{"id":10385,"date":"2022-10-05T10:06:29","date_gmt":"2022-10-05T10:06:29","guid":{"rendered":"https:\/\/zinebi.eus\/zinebi-64\/jurados-internacionales\/"},"modified":"2022-10-21T11:01:01","modified_gmt":"2022-10-21T11:01:01","slug":"jurados-internacionales","status":"publish","type":"page","link":"https:\/\/zinebi.eus\/en\/zinebi-64\/jurados-internacionales\/","title":{"rendered":"International Jury"},"content":{"rendered":"
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Official Selection\r\nShort Film International Competition Jury\r\n<\/span><\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Anca Caramelea<\/b><\/h4>\r\nFilm programmer at Ecozine Film Festival. As a film professional, she has collaborated with several film festivals such as Les Films de Cannes \u00e0 Bucarest, Bucharest International Experimental Film Festival (BIEFF), NexT Film Festival. Her interest for cinema as an instrument for change has been the driving force of a long collaboration with Pelicam \u2013 International Film Festival about Environment and People, both as a programmer and a festival coordinator. Her other professional area revolves around the role films can play as educational resources, so she has worked extensively with various film education programmes (CinEd, \u00c9ducation \u00e0 l\u2019image, CineKids, Kinoteca Bloc Zero). She studied Anthropology and Sociology at the University of Bucharest and has a Masters in Film Studies from the University of East Anglia.<\/span>\r\n\r\n<\/div>\r\n
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Hilke Doering<\/b><\/h4>\r\nBorn in 1966, raised in Germany and Switzerland. She studied Sociology in Bielefeld and Paris, and did research on Visual Sociology and Ethnography. She has been with the International Short Film Festival Oberhausen since 1995 as Head of the international competition and international festival relations. In this context, she has been a member of the board of the European Coordination of Film Festivals from 1996 to 2000, and has been president of the International Short Film Conference from 1998 to 2003, as well as founding member of the European Short Film Network (ESFN) in 2018. She has been jury member at numerous international film festivals and has curated film programmes worldwide. <\/span>\r\n\r\n<\/div>\r\n
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Juan Soto Taborda <\/b><\/h4>\r\nHe is a film editor, director and archivist. He studied Documentary Directing at the San Antonio de los Ba\u00f1os International Film and TV School (EICTV) in Cuba. He is currently heading up a project for Filmoteca de Catalunya and the Catalonia Higher Film and Audiovisual School (ESCAC), curated by Ferr\u00e1n Alberich. In 2020 he won the Best Edited Film award at the Black Canvas Festival for <\/span>Intimate Distances<\/span><\/i>, by Philip Warnell. He has been nominated twice as Best Editor for the Colombian Film Academy\u2019s Macondo Awards. His work as an editor includes, among others: <\/span>La<\/span><\/i> defensa del drag\u00f3n<\/span><\/i>, by Natalia Santa; <\/span>Agosto<\/span><\/i>, by Armando Cap\u00f3; <\/span>Pornomelancol\u00eda<\/span><\/i>, by Manuel Abramovich, and <\/span>El Father Plays<\/span><\/i> Himself<\/span><\/i>, by Mo Scarpelli. As director he has filmed <\/span>Revelaciones<\/span><\/i> (2020),<\/span> Par\u00e1bola del retorno<\/span><\/i> (2016), <\/span>Estudio de reflejos <\/span><\/i>(2013), <\/span>Nieve<\/span><\/i> (2012), <\/span>19\u00ba sur 65\u00ba oeste<\/span><\/i> (2010), <\/span>El bombillo<\/span><\/i> (2009) and <\/span>Elena dio a luz un hermoso ni\u00f1o<\/span><\/i> (codir.: Chiara Mara\u00f1\u00f3n; prod.: LaCima), funded by the Institute of Cinematography and Audiovisual Arts (ICAA), and currently at the production stage. <\/span>\r\n
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Sabina Urraca<\/b><\/h4>\r\nWriter, editor and journalist. Born in the Basque Country, she grew up in Tenerife, and has lived in Madrid <\/span>for<\/span> over twenty years. She holds a degree in Audiovisual Communication from Madrid\u2019s Complutense University, and a Script diploma from the Madrid Community\u2019s School of Cinematography and Audiovisual (ECAM). She has worked as a scriptwriter, television creative, waitress, insurance salesperson and marijuana cutter. She writes in several Spanish media (<\/span>El Pa\u00eds<\/span><\/i>, <\/span>El Cultural<\/span><\/i>, <\/span>Vice<\/span><\/i>, <\/span>Cineman\u00eda<\/span><\/i>, <\/span>Eldiario.es<\/span><\/i>). She is the author of the novel <\/span>Las ni\u00f1as prodigio<\/span><\/i> (Fulgencio Pimentel, 2017), which won the Javier Morote Award, and also <\/span>So\u00f1\u00f3 con la chica que robaba un caballo<\/span><\/i> (Lengua de trapo, 2021). She is the editor of Panza de burro, by Andrea Abreu (Barrett, 2020) and runs writing workshops at a number of cultural institutions. In 2020 she was awarded the University of Iowa\u2019s Arts Fellowship grant.<\/span>\r\n\r\n<\/div>\r\n
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Bego\u00f1a Vicario <\/b><\/h4>\r\nDoctor of Fine Arts and lecturer in Animation. She coordinates the Hauazkena animation group and conducts research work with the Akmeka Contemporary Art Research Group: <\/span>www.akmeka.org<\/span><\/i>. Her individual work as film director includes <\/span>Pregunta por m\u00ed<\/span><\/i> (1997) and<\/span> Haragia \/ Carne humana<\/span><\/i> (2000), alongside joint projects such as <\/span>Beti bezperako koplak<\/span><\/i> (2015), <\/span>Areka<\/span><\/i> (2016), <\/span>Ehiza<\/span><\/i> (2020) and <\/span>Hirian ibiltzeko<\/span><\/i> jarraibideak<\/span><\/i> (Instrucciones para andar por la ciudad, 2021), all of which won awards at international festivals, including a Goya and the Grand Award of Basque Cinema ZINEBI 59 (2017). She has written a number of books on animated films, among which:<\/span> Breve historia del cine de animaci\u00f3n experimental vasco<\/span><\/i> (1998, Semana de Cine Experimental de Madrid), <\/span>Sistiaga, el trazo vibrante<\/span><\/i> (2008 Animadrid) and <\/span>Cortometraje de animaci\u00f3n realizado por mujeres en el Estado Espa\u00f1ol<\/span><\/i> (Cineastas emergentes. Mujeres en el cine del siglo XXI. Madrid: Iberoamericana, 2018).<\/span>\r\n\r\n<\/div>\r\n<\/div>\r\n
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Official Selection\r\nZIFF \u2013 ZINEBI First Film International Competition Jury<\/b>\r\n<\/span><\/h3>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Nicole Brenez<\/b><\/h4>\r\nProfesora de Estudios Cinematogr\u00e1ficos en la Universidad Sorbona Nueva, directora del Departamento de An\u00e1lisis y Cultura de la Fundaci\u00f3n Europea para las Profesiones de la Imagen y el Sonido (Femis) desde 2017 y comisaria del ciclo de cine de vanguardia de la Cinemateca Francesa desde 1996. Junto con el cineasta Philippe Grandrieux, produce la colecci\u00f3n de pel\u00edculas <\/span>It May Be That Beauty Has Strengthened Our Resolve<\/span><\/i>, dedicada a las y los cineastas revolucionarios olvidados o ignorados por las historiograf\u00edas del cine. Ha trabajado con Chantal Akerman (<\/span>La folie Almayer<\/span><\/i>, 2011), Jocelyne Saab, Maryl\u00e8ne Negro, Jean-Gabriel P\u00e9riot, Jean-Luc Godard (<\/span>Le Livre d\u2019Image<\/span><\/i>, 2018) y Jacques Kebadian. Asimismo, entre sus publicaciones podemos encontrar: <\/span>Cin\u00e9ma d\u2019avant-garde Mode d\u2019emploi <\/span><\/i>(Tokio, editorial Gendaishicho-shinsha, 2012); <\/span>We Support Everything Since the Dawn of Time That Has Struggled and Still Struggles. Introduction to Lettrist Cinema<\/span><\/i> (Estocolmo, Moderna Museet \/ Sternberg Press, 2015); <\/span>Jean-Luc Godard th\u00e9oricien des images <\/span><\/i>(Roma, La Camera Verde, 2015);<\/span> Manifestations.<\/span><\/i> \u00c9crits politiques sur le cin\u00e9ma et autres arts filmiques<\/span><\/i> (R\u00e9ville, De l\u2019Incidence, 2020).<\/span>\r\n\r\n<\/div>\r\n
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Photo: \u00a9 Elena Taboada<\/figcaption><\/figure>\r\n

Carlos Mara\u00f1\u00f3n Canal <\/b><\/h4>\r\nFilm critic and journalist with more than twenty-five years\u2019 experience. He has been director of <\/span>Cineman\u00eda<\/span><\/i> since 2008. He holds a degree in Law from the University of Barcelona, and a degree in Journalism from the University of Navarra. He works with the Cadena SER radio station (<\/span>La ventana,<\/span><\/i> Carrusel deportivo<\/span><\/i>) as a film and football commentator, and is also a Movistar+ commentator on the Oscars and Spain\u2019s La Liga football league. A former footballer and columnist in <\/span>AS,<\/span><\/i> he has also written in <\/span>El Pa\u00eds, La Vanguardia, 20 minutos, Cinco D\u00edas, Rolling Stone <\/span><\/i>and <\/span>Gentleman. <\/span><\/i>He authored the books <\/span>F\u00fatbol y cine. El balompi\u00e9 en la gran pantalla<\/span><\/i> and <\/span>Un partido de leyenda. Historias de <\/span><\/i>\u2018<\/span>Evasi\u00f3n o victoria<\/span><\/i>\u2019. He has worked on monographic projects and co-authored books on films and football, and also was co-author along with Galder Reguera of the epistolary <\/span>Quedar\u00e1 la ilusi\u00f3n: Una correspondencia durante el Mundial de Rusia.\u00a0<\/span><\/i>\r\n\r\n<\/div>\r\n
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Photo: \u00a9 Maja Radosevic<\/figcaption><\/figure>\r\n

Marta Popivoda<\/b><\/h4>\r\nFilmmaker, artist, and researcher living and working between Belgrade and Berlin. The main concerns in her work are the tensions between memory, history, and ideology, as well as the relations between collective and individual bodies. Popivoda approaches them from a feminist and queer perspective. Her first feature documentary,<\/span> Yugoslavia, How Ideology Moved Our Collective Body<\/span><\/i>, premiered at the 63rd Berlin International Film Festival \u2013 Berlinale and was later screened at many international film festivals. It is also part of the film collection of MoMA New York. Her work has been featured in major art galleries, such as Tate Modern London, MoMA New York, and MAXXI Rome. She received the prestigious Berlin Art Prize for the visual arts by Akademie der K\u00fcnste Berlin and Edith-Russ-Haus Award for Emerging Media Artist. Her latest documentary, <\/span>Landscapes of Resistance<\/span><\/i>, premiered in the Tiger Competition of the 50th International Film Festival Rotterdam (IFFR) and won many awards worldwide. In 2022 her work was presented at the 12th Berlin Biennale, Manifesta 14 Biennal, and Belgrade Biennale. She regularly teaches film at SNDO, AHK in Amsterdam, and Oslo National Academy of the Arts.<\/span>\r\n\r\n<\/div>\r\n<\/div>\r\n
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Official Selection Short Film International Competition Jury Anca Caramelea Film programmer at Ecozine Film Festival. As a film professional, she has collaborated with several film festivals such as Les Films de Cannes \u00e0 Bucarest, Bucharest International Experimental Film Festival (BIEFF), NexT Film Festival. Her interest for cinema as an instrument for change has been the […]<\/p>\n","protected":false},"author":2,"featured_media":10402,"parent":7727,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"templates\/page-with-container.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-10385","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/zinebi.eus\/en\/wp-json\/wp\/v2\/pages\/10385","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/zinebi.eus\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/zinebi.eus\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/zinebi.eus\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/zinebi.eus\/en\/wp-json\/wp\/v2\/comments?post=10385"}],"version-history":[{"count":5,"href":"https:\/\/zinebi.eus\/en\/wp-json\/wp\/v2\/pages\/10385\/revisions"}],"predecessor-version":[{"id":12421,"href":"https:\/\/zinebi.eus\/en\/wp-json\/wp\/v2\/pages\/10385\/revisions\/12421"}],"up":[{"embeddable":true,"href":"https:\/\/zinebi.eus\/en\/wp-json\/wp\/v2\/pages\/7727"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/zinebi.eus\/en\/wp-json\/wp\/v2\/media\/10402"}],"wp:attachment":[{"href":"https:\/\/zinebi.eus\/en\/wp-json\/wp\/v2\/media?parent=10385"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}