Eduardo Montes-Bradley

Argentine-American documentarian and photographer From Wikipedia, the free encyclopedia

Eduardo Montes-Bradley (born July 1960) is a documentary filmmaker born in Córdoba, whose work focuses on biographical, cultural, and historical subjects. He is co-founder of Heritage Film Project and resides in Charlottesville. In addition to his work in film, he is the author of Cortázar sin barba, a literary biography of Julio Cortázar published by Random House Mondadori. His most recent works include The Piccirilli Factor, a film about the Italian-American sculptors,[1] and Black Fiddlers. He is also known for directing Evita (2008), Rita Dove: An American Poet, Harto the Borges, and Daniel Chester French: American Sculptor[2] made possible with the support of the National Trust for Historic Preservation.[3][4] Among Montes-Bradley's other documentary works is his biographical film on civil rights leader Julian Bond.[5]

Born (1960-07-09) July 9, 1960 (age 66)
OccupationDocumentarian
Yearsactive1979–present
Quick facts Born, Occupation ...
Eduardo Montes-Bradley
Born (1960-07-09) July 9, 1960 (age 66)
OccupationDocumentarian
Years active1979–present
Notable workJulian Bond, Rita Dove, Evita
SpouseSoledad Liendo
RelativesEduardo Bradley, Enrique Ferrarese
Websitewww.montesbradley.com
Close

Early life

According to USA-Painter, Eduardo Montes-Bradley's background has played a crucial role in shaping his approach to filmmaking.[6] Raised in Buenos Aires, his mother was of Eastern European descent, the daughter of Jewish immigrants who arrived in Argentina during the interwar period. His father, Nelson, was of mixed heritage, descended from Italian, Galician, and New England families who had settled in Buenos Aires in the first half of the 19th century. Nelson was one of the founders of Discos Qualiton, where he worked in 1974 while attending public school. Montes-Bradley's theatrical debut in documentary film was his biographical film on Osvaldo Soriano.[7]

Career

In a 1996 appearance on CNN, hosted by Ismael Cala, Montes-Bradley described his work creating documentary films about underrepresented stories as a continuation of the work his father and his partners at Discos Qualiton were doing by publishing underrepresented works of otherwise well-known European composers and less-known vernacular composers such as Carlos Guastavino and Alberto Ginastera.[8]

In 1986, Montes-Bradley founded The Entertainment Herald, a bilingual magazine based in Los Angeles catering to the film industry. Between 1988 and 1991, he produced and directed two films distributed by TriStar Pictures. In 1995, he produced and directed El Secuestro, his last fiction feature film.[citation needed]

In 1998, with the support of the ministries of culture in Argentina, Mexico, and Brazil, Montes-Bradley founded Contrakultura Films, which produced over 20 feature documentary films on Latin American writers, artists, and cultural traditions. In 2008, he established Heritage Film Project with producer Soledad Liendo. Heritage Film Project has since produced several films with the support of the Documentary Film Fund and others.[citation needed]

Non-fiction

Fiction

Production still: Margaux Hemingway

Experimental

  • Frogments, 2000. Based on 8 mm images captured by Julio Cortázar in India and Africa with voice over by Allen Ginsberg.
  • Freedom, 1986. Based on 8 mm images captured by Montes-Bradley in and around Los Angeles, Chicago, and Miami with focus in city homelessness.

Music videos

Bibliography

Montes-Bradley, Eduardo (2019). Habeas corpus: Peter Paul Weinschenk, alias Pablo Tabernero. Buenos Aires: Mar del Plata International Film Festival, INCAA. p. 144. Biographical approach to Peter Paul Weinschenk, life and works of Pablo Tabernero, cinematographer of Prisioneros de la tierra directed by Mario Soffici.

Los dedos del huracán. Short story. Children's literature. Included in "De Ola en Ola 3" school textbook for third grade. Group Macmillan. Editorial Estrada S.A., Buenos Aires, Argentina. Illustrated by Eugenia Nobati. pp. 62–67.[39]

Montes-Bradley, Eduardo (2016). El amigo de Filloy: cartas de RE Montes i Bradley a Juan Filloy (1935-1976). Charlottesville, VA. p. 186. ISBN 9781534777682.{{cite book}}: CS1 maint: location missing publisher (link) Correspondence between Juan Filloy and Montes i Bradley.[40]

Montes-Bradley, Eduardo (2012). La resurrección de Ocantos. Los Angeles, CA. p. 62. ISBN 9781449907402.{{cite book}}: CS1 maint: location missing publisher (link) Bio-bibliographical essay on Carlos María Ocantos.[41][42]

Montes-Bradley, Eduardo (2005). Cortázar sin barba. Madrid: Random House Mondadori. p. 394. ISBN 8483066033. Biography of Julio Cortázar. 1st edition Editorial Sudamericana, Argentina 2004. 3rd edition, Pesódromo 21, 2014.[43][44][45][46][47]

Montes-Bradley, Eduardo (2000). Água No Terceiro Milênio. Brasília: Bianchi Editores, Ediciones Pilar. p. 318. ISBN 9974663172. Bilingual anthology of short stories. Selection of awarded works at the Literary Award "Agua no Terceiro Milênio".[48] Bilingual Portuguese-Spanish edition. Includes the short story "Das schwerste Gewicht" previously published in Ya se que todo es mentira (1999).[49]

Montes-Bradley, Eduardo (2000). Osvaldo Soriano: Un retrato. Buenos Aires: Grupo Editorial Norma. p. 171. ISBN 9879334353. Also published as Osvaldo Soriano: Un ritratto. Sperling & Kupfer Editori, Milan, Italy, 2001, 164pp. Translated by Gina Maneri. Collection: Continente Desaparecido, directed by Gianni Minà (ISBN 88-200-3201-5).[50][51] Based on the homonymous documentary by the author.[52][53][54]

Montes-Bradley, Eduardo (1999). Ya se que todo es mentira. Buenos Aires: Editorial del Nuevo Extremo. p. 200. ISBN 9509681857. (translated as I Know It's All Lies). Foreword by Osvaldo Bayer.[55]

'Senxo', Selected Poems. Editorial Grupo Archivo de Comunicación, New York City, 1984. Foreword by Armando Tejada Gómez. Out of print.

Journalism

Montes-Bradley contributed to El País, Babelia,[56] Les cinemas de la Amerique Latine[57] by Association Rencontres Cinémas d'Amérique Latine de Toulouse, France; La Jornada, Mexico; the monthly review Latinoamérica e Tutto il Sud dell Mondo, Italy; and in Argentina to the literary magazine Esperando a Godot; the art-magazine Revista Lote, Venado Tuerto, Suplemento Radar published by Página/12, El Amante de cine, Diario Perfil, Revista Ñ Clarín,[58] Critica de Argentina, and La Nación. Montes-Bradley was a frequent collaborator with the literary blog "Nación Apache."[citation needed]

Photography

Montes-Bradley was recognized by the National Council on Public History with the "Outstanding Public History Project Award" as part of the exhibit "The Mere Distinction of Colour" produced by James Madison's Montpelier.[59] His photo-work appeared in The AtlanticThe Washington Post,[60] La Nación,[61] The Independent,[62][63] Diario Clarín,[64] other newspapers[65] and magazines,[66] as well as "Escenas de la memoria. La Casa Argentina en la voz de sus antiguos residentes",[67][68] and "Aventura Turnberry Jewish Center 20th Anniversary".[69] His work is partially preserved at the Claude Moore Health Sciences Library, the University of Virginia.[70]

Awards and honors

Appearances in other media

References

Further reading

Related Articles

Wikiwand AI