She Is the Matador) to engage family, friends, classmates, colleagues and
communities. In contrast to initiatives that foster debates in which participants try to convince others that they are
right, this document envisions conversations undertaken in a spirit of openness in which people try to understand one
another and expand their thinking by sharing viewpoints and listening actively.
The discussion prompts are intentionally crafted to help a wide range of audiences think more deeply about the issues
in the film. Rather than attempting to address all of the prompts, choose one or two that best meet your needs and
interests. And be sure to leave time to consider taking action. Planning the next steps can help people leave the room
feeling energized and optimistic, even in instances when conversations have been difficult.
For more detailed event planning and facilitation tips, visit www.pbs.org/pov/matador.
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baCkgrOund infOrmatiOn
Mari Paz Vega after the bullfight at Zaragoza.
bullfighting history
Bullfighting in its modern form has evolved over centuries,
and there is no certainty as to exactly where and when it
Regardless of its origins, bullfighting had become a fixture of
began. There is archaeological evidence of combat or com-
public life in Spain by the 18th century, when attendance and
petition between people and bulls in frescoes from the Mi-
participation began to spread from the noble classes to the
noan palace at Knossos on the island of Crete, which dates
common people. That is also the era in which breeders
back 4,000 years.
Bulls were also the focus of various religious cults of that
began to focus on producing a special class of bulls to appear in the ring.
time in areas around the Mediterranean. Later, spectacular
In the most common type of bullfighting in Spain, three
combat with bulls was a regular feature in Roman arenas.
matadors face two bulls apiece. Assisting are horse-
Researchers have cited various explanations for the devel-
mounted picadors, who use lances to bleed and weaken the
opment of Spanish bullfighting, from the influence of Visig-
bulls in the first part of the performance, and banderilleros,
oth culture to the Moorish conquest of Spain in the
who place barbs in the bulls during the second part of the
beginning of the eighth century.
performance, while executing the first turns of the cape. In
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the third portion of the event, a matador faces a weakened
eva Florencia getting ready to fight at Higuera de la Sierra.
bull on foot and encourages the bull to charge in order for
the matador to execute stylized passes with the cape. Finally, the matador kills the bull with a sword.
to the bulls. Critics point out that the goal of the confrontation is for the bull to die and note that the bull is wounded
While bullfighting is often seen as a sport by outsiders, afi-
by picadors and banderilleros and loses blood for a consid-
cionados prefer to think of it as a performance, akin to bal-
erable period before facing the matador. They also criticize
let, in which the outcome is uncertain and the ideal for the
the use of blindfolded horses on the part of the picadors; the
spectator is not to see the most efficient kill, but to appreci-
horses are also at risk of being gored by the bulls. In 2004,
ate the skill of the matador and the improvisatory nature of
the regional government of Barcelona (part of the Catalan
the affair.
region of Spain, where bullfighting is less popular) voted to
Bullfighting has provoked controversy since the 16th cen-
ban bullfighting, but the ban was overturned.
tury, when it was condemned by Pope Saint Pius V. Today,
Traditional bullfighting remains popular in Spain, where there
animal advocates protest that the sport is inherently cruel
are about 600 bullrings, from the 20,000-seat rings in
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Madrid and Barcelona to the many smaller rings in towns
Mari Paz Vega getting ready to fight at Zaragoza.
across the country. Bullfighting is also popular in Portugal –
where, by law, the bull is killed outside the ring – and in parts
of southern France, as well as in former Spanish colonies
from Mexico to Peru. There are also non-lethal bullfighting
events in parts of the United States.
sources:
“Bullfighting Is Dead! Long Live the Bullfight!” Michael Kimmelman.
The New York Times. June 1, 2008.
www.nytimes.com/2008/06/01/sports/playmagazine/601bullfight.html;
“Bullfighting: A Tradition of Tragedy.” PeTA Media Center.
http://www.peta.org/mc/factsheet_display.asp?ID=64;
“Bullfighting.” encyclopædia Britannica Online. 2009.
“Barcelona Votes to end Bullfights.” BBC News. April 6, 2004.
www.britannica.com/eBchecked/topic/84444/bullfighting/214828/History;
http://news.bbc.co.uk/2/hi/europe/3605225.stm;
“Spain’s Battle Between Man and Beast.” Verity Murphy. BBC News.
“Matador Wins. Bull Dies. The end? Not in Portugal.”
April 6, 2004. http://news.bbc.co.uk/2/hi/europe/3605773.stm;
Dan Bilefsky. The New York Times. Aug. 12, 2007.
http://www.nytimes.com/2007/08/12/world/europe/12portugal.html
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women in bullfighting
Women have always had a place in bullfighting, although their proper role has been
contested, as aficionados and authorities intervened to allow or disallow women in the
ring. The first record of a female matador
comes from the 17th century, according to
historians, and a Goya etching from the
early 19th century, Valor varonil de la celebre Pajuelera en la de Zaragoza, pays homage to a female bullfighter.
In the 1930s, Juanita Cruz fought successfully in Spain, until the government banned
women from fighting on foot. Cruz went on
to compete in South America, where
women were not banned from bullfighting.
Conchita Cintrón, the daughter of an American couple who grew up in Peru, was
drawn to the bullring as a girl and became a
sensation in Mexico in the 1940s. She later
went to europe, where she fought for several more years before retiring from the ring
in 1949. In her career, she killed as many 750
bulls in the ring, using a distinctive combination of Portuguese and Spanish technique. She was trained as a rejoneadora,
someone who bullfights while riding a
horse. According to some sources, she was
arrested after her final fight in Spain, where
women were not allowed to bullfight on
foot, when she dismounted her horse. According to the tale, she was pardoned immediately afterward.
In 1974, Angela Hernandez went to court in
Spain to overturn the ban on women, opening the door for more women to pursue
bullfighting. One of her successors was
Maribel Atienzar, whose career lasted until
1987.
In the 1990s, Cristina Sánchez gained international attention
Juanita Cruz in her bullfighting suit.
as the most prominent female matador. For several seasons
she was very successful, but she retired in 1999, citing the
enduring sexism of fans and her peers in the ring.
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The most prominent female bullfighter in recent years has
The infamous bullfighter La Reverte, third from the right.
been Mari Paz Vega, who earned her status as a matador in
1997 — the first woman to earn that honor in a bullring in
Spain. She has continued to take part in bullfighting, earning
“Shop Talk; Unsportsmanlike Conduct.” Kevin Gray.
an outstanding reputation in Spain and especially in Mexico
The New York Times. June 27, 1999.
and South America, where, she says, the bullfighting world is
http://query.nytimes.com/gst/fullpage.html?res=9C0De0D81F3BF934
more open to women.
A15755C0A96F958260;
“A ‘Sacrilege’ — Or Just Bull?” Jennifer Foote. Newsweek. Nov. 9, 1992.
http://www.newsweek.com/id/147381;
sources:
“Does Machismo Face Death in the Bullring?”
elizabeth Nash. The Independent. May 28,1996.
“Conchita Cintrón, ‘Goddess’ of Bullring, Dies at 86.” Bruce Weber.
http://www.independent.co.uk/opinion/does-machismo-face-death-in-
The New York Times. Feb. 21, 2009.
the-bullring-1349576.html;
www.nytimes.com/2009/02/21/sports/othersports/21cintron.html;
“Against the Odds: Mari Paz Vega.” Jo Tuckman. Observer Sport
“Matador.” encyclopædia Britannica Online. 2009.
Monthly. May 6, 2007.
http://www.britannica.com/eBchecked/topic/368901/matador;
http://www.guardian.co.uk/sport/2007/may/06/features.sport9
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Selected People Featured in Ella Es El Matador
Mari Paz Vega and eva Florencia celebrating the U.S. premiere at Silverdocs
mari Paz Vega
eva florencia
Born in Malaga, Spain, Mari Paz Vega started fighting bulls at the
age of nine. Raised in a family of men who tried, but failed, to
become bullfighters, she was the first woman to receive the title
of “matador” in Spain, and she did so at the age of 22. More than
10 years later, after great success in Latin America, she is still
fighting for a place in the top rankings in Spain. As of today, Mari
Paz Vega is the only active professional female matador in the
world.
Native Italian eva Bianchini traveled to Spain at the age of 14
and fell in love with Spanish culture and the art of bullfighting.
Against her parents’ will, she left again for Spain at the age of 16
with only one desire: to become a matador. In Spain, she
became eva Florencia. Throughout her dramatic journey, eva
discovers her own determination and the difficulties of her
chosen profession. The struggle and her love for the animal
eventually open her to new ways of expressing her dream.
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generaL disCussiOn QuestiOns
Immediately after the film, you may want to give people a
few quiet moments to reflect on what they have seen. If
the mood seems tense, you can pose a general question
and give people some time to themselves to jot down or
think about their answers before opening the discussion.
Unless you think participants are so uncomfortable that
they can’t engage until they have had a break, don’t encourage people to leave the room between the film and
the discussion. If you save your break for an appropriate
moment during the discussion, you won’t lose the feeling
of the film as you begin your dialogue.
One way to get a discussion going is to pose a general
question such as:
•
If you could ask anyone in the film a single question,
who would it be and what would you ask him or her?
•
What did you learn from this film? What insights did
it provide?
•
Describe a moment or scene in the film that you
found particularly disturbing or moving. What was
it about that scene that was especially compelling
for you?
Spanish nuns.
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disCussiOn PrOmPts
eva Florencia, Higuera de la Sierra.
gender roles
•
Compare the reactions of eva Florencia’s parents with
Mari Paz Vega recalling, “My mother would say that if my
brothers could do it, why not me, even though I was a girl.”
Imagine that you have a child who announces an intention to
pursue a career that is not traditional for his or her gender.
What advice would you give him or her?
•
Historian Fermin Cebolla documents that there have
been women bullfighters since at least the 13th century. So
why does women’s participation continue to be an issue?
What would it mean for the culture if women matadors were
common?
•
World-class matador enrique Ponce says, “A woman in
the bullring is not an easy fit.” Why do you think he says this?
In what ways do female competitors challenge the essence
of bullfighting?
•
Matador Cristina Sanchez observes, “The law no longer
bans us, but there’s still an unstated prohibition. In this world
controlled by men, the top matadors have all the power.” In
your opinion, why aren’t male matadors eager to share a bill
with a woman or allow women to participate? Can you think
•
In what ways does women’s participation in bullfighting
challenge machismo? In what ways might it reinforce
machismo?
•
Historian Fermin Cebolla notes that women have been
banned from the ring during military dictatorships, but permitted to fight at other times. Do you think that banning
women from bullfighting reinforces an authoritarian approach to government? Why or why not?
of other sports that have excluded women? What do these
•
sports share with bullfighting?
help herself, let alone help others. What could someone like
Vega tries to mentor Florencia, but feels she can’t even
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disCussiOn PrOmPts
Vega do to help other women
bullfighters? What other kinds of
mentoring or support strategies
exist to help women who participate in traditionally male sports
or jobs?
•
Do you consider women like
Vega and Florencia good role
models? Why or why not?
bullfighting
•
How did the film influence
your ideas about bullfighting and
female bullfighters?
•
In trying to explain the at-
traction of bullfighting, Florencia
says, “There was something beyond the cruelty people spoke of.
There was a connection between
man and beast.” Florencia’s father, Domenico, struggles to understand the appeal, and he is
convinced that the Spaniards
don’t think of bullfighting as a
“blood sport.” How would you
describe bullfighting?
•
In response to those who
see her vocation as cruel, Vega
responds, “We all believe that the
bull is born to die in the ring. I
don’t feel bad about killing him,
but it must be an honorable
death. A quick, painless death.”
She adds that the bull has a
chance to fight for its life. Do you
find her explanation satisfying?
Why or why not? What do you
think Vega means by “honorable
Shooting a scene with eva Florencia painting.
death”? How does she deal with the tension between respecting, or even loving the bull and killing it?
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disCussiOn PrOmPts
•
How does the killing that occurs in a
bullring compare to the slaughter of animals for food? What kinds of moral dilemmas are raised by each activity?
•
Clearly frustrated, Florencia says,
“The world of bullfighting is controlled by
businessmen who take advantage of those
who dream of becoming bullfighters.” How
is the business of bullfighting like and unlike other sports or entertainment? Beyond
merit, what other factors lead competitors
to succeed or fail?
•
What is your reaction to this com-
ment from Florencia: “The person who
wants to be a matador is searching beyond themselves, to reach past human limitations. When you’re looking at the bull,
it’s like you’re looking at yourself. Because
in front of the bull, there’s no place to hide.
There’s no room to fool yourself because
you’re facing life and death.” What other
challenges offer that kind of experience?
•
It is easy to recognize Florencia’s
paintings as artistic expression. Is there a
way in which bullfighting is also an artistic
expression? If it is performance art, why do
so many people see it as a sport?
•
At the end of film Florencia says, “I’ll
keep fighting, but in a new way. I’ll face
other bulls.” What do you think she means
by “other bulls”? What insight does her
declaration offer about the challenge(s)
represented by bullfighting?
Mari Paz Vega’s altar.
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taking aCtiOn
•
Mari Paz Vega and crew, girls parade, Salas de los Infantes.
As part of an observance of Women’s History Month
(March), plan an event honoring women athletes. For ideas,
visit the Women’s Sports Foundation’s Take Action section
•
(http://www.womenssportsfoundation.org/Take-
similar group to research and write a biography or oral his-
Action.aspx), which provides multiple ways for people to
tory of a woman bullfighter, female athlete or a local woman
take action to support women’s sports, honor women sport’s
in a non-traditional job. Share your biography/oral history
heroes and advocate for change.
online, in a library display, with other local youth groups or
•
in another community venue.
Convene a debate on the pros and cons of allowing
Work with a Girl Scout troop, after school program or
women to participate in traditionally male professional
•
sports. Include popular U.S. professional sports that exclude
Portuguese American communities in dialogues about gen-
women and girls, such as baseball, football, hockey and box-
der roles and/or the role of bullfighting in their own culture.
engage borderland, Mexican immigrant communities or
ing.
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resOurCes
FILM-RELATED WEB SITES
What’s Your P.O.V.?
Share your thoughts about Ella Es El Matador
by posting a comment on the P.O.V. Blog
Original Online Content on
P.O.V. Interactive (www.pbs.org/pov)
www.pbs.org/pov/blog or send an email to [email protected].
P.O.V.’s Ella Es El Matador (She Is the Matador)
companion website
bullfighting
www.pbs.org/pov/matador
To further enhance the broadcast, P.O.V. has produced an
BULLFIGhTInG In SPAIn
interactive website to enable viewers to explore the film in
www.spain.info
greater depth. The companion website to ella es el mata-
On the official website for tourism in Spain, visitors can get
dor (she is the matador) offers a streaming video trailer for
information about bullfights and the culture of bullfighting,
the film; an interview with filmmakers Gemma Cubero and
and they can access links to bullrings and museums associ-
Celeste Carrasco; a list of related websites, organizations
ated with the tradition.
and books; a downloadable discussion guide; and the following special features:
FAShIOn PhOTO GALLERY
Browse photos of current fashion inspired by matador
outfits.
ESPN: “hAUnTED BY ThE hORnS”
http://sports.espn.go.com
This article (also available in Spanish) follows a young,
prominent Mexican-American bullfighter, Alejandro Amaya,
on one of his trips to perform multiple corridas throughout
AnATOMY OF A BULLFIGhT
Mexico. The article features a short Q-and-A section about
Learn more about the tradition of bullfighting and the
bullfighting, as well as a glossary of Spanish bullfighting
rules that govern the sport.
terms.
hISTORY OF FEMALE BULLFIGhTERS
ThE INdEPENdENT: “BULLFIGhTInG FAnS In PLEA
Read about famous female bullfighters like Conchita
FOR WORLD hERITAGE STATUS”
Cintrón, known as the “Blonde Goddess.”
www.independent.co.uk
This article quickly summarizes the movement in Spain to
try and protect bullfighting from being banned, spearheaded
by the Platform for the Defence of the Fiesta Nacional, a probullfighting group. (April 27, 2007)
FOR A BULLFIGhTInG-FREE EUROPE
www.bullfightingfreeeurope.org/
Sponsored by many animal rights organizations, this website compiles information to support its argument against
bullfighting and pushes to abolish the tradition.
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resOurCes
SPAIn TRAVEL: BULLFIGhTInG
spanish Culture
www.justspain.org/spain/spain-bullfights.asp
This website serves as a travel guide to Spain and includes
a section dedicated to the history of bullfighting that pro-
BBC nEWS COUnTRY PROFILE: SPAIn
http://news.bbc.co.uk
vides a detailed description of the rituals and customs of the
This overview offers general information about Spain, its his-
sport.
tory, government, culture and media.
La Voz WEEkLy:
ThE ChrISTIaN SCIENCE MoNITor: “SPAIn’S WOMEn
“ADVEnTURES OF A FEMALE ‘MATADOR’”
MAkE GAInS In WORkPLACE AnD hOME”
http://media.www.lavozdeanza.com
http://www.csmonitor.com
In a personal account, a female study-abroad student from
Spanish women are in the midst of a cultural revolution, ac-
De Anza College who had the chance to fight against a baby
cording to this article, which details the plight of women
bull (without performing a final kill) describes her danger-
looking to break out of traditional gender roles. (June 28,
ous, but ultimately successful, first attempt at a corrida.
2002)
(Nov. 23, 2003)
COUnTRY REPORTS: SPAIn
ThE LADY IS A BULLFIGhTER
http://www.epcc.edu/nwlibrary/borderlands/
10_the_lady_is_a_bullfighter.htm
http://www.countryreports.org/Spain.aspx
This website has numerous in-depth sections on Spanish history, population, culture and economy.
Derived from the Borderlands Project at el Paso Community
College, this article gives a brief biography of Texan female
DOn QUIjOTE: SPAnISh CULTURE
bullfighter Pat Hayes, who is still considered one of the most
http://www.donquijote.org/culture/spain
graceful bullfighters of her time.
Don Quijote, a language travel agency, offers a brief look at
ThE NEW york TIMES: “BULLFIGhTInG IS DEAD!
Spanish culture that touches on the artistic and musical heritage of the country.
LOnG LIVE ThE BULLFIGhT!”
www.nytimes.com
Following José Tomás in his bullfights across Spain, this article explores a lot of the controversy surrounding bullfighting. Both traditional and abolitionist groups are cited, and
the continuing struggle between preserving tradition and
perpetuating what some see as a cruel sport is examined.
(June 1, 2008)
ThE NEW york TIMES: COnChITA CInTRón
www.nytimes.com
Conchita Cintrón’s obituary limns the life of a celebrated female matador who was known as the “Blonde Goddess.”
(Feb. 19, 2009)
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resOurCes
women in sports
WOMEn’S SPORTS FOUnDATIOn
www.womenssportsfoundation.org
Working to advance the lives of girls and women through
sport and physical activity, the Women’s Sports Foundation
educates the public on encouraging girls to participate in
physical activity.
FEMInIST MAjORITY FOUnDATIOn:
EMPOWERInG WOMEn In SPORTS
http://feminist.org/research/sports/sports2.html
This section of the foundation’s website is dedicated to the
education and advocacy of women in sports careers. The
website features a page that looks at the barriers women
who want to pursue athletic careers may face (http://feminist.org/research/sports/sports4.html), as well as a list of resources
for
anyone
interested
in
learning
more
(http://feminist.org/research/sports/sports11.html).
obSErVEr SPorT MoNThLy: “AGAInST ThE ODDS”
www.guardian.co.uk
This article describes three women who have excelled in
sports that were once deemed unfit or too dangerous for
women: Steph Davis, a rock climber, Katherine Legge, a racing driver, and Mari Paz Vega, a female bullfighter featured
in ella es el matador (she is the matador). (May 6, 2007)
hISTORY OF WOMEn In SPORTS TIMELInE
www.northnet.org/stlawrenceaauw/timeline.htm
Created by the American Association of University Women
– St. Lawrence County Branch, this timeline provides an extensive view of women’s sports history and women’s involvement in sports from the first Olympics, held in Greece
in 776 B.C., up to the present day.
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hOw tO buy the fiLm
To order ella es el matador, go to www.talcualfilms.com/estudio/ella-es-el-matador
Produced by American Documentary, Inc.
and beginning its 22nd season on PBS in
2009, the award-winning P.O.V. series is the
longest-running showcase on American television to feature the
work of today’s best independent documentary filmmakers.
P.O.V., which airs June through September with primetime
specials during the year, has brought more than 275 acclaimed
documentaries to millions nationwide, and has a Webby Awardwinning online series, P.O.V.'s Borders. Since 1988, P.O.V. has
pioneered the art of presentation and outreach using independent nonfiction media to build new communities in conversation
about today's most pressing social issues. More information is
available at www.pbs.org/pov.
Major funding for POV is provided by PBS, The John D. and
Catherine T. MacArthur Foundation, National endowment for
the Arts, The educational Foundation of America, JPMorgan
Chase Foundation, New York City Department of Cultural
Affairs, New York State Council on the Arts, Lower Manhattan
Cultural Council, The September 11th Fund and public television
viewers. Funding for POV's Diverse Voices Project is provided
by the Corporation for Public Broadcasting and The Andy
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presented by a consortium of public television stations,
including KCeT Los Angeles, WGBH Boston and THIRTeeN in
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American Documentary, Inc. www.amdoc.org
American Documentary, Inc. (AmDoc) is a multimedia company
dedicated to creating, identifying and presenting contemporary
stories that express opinions and perspectives rarely featured in
mainstream media outlets. AmDoc is a catalyst for public
culture, developing collaborative strategic engagement
activities around socially relevant content on television, online
and in community settings. These activities are designed to
trigger action, from dialogue and feedback to educational
opportunities and community participation. Simon Kilmurry is
executive director of American Documentary | P.O.V.
P.o.V. Interactive www.pbs.org/pov
P.O.V.'s award-winning Web department produces special features for every P.O.V. presentation, extending the life of our films
through filmmaker interviews, story updates, podcasts, video
and community-based and educational content that involves
viewers in activities and feedback. P.O.V. Interactive also produces our Web-only showcase for interactive storytelling,
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The P.O.V. website, blog and film archives form a unique and
extensive online resource for documentary storytelling.
Front cover: Mari Paz Vega matador suit detail.
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DG - Ella Es El Matador

Transcription

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