{"id":38550,"date":"2022-09-30T15:53:24","date_gmt":"2022-09-30T13:53:24","guid":{"rendered":"http:\/\/a-desk.org\/magazine\/hacer-cine-colaborativo-2-2\/"},"modified":"2023-07-10T11:38:22","modified_gmt":"2023-07-10T09:38:22","slug":"hacer-cine-colaborativo-2-2","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/","title":{"rendered":"Fer cinema col\u00b7laboratiu"},"content":{"rendered":"<p><strong>1. Coexist\u00e8ncia<\/strong><\/p>\n<p>Ja fa una d\u00e8cada, Claire Bishop ens parlava de les limitacions de l&#8217;esfera art\u00edstica per anomenar les diferents activitats que s&#8217;esdevenien, a difer\u00e8ncia del cinema o les arts vives, entre d&#8217;altres<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_38550_1('footnote_plugin_reference_38550_1_1');\" onkeypress=\"footnote_moveToReference_38550_1('footnote_plugin_reference_38550_1_1');\" ><sup id=\"footnote_plugin_tooltip_38550_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_38550_1_1\" class=\"footnote_tooltip\">The worlds of music, film, literature, fashion and theatre have a rich vocabulary to describe co- existing authorial positions (director, author, performer, editor, producer, casting agent, sound&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_38550_1('footnote_plugin_reference_38550_1_1');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_38550_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_38550_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. En aquests dos \u00e0mbits, la naturalesa del treball desenvolupat en grup sempre \u00e9s fonamental i constitutiva. Aix\u00f2 s&#8217;ha tradu\u00eft en el reconeixement autoral de les diferents parts implicades, cosa que encara avui dia costa molt de trobar a la pr\u00e0ctica art\u00edstica. Tot i que algunes persones i entitats fan un esfor\u00e7 cada vegada m\u00e9s gran en el reconeixement del treball, aquest problema continua sent present en la majoria de projectes, on la pe\u00e7a d&#8217;art s&#8217;ent\u00e9n com una cosa en si mateixa, i el proc\u00e9s de producci\u00f3, com una cosa separada i subcontractat. En molts casos, els cr\u00e8dits ni tan sols apareixen. Sense pretendre idealitzar el mon del cinema ni demonitzar la de l&#8217;art \u2013i sent conscients que les fronteres s\u00f3n difuses en molts casos\u2013 pot l&#8217;esfera de l&#8217;art prendre elements estructurals del cinema?<\/p>\n<p><strong>2. Col\u00b7lectiu\/col\u00b7laboraci\u00f3<\/strong><\/p>\n<p>La tend\u00e8ncia al treball de producci\u00f3 col\u00b7lectiva \u00e9s una cosa que sempre ha estat present a l&#8217;art \u2013especialment en entorns de precarietat extrema\u2013, per\u00f2 que nom\u00e9s ha rebut atenci\u00f3 a nivell d&#8217;inscripci\u00f3 hist\u00f2rica en els darrers anys<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_38550_1('footnote_plugin_reference_38550_1_2');\" onkeypress=\"footnote_moveToReference_38550_1('footnote_plugin_reference_38550_1_2');\" ><sup id=\"footnote_plugin_tooltip_38550_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_38550_1_2\" class=\"footnote_tooltip\">Caldria discutir en aquest punt que entenem per art contemporani i des d&#8217;on ho entenem. Per exemple, els processos de producci\u00f3 sonora (amb els components de performance, moda i espais) ja ens&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_38550_1('footnote_plugin_reference_38550_1_2');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_38550_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_38550_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Sens dubte, sempre podrem localitzar excepcions a aquesta afirmaci\u00f3, per\u00f2 no formarien part de la t\u00f2nica general. Cal celebrar que el treball col\u00b7lectiu sigui una cosa cada cop m\u00e9s reconeguda des de l&#8217;oficialitat acad\u00e8mica i institucional. Aix\u00f2 no obstant, especialment quan s&#8217;articula com una producci\u00f3 nova i no com a revisi\u00f3 hist\u00f2rica, aquest reconeixement sol venir enverinat. En la majoria dels casos, all\u00f2 col\u00b7lectiu s&#8217;ent\u00e9n com la producci\u00f3 d&#8217;un \u00fanic autor, reflectint-se de manera especialment problem\u00e0tica en el pagament pel treball, com si la producci\u00f3 d&#8217;un grup fos realitzat nom\u00e9s per una persona. Aquest fet sol ser una causa cont\u00ednua de conflictes, tant amb les institucions com al si dels grups. La distribuci\u00f3 de rols genera inevitablement una jerarquia, per\u00f2 alhora pot articular el treball de forma federativa. Una estructura col\u00b7laborativa on els rols estan definits (encara que puguin eventualment ser intercanviables) permet tamb\u00e9 una descripci\u00f3 m\u00e9s clara per a les negociacions: tant com per al treball amb les institucions, com per als processos interns i per a una redistribuci\u00f3 material en termes de responsabilitat. I fins i tot, per al desenvolupament de les construccions narratives, aquesta redistribuci\u00f3 col\u00b7laborativa permet una composici\u00f3 negociada del que \u00e9s com\u00fa. Sens dubte, no hem d&#8217;idealitzar all\u00f2 col\u00b7laboratiu sobre all\u00f2 col\u00b7lectiu, ja que ser\u00e0 sempre font de conflictes, com tota negociaci\u00f3. Si treballem des d&#8217;aquesta consci\u00e8ncia previnguda, limitarem la frustraci\u00f3 a les tasques de redistribuci\u00f3. Hem de partir sempre des de processos d&#8217;escolta activa per intentar comprendre les diferents posicions a l&#8217;hora de prendre decisions. Podr\u00edem canviar de maneres col\u00b7lectives a formes col\u00b7laboratives, on cada contribuci\u00f3 estigui reconeguda amb ple dret? Podem pensar en formes de treball m\u00e9s enll\u00e0 de l&#8217;horitzontalitat? Com federar la producci\u00f3?<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_38550_1('footnote_plugin_reference_38550_1_3');\" onkeypress=\"footnote_moveToReference_38550_1('footnote_plugin_reference_38550_1_3');\" ><sup id=\"footnote_plugin_tooltip_38550_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_38550_1_3\" class=\"footnote_tooltip\">Un bon exemple sens dubte seria la documenta fifteen.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_38550_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_38550_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p><strong>3. Male\u00eft Parn\u00e9<\/strong><\/p>\n<p>El 1936, es porta al cel\u00b7luloide \u201cMaria de l&#8217;O\u201d als estudis Orphea de Barcelona. El director de la cinta \u00e9s Francisco El\u00edas Riquelme. Va realitzar pel\u00b7l\u00edcules sota les condicions llibert\u00e0ries del Front Popular del 1936 i fins i tot, va filmar peces per a la CNT com \u201cNo vull, no vull\u201d el 1938. El 1939, va haver de fugir a l&#8217;exili. La pel\u00b7l\u00edcula &#8220;Maria de l&#8217;O&#8221;, es va realitzar sota les condicions del moment: tot el personal de l&#8217;equip cobrava el mateix, des del c\u00e0mera fins al director. Vint pessetes per jornada<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_38550_1('footnote_plugin_reference_38550_1_4');\" onkeypress=\"footnote_moveToReference_38550_1('footnote_plugin_reference_38550_1_4');\" ><sup id=\"footnote_plugin_tooltip_38550_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_38550_1_4\" class=\"footnote_tooltip\">RIPOLL SORIA, Xavier, <span class=\"footnote_url_wrap\">http:\/\/www.xtec.cat\/~xripoll\/hcinec3.htm<\/span> [consultado 15-09-22)<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_38550_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_38550_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. El gui\u00f3 est\u00e0 escrit per Salvador Valverde i Rafael de Le\u00f3n, entusiastes de la II Rep\u00fablica. La trama tracta sobre la vida de Maria de l&#8217;O, una artista del flamenc interpretada per la inigualable Carmen Amaya. En la lletra de la can\u00e7\u00f3 principal de la pel\u00b7l\u00edcula, instal\u00b7len una reflexi\u00f3 for\u00e7a cr\u00edtica cap a les relacions entre all\u00f2 afectiu i all\u00f2 econ\u00f2mic. A la figura del parn\u00e9, vocable de l&#8217;argot per designar els diners, es condensa la trag\u00e8dia. \u00c9s el lloguer d&#8217;all\u00f2 emocional que la lletra proposa on s&#8217;ensorra all\u00f2 personal. Els diners han de ser l&#8217;\u00fanica manera possible de retribuci\u00f3 i redistribuci\u00f3? Quins altres mitjans podem trobar per anomenar i recon\u00e8ixer m\u00e9s enll\u00e0 del capital simb\u00f2lic en termes de responsabilitat i tornada? Assistim avui a una situaci\u00f3 en qu\u00e8 es poden tra\u00e7ar nombrosos paral\u00b7lelismes amb l&#8217;escenari de l&#8217;Europa despr\u00e9s dels anys vint abundants i els complexos anys trenta. Despr\u00e9s d&#8217;una forta activitat d&#8217;especulaci\u00f3 financera, la crisi del 29 va explotar deixant una llarga d\u00e8cada de conflictes intensos. Paral\u00b7lelament, tamb\u00e9 es van produir moments d&#8217;alta experimentaci\u00f3 social i pol\u00edtica. En el context actual podem apreciar amb claredat com es desenvolupen ara experi\u00e8ncies que se&#8217;n nodreixen. Sens dubte, els s\u00edmbols que van qualificar en aquells moments s\u00f3n s\u00edmbols que podem rellegir en aquests moments. Mentre ultimo aquest text, el neofeixisme pren la presid\u00e8ncia d&#8217;It\u00e0lia, a trav\u00e9s d&#8217;una coalici\u00f3 racista, antiecologista i hom\u00f2foba. Hem de compondre genealogies que ens facilitin l&#8217;autoorganitzaci\u00f3 davant d&#8217;aquesta nit densa que s&#8217;expandeix.<\/p>\n<p><strong>4. Un cos mai no \u00e9s un cos en si mateix<\/strong><\/p>\n<p>En el seu m\u00edtic \u201cNotes sobre el cinemat\u00f2graf\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_38550_1('footnote_plugin_reference_38550_1_5');\" onkeypress=\"footnote_moveToReference_38550_1('footnote_plugin_reference_38550_1_5');\" ><sup id=\"footnote_plugin_tooltip_38550_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_38550_1_5\" class=\"footnote_tooltip\">BRESSON, Robert, \u201cNotas sobre el cinemat\u00f3grafo\u201d, Ardora Ediciones, Madrid, 1997.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_38550_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_38550_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, Robert Bresson apuntava a trav\u00e9s dels seus aforismes com cada pel\u00b7l\u00edcula constitueix un document de la seva \u00e8poca: no nom\u00e9s per la ficci\u00f3 que proposa o per les persones que mostra, sin\u00f3 tamb\u00e9 sobre les formes amb les que es realitza. La manera de producci\u00f3 inscrita en els projectes que fem tamb\u00e9 d\u00f3na compte de la cosmovisi\u00f3 que plantegem. En aquest sentit, les pel\u00b7l\u00edcules funcionen com a ecosistemes, de m\u00e9s o menys escala, on es desplega sempre de forma institut\u00f2ria una xarxa de relacions. Alhora, \u00e9s un mitj\u00e0 que de partida ja es posiciona com a transdisciplinar: cada projecte de pel\u00b7l\u00edcula est\u00e0 creuat d&#8217;exercicis d&#8217;escriptura, performance, so, imatge, ritmes i arquitectura. A les produccions audiovisuals la q\u00fcesti\u00f3 no hauria de ser nom\u00e9s el qu\u00e8 i com s&#8217;explica, per\u00f2 tamb\u00e9 el qu\u00e8 i com es produeix. Aquesta consci\u00e8ncia tamb\u00e9 ens pot ajudar a passar des d&#8217;una l\u00f2gica de la competici\u00f3 cap a una l\u00f2gica de la col\u00b7laboraci\u00f3 en la producci\u00f3 de narratives audiovisuals. Som esclaus de les pantalles i la nostra atenci\u00f3 \u00e9s el primer punt d\u00b4entrada de l\u00b4alienaci\u00f3 contempor\u00e0nia. Estem a la merc\u00e8 d&#8217;una constant desinformaci\u00f3; una modulaci\u00f3 emocional cont\u00ednua; d&#8217;una seducci\u00f3 perp\u00e8tua perqu\u00e8 el capitalisme segueixi el curs fagocitador. Davant d&#8217;aquestes m\u00e0quines ferotges de les imatges, hem de trobar l&#8217;espai de produir narracions del que \u00e9s com\u00fa. Davant la polaritzaci\u00f3 indu\u00efda, necessitem produir espais emp\u00e0tics que ens permetin desenvolupar estrat\u00e8gies de solidaritat. En el col\u00b7lapse que s&#8217;est\u00e0 produint cada cop m\u00e9s accelerada, aquesta pr\u00e0ctica de col\u00b7laboraci\u00f3 entesa des del m\u00e9s fonamental de les activitats ser\u00e0 completament inevitable, si aconseguim posicionar-nos des de posicions de suport mutu. Tamb\u00e9 cal practicar aquesta idea del que \u00e9s mutu no nom\u00e9s en les estructures de treball, sin\u00f3 tamb\u00e9 en la composici\u00f3 de les narracions.<\/p>\n<p>Aquest mes de cinema col\u00b7laboratiu hem comptat amb els films:<\/p>\n<p><span class=\"subtitle\">&#8220;<a href=\"https:\/\/a-desk.org\/magazine\/ouvertures\/\" target=\"_blank\" rel=\"noopener\">OUVERTURES<\/a>&#8221; de\u00a0<\/span>The Living and The Dead Ensemble<br \/>\n<span class=\"subtitle\">&#8220;<a href=\"https:\/\/a-desk.org\/magazine\/workers\/\" target=\"_blank\" rel=\"noopener\">WORKERS!&#8221;<\/a> de\u00a0<\/span>Petra Bauer &amp; SCOT-PEP<br \/>\n<span class=\"subtitle\">&#8220;<a href=\"https:\/\/a-desk.org\/magazine\/windjarrameru\/\">WINDJARRAMERU (THE STEALING C*NT$)<\/a>&#8221; de\u00a0<\/span>The Karrabing Film Collective<br \/>\n<span class=\"subtitle\">&#8220;<a href=\"https:\/\/a-desk.org\/magazine\/dergeldcomplex\/\" target=\"_blank\" rel=\"noopener\">DER GELDKOMPLEX (EL COMPLEJO DEL DINERO)<\/a>&#8221; de\u00a0<\/span>Juan Rodrig\u00e1\u00f1ez<\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_38550_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_38550_1();\">[<a id=\"footnote_reference_container_collapse_button_38550_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_38550_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_38550_1('footnote_plugin_tooltip_38550_1_1');\"><a id=\"footnote_plugin_reference_38550_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\"><em>The worlds of music, film, literature, fashion and theatre have a rich vocabulary to describe co- existing authorial positions (director, author, performer, editor, producer, casting agent, sound engineer, stylist, photographer), all of which are regarded as essential to the creative realization of a given project. The lack of an equivalent terminology in contemporary visual art has led to a reductive critical framework, underpinned by moral indignation<\/em>. BISHOP, Claire, \u201cArtificial Hells. Participatory Art and the Politics of Spectatorship\u201d, Verso, London, 2012.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_38550_1('footnote_plugin_tooltip_38550_1_2');\"><a id=\"footnote_plugin_reference_38550_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">Caldria discutir en aquest punt que entenem per art contemporani i des d&#8217;on ho entenem. Per exemple, els processos de producci\u00f3 sonora (amb els components de performance, moda i espais) ja ens podrien donar una altra s\u00e8rie de genealogies, per\u00f2 l&#8217;extensi\u00f3 requerida d&#8217;aquest text editorial no ens permet incloure aquestes reflexions.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_38550_1('footnote_plugin_tooltip_38550_1_3');\"><a id=\"footnote_plugin_reference_38550_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">Un bon exemple sens dubte seria la documenta fifteen.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_38550_1('footnote_plugin_tooltip_38550_1_4');\"><a id=\"footnote_plugin_reference_38550_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">RIPOLL SORIA, Xavier, <span class=\"footnote_url_wrap\">http:\/\/www.xtec.cat\/~xripoll\/hcinec3.htm<\/span> [consultado 15-09-22)<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_38550_1('footnote_plugin_tooltip_38550_1_5');\"><a id=\"footnote_plugin_reference_38550_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\">BRESSON, Robert, \u201cNotas sobre el cinemat\u00f3grafo\u201d, Ardora Ediciones, Madrid, 1997.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_38550_1() { jQuery('#footnote_references_container_38550_1').show(); jQuery('#footnote_reference_container_collapse_button_38550_1').text('\u2212'); } function footnote_collapse_reference_container_38550_1() { jQuery('#footnote_references_container_38550_1').hide(); jQuery('#footnote_reference_container_collapse_button_38550_1').text('+'); } function footnote_expand_collapse_reference_container_38550_1() { if (jQuery('#footnote_references_container_38550_1').is(':hidden')) { footnote_expand_reference_container_38550_1(); } else { footnote_collapse_reference_container_38550_1(); } } function footnote_moveToReference_38550_1(p_str_TargetID) { footnote_expand_reference_container_38550_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_38550_1(p_str_TargetID) { footnote_expand_reference_container_38550_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>1. Coexist\u00e8ncia Ja fa una d\u00e8cada, Claire Bishop ens parlava de les limitacions de l&#8217;esfera art\u00edstica per anomenar les diferents activitats que s&#8217;esdevenien, a difer\u00e8ncia del cinema o les arts&#8230;<\/p>\n","protected":false},"author":2615,"featured_media":38489,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6175],"tags":[],"coauthors":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Fer cinema col\u00b7laboratiu<\/title>\n<meta name=\"description\" content=\"Fer cinema col\u00b7laboratiu\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fer cinema col\u00b7laboratiu\" \/>\n<meta property=\"og:description\" content=\"Fer cinema col\u00b7laboratiu\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2022-09-30T13:53:24+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-07-10T09:38:22+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/a-desk.org\/wp-content\/uploads\/2022\/09\/maria-de-la-o-poster-1268_SPA-93_V.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"768\" \/>\n\t<meta property=\"og:image:height\" content=\"1024\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lorenzo Sandoval\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrit per\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lorenzo Sandoval\" \/>\n\t<meta name=\"twitter:label2\" content=\"Temps estimat de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minuts\" \/>\n\t<meta name=\"twitter:label3\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data3\" content=\"Lorenzo Sandoval\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/\",\"url\":\"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/\",\"name\":\"Fer cinema col\u00b7laboratiu\",\"isPartOf\":{\"@id\":\"https:\/\/a-desk.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/09\/maria-de-la-o-poster-1268_SPA-93_V.jpg\",\"datePublished\":\"2022-09-30T13:53:24+00:00\",\"dateModified\":\"2023-07-10T09:38:22+00:00\",\"author\":{\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/6178506f56d73b8c8daec65144732cdb\"},\"description\":\"Fer cinema col\u00b7laboratiu\",\"breadcrumb\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/#breadcrumb\"},\"inLanguage\":\"ca\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/#primaryimage\",\"url\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/09\/maria-de-la-o-poster-1268_SPA-93_V.jpg\",\"contentUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/09\/maria-de-la-o-poster-1268_SPA-93_V.jpg\",\"width\":768,\"height\":1024},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\/\/a-desk.org\/ca\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Fer cinema col\u00b7laboratiu\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/a-desk.org\/#website\",\"url\":\"https:\/\/a-desk.org\/\",\"name\":\"A*Desk\",\"description\":\"A*Desk Critical Thinking\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/a-desk.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"ca\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/6178506f56d73b8c8daec65144732cdb\",\"name\":\"Lorenzo Sandoval\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/image\/6cc3238dad36c410575bd42ea7f26d50\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/df22b17fb69a4f85c6db4ba9f9444d63?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/df22b17fb69a4f85c6db4ba9f9444d63?s=96&d=mm&r=g\",\"caption\":\"Lorenzo Sandoval\"},\"url\":\"https:\/\/a-desk.org\/ca\/autor\/lorenzosandoval\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Fer cinema col\u00b7laboratiu","description":"Fer cinema col\u00b7laboratiu","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/","og_locale":"ca_ES","og_type":"article","og_title":"Fer cinema col\u00b7laboratiu","og_description":"Fer cinema col\u00b7laboratiu","og_url":"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/","og_site_name":"A*Desk","article_published_time":"2022-09-30T13:53:24+00:00","article_modified_time":"2023-07-10T09:38:22+00:00","og_image":[{"width":768,"height":1024,"url":"http:\/\/a-desk.org\/wp-content\/uploads\/2022\/09\/maria-de-la-o-poster-1268_SPA-93_V.jpg","type":"image\/jpeg"}],"author":"Lorenzo Sandoval","twitter_card":"summary_large_image","twitter_misc":{"Escrit per":"Lorenzo Sandoval","Temps estimat de lectura":"6 minuts","Written by":"Lorenzo Sandoval"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/","url":"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/","name":"Fer cinema col\u00b7laboratiu","isPartOf":{"@id":"https:\/\/a-desk.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/#primaryimage"},"image":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/#primaryimage"},"thumbnailUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/09\/maria-de-la-o-poster-1268_SPA-93_V.jpg","datePublished":"2022-09-30T13:53:24+00:00","dateModified":"2023-07-10T09:38:22+00:00","author":{"@id":"https:\/\/a-desk.org\/#\/schema\/person\/6178506f56d73b8c8daec65144732cdb"},"description":"Fer cinema col\u00b7laboratiu","breadcrumb":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/#breadcrumb"},"inLanguage":"ca","potentialAction":[{"@type":"ReadAction","target":["https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/"]}]},{"@type":"ImageObject","inLanguage":"ca","@id":"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/#primaryimage","url":"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/09\/maria-de-la-o-poster-1268_SPA-93_V.jpg","contentUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/09\/maria-de-la-o-poster-1268_SPA-93_V.jpg","width":768,"height":1024},{"@type":"BreadcrumbList","@id":"https:\/\/a-desk.org\/ca\/magazine\/hacer-cine-colaborativo-2-2\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/a-desk.org\/ca\/"},{"@type":"ListItem","position":2,"name":"Fer cinema col\u00b7laboratiu"}]},{"@type":"WebSite","@id":"https:\/\/a-desk.org\/#website","url":"https:\/\/a-desk.org\/","name":"A*Desk","description":"A*Desk Critical Thinking","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/a-desk.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"ca"},{"@type":"Person","@id":"https:\/\/a-desk.org\/#\/schema\/person\/6178506f56d73b8c8daec65144732cdb","name":"Lorenzo Sandoval","image":{"@type":"ImageObject","inLanguage":"ca","@id":"https:\/\/a-desk.org\/#\/schema\/person\/image\/6cc3238dad36c410575bd42ea7f26d50","url":"https:\/\/secure.gravatar.com\/avatar\/df22b17fb69a4f85c6db4ba9f9444d63?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/df22b17fb69a4f85c6db4ba9f9444d63?s=96&d=mm&r=g","caption":"Lorenzo Sandoval"},"url":"https:\/\/a-desk.org\/ca\/autor\/lorenzosandoval\/"}]}},"_links":{"self":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/38550"}],"collection":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/users\/2615"}],"replies":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/comments?post=38550"}],"version-history":[{"count":4,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/38550\/revisions"}],"predecessor-version":[{"id":38555,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/38550\/revisions\/38555"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/media\/38489"}],"wp:attachment":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/media?parent=38550"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/categories?post=38550"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/tags?post=38550"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/coauthors?post=38550"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}