Object Details
- Creator
- Preloran, Jorge, 1933-2009
- Names
- University of California, Los Angeles
- Place
- Patagonia (Argentina and Chile)
- Argentina
- Topic
- Ethnology
- Documentary films
- Biography
- Provenance
- This collection was donated to the Human Studies Film Archives in two accessions. The first accession, 2007-10, contains the edited films, outtakes, audio recordings, papers, and photographs and was donated by Jorge Prelorán. Materials had been stored at Prelorán's home office and home editing suite before they were packed by the processing archivist and sent to the HSFA. The second accession, 2011-07, contains the digital books and some additional photographs. This accession was donated by Mabel Prelorán. These materials had also been stored at Prelorán's home office and were sent to the HSFA by Mabel Prelorán.
- Creator
- Preloran, Jorge, 1933-2009
- See more items in
- Jorge Prelorán films
- Sponsor
- Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.
- Summary
- Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.
- Biographical Note
- Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." In films such as Hermógenes Cayo (Imaginero) (1970), Los Hijos de Zerda (Zerda's Children) (1974), and Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), Prelorán's protagonists tell their personal stories, while also revealing the stories of their communities and cultures. Prelorán worked in Latin America and the United States, but primarily in his native country of Argentina. His career spanned from 1954 to 2008, including nearly twenty years as a film professor at the University of California, Los Angeles (UCLA). Prelorán was born May 28, 1933 in Buenos Aires, Argentina. His father, an engineer, was Argentine and had studied at the Massachusetts Institute of Technology, where he met his wife, an American. Prelorán grew up speaking both Spanish and English. Initially pursuing a career in architecture, he studied at the Universidad Nacional de Buenos Aires. He made his first film, Venganza, with neighborhood friends in Buenos Aires in 1954. The film won the Beginner's Festival of Cine Club Argentina that same year. Prelorán was accepted as an undergraduate at the University of California, Berkeley, and studied architecture there for one year. In 1956 he withdrew from UC Berkeley and was drafted into the US Army. Prelorán served in West Germany until 1958. Upon his return he changed educational plans and began formal study of filmmaking, receiving a Bachelor of Arts in Motion Pictures from UCLA in 1960. Shortly before the end of his service in the US Army, Prelorán married Elsa Dondi, a former classmate from Buenos Aires. They lived together in Los Angeles until Elsa returned to Argentina for the birth of their daughter, Adriana, in 1961. The couple separated shortly thereafter. Prelorán's professional career as a filmmaker began in 1961 with a commission from the Tinker Foundation of New York for a series of films on the Argentine gaucho. In the course of shooting for these films, Prelorán traveled extensively throughout Argentina, visiting many locations in Patagonia and in the northwest where he would later return to make many of his films. From 1963-1969, Prelorán was under contract at the Universidad Nacional de Tucumán to produce educational films; he also produced a series of short films on Argentine folklife with support from Fondo Nacional de las Artes and under the mentorship of folklorist Augusto Raúl Cortazar, Ph.D. In the late 1960s, Prelorán became involved with UCLA's Ethnographic Film Program and in 1970 he returned to UCLA as a lecturer for two semesters. Later that year he was a fellow at Harvard University's Film Study Center, where he produced the English-language version of Imaginero (Hermógenes Cayo). Prelorán was the recipient of two Guggenheim Fellowships, in 1971 and 1975, and used those opportunities to produce quite a number of films, including Damacio Caitruz (Araucanians of Ruca Choroy). Prelorán remarried in 1972. His wife, Mabel Freddi, became a collaborator on his films. She wrote the screenplay for Mi Tia Nora (My Aunt Nora) (1983) and co-directed Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), among other credited and un-credited roles. After the Argentine military coup of March 1976 and the disappearances of fellow filmmaker Raymundo Gleyzer and Mabel's niece, Haydee, the Preloráns became fearful for their own safety. They fled to the United States, a move that would become permanent. Prelorán accepted a position as associate professor at UCLA's School of Theater, Film and Television. He later joined the faculty as a tenured professor. During his time at UCLA, Prelorán was twice selected as a Fulbright Scholar, in 1987 and 1994. He continued to produce films, including the Academy Award-nominated documentary short Luther Metke at 94 (1980) and the 7-hour natural history television series Patagonia (1992). After retiring in 1994, Prelorán continued to mentor film students as Professor Emeritus; he also began work in a new medium, creating a series of digital books, "Nos = Otros" ("Sages Amongst Us") (unpublished), featuring individuals engaged in creative and educational pursuits. Prelorán died at his home in Culver City, CA at the age of 75 on March 28, 2009. Sources Consulted UCLA, School of Theater, Film and Television. "Jorge Prelorán 1933 - 2009." Obituary. Last modified March 31, 2009. Accessed April 1, 2009. http://tft.ucla.edu/news/obituary Jorge Prelorán Collection. Human Studies Film Archives, Smithsonian Institution. Rivera, Fermín. Huellas Y Memoria de Jorge Prelorán. Documentary film. 2010. Woo, Elaine."Jorge Prelorán dies at 75; Argentine filmmaker and former UCLA professor." Los Angeles Times, April 5, 2009. Web. 29 Apr 2009. 1933 -- Born May 28 in Buenos Aires, Argentina 1952-1954 -- Studies at the College of Architecture, Universidad Nacional de Buenos Aires, Argentina 1954 -- Completes first film, Venganza, a fictional short 1955 -- Studies at the College of Architecture, University of California at Berkeley 1956-1958 -- Drafted into United States Army, stationed in Schwetzingen, West Germany 1959-1960 -- Earns Bachelor of Arts in Motion Pictures from UCLA 1961-1963 -- Produces films on the Argentine gaucho for the Tinker Foundation, New York 1963-1969 -- Produces films at the Universidad Nacional de Tucumán, Argentina 1968 -- Attends the First International Colloquium on Ethnographic Film at UCLA 1969 -- Shoots film for The Warao People in Venezuela, under a grant from the Ford Foundation to the Ethnographic Film Program at UCLA 1970 -- Lecturer at UCLA School of Theater, Film, and Television Fellow at the Film Study Center, Harvard University 1971 -- Receives first Guggenheim Fellowship; completes several film projects in Argentina 1975 -- Receives second Guggenheim Fellowship; continues filming in Argentina 1976 -- Moves to United States Associate professor at UCLA School of Theater, Film, and Television 1978 -- Guest of Honor at the 2nd Margaret Mead Ethnographic Film Festival at the American Museum of Natural History, New York 1980 -- Academy Award nominee for Luther Metke at 94 1985 -- Guest at the White House for a State Dinner in honor of Argentine President Raul Alfonsin 1986 -- Naturalized as a United States citizen 1987 -- First selection as Fulbright Scholar; begins production of the series Patagonia, en Busca de su Remoto Pasado 1994 -- Second selection as Fulbright Scholar; completes pre-production for the narrative feature film "Vairoletto: The Last Gaucho Outlaw" Retires from UCLA as professor emeritus 2009 -- Dies on March 28 in Culver City, California
- Extent
- 50 Film reels (50 completed films and 1 film series; 110,600 feet of original film outtakes (51 hours); 412 hours of audiotape; 31 digital books)
- 22 Linear feet (Papers and photographs)
- Date
- 1954-circa 2008
- Archival Repository
- Human Studies Film Archives
- Identifier
- HSFA.2007.10
- Type
- Collection descriptions
- Archival materials
- Film reels
- Citation
- The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.
- Arrangement
- This collection is arranged in 11 series: (1) Completed Films and Videos, 1954-circa 2008; (2) Film Outtakes, 1960s-1980s; (3) Audio, 1969-2008; (4) Correspondence, 1954-2005 (bulk 1967-1992); (5) Production Files, 1961-1998; (6) Project Files, 1967-1995; (7) UCLA, 1968-2005 (bulk 1980s); (8) Press Clippings, 1960-2005; (9) Photographs, 1961-2000; (10) Books, 1994-1998, undated; (11) Electronic Files, circa 2000-circa 2006
- Processing Information
- The titles for published films and videos are written in italics. "Known as" titles for unpublished works are written in quotation marks. Assigned titles are placed within square brackets. The paper records in this collection were received partially organized. Existing groupings and arrangement were retained, and the paper records were organized into five series. Original folder titles were generally retained, with assigned titles placed within square brackets. The digital books and ZIP disks are listed according to the order established by the creator. These digital materials have not been fully processed. Complete processing of this collection would not have been possible without the excellent work of the following interns and volunteers: Regina Longo - initial processing of the paper records and photographs Richard Muñiz - processing and description of the Press Clippings series Samantha Oddi - processing of the audio recordings Thanks also to Mark White and Pamela Wintle for guidance in processing this collection, and to Daisy Njoku and Lorain Wang for assistance in crafting this guide. Finally, a very special thanks to Mabel Prelorán for graciously answering innumerable questions, fact-checking the biographical sketch and chronology, and brightening many a day with her kindness and warmth. Processed by Karma Foley, June 2012 Encoded by Katherine Christensen, May 2020
- Rights
- Contact the repository for terms of use.
- Filmography
- Prelorán is best known for his intimate approach to ethnographic film, a style known as "ethnobiography". In films such as Hermogenes Cayo (Imaginero) (1970), Cochengo Miranda (1974), and Zerda's Children (1978), Prelorán's protagonists tell their personal stories, while also revealing the stories of their communities and cultures. His 1989 film Zulay, Facing the 21st Century was considered ground-breaking for its nuanced discussion of immigration and culture change and for its self-reflexive nature (the film was co-directed by Prelorán's wife, anthropologist Mabel Prelorán, and the subject, Zulay Saravino). Prelorán's filmography also includes several short experimental films and one feature-length fiction film, My Aunt Nora (1983) (screenplay by Mabel Prelorán). Prelorán produced and directed more than sixty films and has cinematography and editing credits on many others. He collaborated with anthropologists, writers, musicians, visual artists, filmmakers, and scientists, both in Argentina and the United States. Please note that not all titles from Prelorán's filmography are held at the Human Studies Film Archives. Notes * These titles were produced for the Tinker Foundation (New York, NY). With the exception of The Argentine Gaucho, Today (El Gaucho Argentino, Hoy), the original film is held at the Harry Ransom Center, University of Texas at Austin. ** These titles are not held at the Human Studies Film Archives. 1954 -- Venganza 1956 -- At Three O'Clock 1957 -- The Unvictorious One 1958 -- Mackinac Island 1959 -- This Is U.C.L.A. 1960 -- Delirium Tremens 1961 -- Death, Be Not Proud 1962 -- The Llanero -- ( -- El Llanero -- )* 1962 -- Costa Patagónica 1962 -- Costumbres Neuquinas 1962 -- La Patagonia Argentina -- ** 1963 -- The Gaucho of Corrientes -- ( -- El Gaucho Corriento -- )* 1963 -- The Gaucho of the Pampas -- ( -- El Gaucho de las Pampas -- )* 1963 -- The Gaucho of Salta -- ( -- El Gaucho de Salta -- )* 1963 -- The Argentine Gaucho, Today -- ( -- El Gaucho Argentino, Hoy -- )* 1964 -- Anfibios, Reproduccion y Desarrollo 1964 -- Potential Dinamico de la Republica Argentina 1965 -- La Biologia Experimental 1965 -- Dinosaurs—The Age of Reptiles 1965 -- El Estudio de los Vegetales -- ** 1965 -- Reptiles Fosiles Triasicos de la Argentina 1965 -- Máximo Rojas, Monturero Criollo -- (Re-edited into -- Valle Fertil -- ) ** 1965 -- Trapiches Caseros -- (English version, -- Primitive Sugar Mills -- , published 1978) 1965 -- Feria en Simoca 1966 -- Casabindo 1966 -- Ocurrido en Hualfín -- (Co-directed by Raymundo Gleyzer) 1966 -- Quilino -- (English version published in 1977) 1966 -- Viernes Santo en Yavi -- (Re-edited into another film) ** 1966 -- Purmamarca 1966 -- Claudia y Yo 1967 -- El Tinkunaco 1967 -- Salta y Su Fiesta Grande 1967 -- Un Tejedor de Tilcara 1968 -- Artesanias Santiagueñas 1968 -- Chucalezna -- (English version published in 1978) 1968 -- Iruya 1968 -- Medardo Pantoja, Pintor -- (Re-edited version published in 1983) 1969 -- La Feria de Yavi 1969 -- Fiestas en Volcan 1969 -- Señalada en Juella 1970 -- Hermógenes Cayo, Imaginero -- (English version, -- Imaginero -- ) 1971 -- Damacio Caitruz -- (English version, -- Araucanians of Ruca Choroy -- ) 1971 -- El Grano Dorado -- (Re-edited version published ca. 1981) 1971 -- Manos Pintadas -- (Re-edited version and English version, -- Painted Hands -- , published in 1981) 1971 -- The Red-Tailed Comet -- (Edited by Prelorán; Photography by Francisco Contino) 1971 -- Remate en Estancia 1972 -- Claudia 1972 -- Valle Fertil 1973 -- The Ona: Life and Death in Tierra del Fuego -- (Photography and Editing by Prelorán; Directed by Ann Chapman and Ana Montes de González) 1974 -- Cochengo Miranda -- (English version published in 1979) 1974 -- Los Hijos de Zerda -- (English version, -- Zerda's Children -- , published in 1978) 1974 -- The Warao People -- (Spanish version, -- Los Guarao -- ) 1977 -- La Iglesia de Yavi 1978 -- La Maquina -- (English version, -- The Pump -- ) 1979 -- Luther Metke at 94 -- (Co-directed by Steve Raymen) 1980 -- Castelao 1980 -- Héctor di Mauro, Titeritero -- (English version, -- Héctor di Mauro, Puppeteer -- ) 1983 -- Mi Tia Nora -- (English version, -- My Aunt Nora -- ) 1989 -- Zulay Frente al Siglo XXI -- (English version, -- Zulay Facing the 21st Century -- ) 1993 -- Patagonia, en Busca de su Remoto Pasado -- (Seven-part series) 1994 -- Obsesivo -- (English version, -- Obsessive -- )
- Selected Bibliography
- By Prelorán 1975. "Documenting the Human Condition." In -- Principles of Visual Anthropology -- , ed. Paul Hockings, 103-107. The Hague: Mouton Publishers, 1975. 2006. -- El Cine Etnobiográfico -- . Buenos Aires: Universidad del Cine, 2006.
- About Prelorán 1987. José Rossi, Juan, ed. -- El Cine Documental Ethnobiografico de Jorge Prelorán -- . Buenos Aires: Ediciones Busqueda, 1987. 2010. Rivera, Fermín. -- Huellas y Memoria de Jorge Prelorán -- . DVD. Buenos Aires, 2010. 2007. Sherman, Sharon. "From Romanticism to Reflexivity in the Films of Jorge Prelorán." In -- Memories of the Origins of Ethnographic Film -- , edited by Beate Engelbrecht, 279-291. Frankfurt am Main: Peter Lang, 2007. 1994. Taquini, Graciela. -- Los Directors del Cine Argentino, Jorge Prelorán -- . Buenos Aires: Centro Editor de América Latina, 1994.
- Scope and Contents
- This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008. The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. Several films focus on natural history and science. There are also a number of experimental and fiction films. Prelorán formed close friendships with many of the subjects of his films and corresponded with them long after the films were completed. This is reflected in the paper records, as is Prelorán's wide circle of colleagues and collaborators, including anthropologists, musicians, animators, historians, painters, writers, photographers, current and former students at UCLA, and fellow filmmakers. The extensive collection of press clippings, screening notices, and festival catalogs documents Prelorán's influence in Argentina, Europe, and the United States. In the series of digital books, Prelorán presents the personal stories of individuals involved in creative work. Some books feature subjects profiled in the films, updating or expanding on their stories.
- Restrictions
- The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and the digital books. Access to the Jorge Prelorán collection requires an appointment.
- Record ID
- ebl-1594762323005-1594762323029-0
