Yovanna Pineda (Author)
In this technology story, I use ethnographic material from my original documentary film, Stories of the Harvester (https://vimeo.com/395115057), to discuss how the camera evokes spectators’ feelings about the subculture of farm machinery. I was influenced by Fernando Birri’s Tire Di’e spectacular film of children in Rosario, Santa Fe dangerously running alongside moving trains in hopes of getting a “dime” from train passengers. (https://www.youtube.com/watch?v=azA-xchfbII). Spectators could feel the children’s desperation, while others felt the passengers’ frustration—should they or should they not throw money out the window? My aim was similar: as I traveled through the productive rural and urban areas of Santa Fe province in Argentina I collected the narratives of townspeople as maintainers of old machinery, local culture, and history. I visited towns, factories, machine warehouses, fields, train stations, and other sites to capture the “aesthetic of labor” through film.[1] In the process, I unwittingly became a character in the film when interviewees requested my presence in front of the camera or when I acquiesced (subconsciously or consciously) to become the “North American woman” that they imagined.
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