Seminar coordinated by Francisco Algarín, Alfonso Crespo and Manuel J. Lombardo
Gonzalo García Pelayo is a great heterodox of modern Spanish cinema and a figure especially relevant within the Transition. A key name in the incipient “Andalusian cinema”, and although he has had few films he to his credit- only five full-length features to date - Manuela (1976), Vivir en Sevilla (1978), Intercambio de parejas frente al mar (1979), Corridas de alegría (1982) and Rocío y José (1982) – he had transcended local recognition, due above all to his vocation as experimenter and particularly, to his vision.
Belated iconoclast, Southern and liberated by Jean-Luc Godard and Philippe Garrel, his emblematic Vivir en Sevilla was selected at the end of the nineties by the Spanish Association of Film Historians to form part of an anthology that would put together fundamental films of our cinema, a project that took shape as a detailed map of cinematography that was much more eclectic, singular and interesting than many would have tried to make us believe. In a critique written by Manuel Palacio on the work cited above one reads: “conceived as a rhetorical mixture of fictional film, documentary film, film ‘vérité’, deconstructionist film, ethnographic film, he extracts his creative vitality precisely from this salad of styles, taking advantage of the flavour created by a well mixed work; and all this even though some of those styles are not currently found in contemporary cinema.”
Parted from cinema, or rather, in his own words, “abandoned by cinema”, since 1982, from time to time he has been acclaimed outside of Spain (New York, Mexico, Buenos Aires) and more popular today for this facet as a gambler and better (as confirmed in the recent film by Eduard Cortés The Pelayos), the film-maker García Pelayo continues to be a great unknown, not sufficiently appreciated among the critics, by programmers and even by the knowledgeable public.
It’s now the moment to reclaim his figure and rigorously analyze his singular film work in what supposes to be the first universal seminar dedicated to his work and to the historical, cultural and film-buff context that he is his own.
9:00 Presentation of Seminar. José Luis Cienfuegos (SEFF), Concepción Fernández Martínez (CICUS).
9:15 Conference: “Gonzalo García Pelayo in the cinema of the Transition”. Julio Pérez Perucha. (Film Historian).
10:30 Conference: “Seville 1978: Cinema, flamenco and mass culture after Modernity”. Pedro G. Romero. Artist and cultural agent.
11:45 Conference: “Other people’s music for one’s own film”: GGP as introducer, diffuser and producer of music” (*provisional title). Diego A. Manrique Journalist and music critic.
13:00-14:00 Round table: “García Pelayo, between the popular and the cult”.
Julio Pérez Perucha, Pedro G. Romero, Diego A. Manrique (Journalist and music critic), Gervasio Iglesias (Producer and director)
9:00 Conference: “Desire and intimacy in the cinema GGP”.
Gonzalo de Lucas. (Universitat Pompeu Fabra, Barcelona).
10:30 Conference: “Title to be determined”.
Jordi Costa. (Film critic and writer).
11:45 Round table: “For some time now: the critics’ view of García Pelayo’s cinematographic work”.
Rafael Utrera (Professor of the University of Seville), Gonzalo de Lucas, Jordi Costa, Miguel García (Film critic).
9:00 Conference: “Gonzalo García Pelayo: musical film-maker, sonorous storyteller”.
Santiago Gallego. (Film critic).
10:30-11:30 Conference: ¿And if GGP had filmed Athanor? Cartography and Imagination in the cinema of GGP”
Francisco Algarín y Alfonso Crespo. (Editor of Lumière / Film critic)
11:45-13:00 Encounter with Gonzalo García Pelayo, Javier García Pelayo
(Producer, actor and script writer), José Enrique Izquierdo (Doctorate in Photography and Film editing), Rosa Ávila (Actress, Frente al mar).
Presentations and Round table monitors
Alfonso Crespo and Manuel J. Lombardo