Cochengo Miranda.
(eVideo)
Contributors
Published
[San Francisco, California, USA] : Kanopy Streaming, 2015.
Format
eVideo
Status
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Language
English
Notes
General Note
Title from title frames.
Date/Time and Place of Event
Originally produced by Documentary Educational Resources in 1974.
Description
The extensive region of the Pampas in Central Argentina is one of the most fertile in the world. However, as the rains subside towards the West, the land becomes arid and dry. Here live a sparse population of rugged cattlemen whose nearest neighbor may be 10 miles away. The center of life is a well and a windmill to which the cattle come every day to drink, and then go off to find the scarce grasses in the vast plains where no fences are necessary. Cochengo Miranda has lived here for over 30 years, and raised his family after marrying at 45. In his youth he had been an itinerant singer and ranch hand, but hung up his guitar when he finally settled down. He is descendant from early Spanish stock in the region, where many of its traditions are still kept alive even though transculturation is rapidly taking its toll. During a whole year Prelorán visited this family several times, filming a variety of occurances that took place as the months and seasons passed. In each occasion he would record extensive monologues of don Cochengo as the basis for the film's structure. The result is a warm, intimate portrait of life in a little-known region of the world, as told to us by the settlers themselves. This is the style of film that Preloran has developed through the years based on the limitations of his equipment and budgets. He shot with a spring-wound 16mm Bolex camera, which accounts for the short length of the takes. He did not possess sync-sound equipment, so the soundtracks were later constructed painstakingly in order to give the impression that they are real. Because he could not record dialogues between his characters, he had to devise a style which appeared to be professional; so he used voice-over monologues. Thus his films are narrated by the protagonists themselves, conveying their feelings, wishes, philosophy and manners of expression, in order to complement the visuals rather than to just document what we see, or to be told by 'experts' how these people act or think, as is so common in ethnographic film. It is interesting to point out that Prelorán does not consider his films pure ethnography, for he does not work with a scientific method nor is he interested in documenting material anthropology. He is more intent on capturing the human soul in its infinite varieties, and does not consider re-staging scenes for the camera a problem, if they are essentially truthful and do not call attention to themselves.
System Details
Mode of access: World Wide Web.
Citations
APA Citation, 7th Edition (style guide)
Prelorán, J. (2015). Cochengo Miranda . Kanopy Streaming.
Chicago / Turabian - Author Date Citation, 17th Edition (style guide)Prelorán, Jorge. 2015. Cochengo Miranda. Kanopy Streaming.
Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)Prelorán, Jorge. Cochengo Miranda Kanopy Streaming, 2015.
MLA Citation, 9th Edition (style guide)Prelorán, Jorge. Cochengo Miranda Kanopy Streaming, 2015.
Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.
Staff View
Grouped Work ID
4531fcdd-9673-c27f-3350-1d6c0f533975-eng
Grouping Information
Grouped Work ID | 4531fcdd-9673-c27f-3350-1d6c0f533975-eng |
---|---|
Full title | cochengo miranda |
Author | kanopy |
Grouping Category | movie |
Last Update | 2022-06-16 00:36:02AM |
Last Indexed | 2024-03-27 03:27:16AM |
Book Cover Information
Image Source | sideload |
---|---|
First Loaded | Apr 15, 2022 |
Last Used | Jan 3, 2024 |
Marc Record
First Detected | May 30, 2021 12:36:50 PM |
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Last File Modification Time | Feb 03, 2022 11:53:09 AM |
MARC Record
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520 | |a The extensive region of the Pampas in Central Argentina is one of the most fertile in the world. However, as the rains subside towards the West, the land becomes arid and dry. Here live a sparse population of rugged cattlemen whose nearest neighbor may be 10 miles away. The center of life is a well and a windmill to which the cattle come every day to drink, and then go off to find the scarce grasses in the vast plains where no fences are necessary. Cochengo Miranda has lived here for over 30 years, and raised his family after marrying at 45. In his youth he had been an itinerant singer and ranch hand, but hung up his guitar when he finally settled down. He is descendant from early Spanish stock in the region, where many of its traditions are still kept alive even though transculturation is rapidly taking its toll. During a whole year Prelorán visited this family several times, filming a variety of occurances that took place as the months and seasons passed. In each occasion he would record extensive monologues of don Cochengo as the basis for the film's structure. The result is a warm, intimate portrait of life in a little-known region of the world, as told to us by the settlers themselves. This is the style of film that Preloran has developed through the years based on the limitations of his equipment and budgets. He shot with a spring-wound 16mm Bolex camera, which accounts for the short length of the takes. He did not possess sync-sound equipment, so the soundtracks were later constructed painstakingly in order to give the impression that they are real. Because he could not record dialogues between his characters, he had to devise a style which appeared to be professional; so he used voice-over monologues. Thus his films are narrated by the protagonists themselves, conveying their feelings, wishes, philosophy and manners of expression, in order to complement the visuals rather than to just document what we see, or to be told by 'experts' how these people act or think, as is so common in ethnographic film. It is interesting to point out that Prelorán does not consider his films pure ethnography, for he does not work with a scientific method nor is he interested in documenting material anthropology. He is more intent on capturing the human soul in its infinite varieties, and does not consider re-staging scenes for the camera a problem, if they are essentially truthful and do not call attention to themselves. | ||
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