克里斯蒂娜-伊瓦拉 纪录片制作人

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Cristina Ibarra
Documentary Filmmaker | Class of 2021
Crafting nuanced narratives about borderland communities, often from the perspective of Chicana and Latina youth.


Portrait of Cristina Ibarra

Title
Documentary Filmmaker
Location
Pasadena, California
Age
49 at time of award
Area of Focus
Moving Image
Website
cristinaibarra.com
Published September 28, 2021
ABOUT CRISTINA'S WORK
Cristina Ibarra is a documentary filmmaker crafting nuanced and compelling narratives about Latino families living in borderland communities. Ibarra grew up on the Texas-Mexico border in El Paso and creates from personal experience of place and family. In multi-layered storytelling, she unearths and portrays complicated colonial legacies and cross-border tensions that continue to exist in the community. Her films depict intergenerational life, displacement, labor struggles, and community violence, often from the perspective of Chicana and Latina youth.

The Last Conquistador (2008) centers on a contentious plan to erect a monument of sixteenth-century Spanish conquistador Juan de Onate in El Paso. Ibarra deftly reveals the varying perspectives on the project—the sculptor views the statue as a tribute to Hispanic people’s contributions to the United States; El Paso residents are divided along lines of race and class; and Native American activists object to glorifying a figure responsible for the genocide of their ancestors—without offering any easy solutions. In her 2014 film Las Marthas, Ibarra crafts intimate portraits of two young Mexican American women and their families as they prepare for the annual George and Martha Washington debutante ball in Laredo, Texas. The high-profile community event is a significant emotional and financial investment, as participants in the ball must don the dress and the cultural styling of Martha and other colonial figures. Ibarra carefully portrays the intergenerational tensions provoked by this quintessentially American display of tradition and patriotism that celebrates symbols of the American conquest of Mexican territories and specific norms of femininity. Ibarra turns to the immigration policies that haunt borderland communities in The Infiltrators (2019), a collaboration with her partner, filmmaker and media artist Alex Rivera. The film is based on events at an ICE detention center in 2012, when two undocumented young activists presented themselves for arrest and incarceration at a Florida facility. The activists educate detainees about their rights and organize a campaign of legal and public pressure to stop deportations. Ibarra and Rivera create a masterful technical hybrid of documentary and scripted storytelling, combining interviews and footage of the real-life participants with reenactments, performed by professional actors, of scenes within the detention center. The film is both inventive in its formal elements and an unprecedented portrayal of the conditions within ICE facilities.

Ibarra recently developed a digital essay documenting her family’s history in El Paso. The online project sets the stage for a feature-length work, currently in development, about the challenges and resiliency of this border community. Ibarra’s studies of human connectivity in the wake of difficult histories offer new perspectives from which to consider identity, family, aspiration, and the role of history in the vitality of American communities today.

BIOGRAPHY
Cristina Ibarra received a BA (1997) from the University of Texas at Austin. She also directed the short film Dirty Laundry: A Homemade Telenovela (2001).

IN CRISTINA'S WORDS


Smiling Latina woman with long black hair wearing a black top. Text below photo reads: In my films, I consider the border as more than geography; it is a perspective. I offer this way of seeing to any of us searching for a way to rebuild, reimagine, and update the narratives of our day.


I grew up along the U.S.-Mexico border. This is a “third space” where you learn to live with contradictions. It is both English and Spanish, Indigenous and colonized, surreal and ordinary. Despite attempts to control them, the borderlands are porous and in a constant state of movement. In my films, I consider the border as more than geography; it is a perspective. I offer this way of seeing to any of us searching for a way to rebuild, reimagine, and update the narratives of our day.



克里斯蒂娜-伊瓦拉
纪录片制作人 | 2021级
创作有关边境地区社区的细微叙事，通常从奇卡纳和拉丁裔青年的角度出发。


克里斯蒂娜-伊巴拉的肖像

标题
纪录片制片人
地点
帕萨迪纳，加利福尼亚
年龄
获奖时为49岁
关注领域
活动影像
网站
cristinaibarra.com
2021年9月28日出版
关于克里斯蒂娜的作品
克里斯蒂娜-伊巴拉是一位纪录片制作人，对生活在边境地区的拉丁裔家庭进行细致入微和引人注目的叙述。伊巴拉在德克萨斯-墨西哥边境的埃尔帕索长大，并根据个人对地方和家庭的经验进行创作。在多层次的故事中，她发掘并描绘了复杂的殖民主义遗产和继续存在于社区的跨境紧张关系。她的电影描述了代际生活、流离失所、劳工斗争和社区暴力，经常从奇卡纳和拉丁裔青年的角度出发。

最后的征服者》（The Last Conquistador）（2008年）以在埃尔帕索建立十六世纪西班牙征服者Juan de Onate纪念碑的争议计划为中心。伊巴拉巧妙地揭示了关于这个项目的不同观点--雕塑家认为雕像是对西班牙人对美国的贡献的致敬；埃尔帕索的居民在种族和阶级方面存在分歧；美国原住民活动家反对颂扬一个对他们祖先的种族灭绝负有责任的人物--但没有提供任何简单的解决办法。在她2014年的电影《Las Marthas》中，Ibarra为两位年轻的墨西哥裔美国妇女和她们的家庭制作了私密的肖像，她们正在准备德克萨斯州拉雷多的乔治和玛莎-华盛顿的年度名媛舞会。这个高调的社区活动是一项重要的情感和财务投资，因为舞会的参与者必须穿上玛莎和其他殖民时期人物的衣服和文化造型。伊巴拉仔细描绘了这种典型的美国传统和爱国主义的展示所引发的代际间的紧张关系，这种展示是为了庆祝美国对墨西哥领土的征服和特定的女性规范的象征。伊巴拉在《渗透者》（2019年）中转向了困扰边境地区社区的移民政策，这是她与合作伙伴、电影制作人和媒体艺术家亚历克斯-里维拉的合作。这部电影基于2012年ICE拘留中心的事件，当时两名无证的年轻活动家在佛罗里达州的一个设施中提出自己要被逮捕和监禁。这些活动家教育被拘留者了解他们的权利，并组织了一场法律和公众压力的运动，以阻止驱逐出境。伊巴拉和里维拉在技术上创造了一个纪录片和剧本故事的混合体，将采访和现实生活中的参与者的镜头与专业演员表演的拘留中心内的场景相结合。这部电影在形式元素上具有创造性，也是对ICE设施内条件的前所未有的描述。

伊巴拉最近编写了一篇数字文章，记录了她家在埃尔帕索的历史。这个在线项目为目前正在开发的关于这个边境社区的挑战和复原力的长篇作品创造了条件。伊巴拉对困难历史后的人类连接性的研究提供了新的视角，可以考虑身份、家庭、愿望，以及历史在今天美国社区活力中的作用。

个人简历
克里斯蒂娜-伊巴拉在德克萨斯大学奥斯汀分校获得学士学位（1997年）。她还导演了短片《脏衣服》。一个自制的Telenovela（2001）。

在克里斯蒂娜的话语中


穿着黑色上衣的黑色长发的拉丁裔妇女微笑着。照片下面的文字是：。在我的电影中，我认为边界不仅仅是地理，它是一种视角。我把这种观察方式提供给我们任何一个寻找重建、重新想象和更新我们这个时代的叙述方式的人。


我是在美国和墨西哥边境长大的。这是一个 "第三空间"，在这里你学会了与矛盾共存。它既是英语又是西班牙语，既是原住民又是殖民者，既是超现实的又是普通的。尽管有人试图控制它们，但边境地区是多孔的，处于不断运动的状态。在我的电影中，我认为边界不仅仅是地理，它是一种视角。我把这种观察方式提供给我们任何一个寻找重建、重新想象和更新我们这个时代的叙述的人。