Cover

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Frontmatter

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Contents

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pp. vi-vii

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Acknowledgments

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p. ix

This book took final shape in the “Summer of Jasim,” as we often refer to the summer of 1999, when our grandson came to liven our house andspirits for a few months. I count among my main sources of inspiration Jasim’s warm smile, charisma, and exuberance, even though he made itdifficult for me to work at home that summer. Fortunately, three dear...

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Introduction. Tracking the Politics of Love

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pp. 1-23

Lourdes Portillo and I first met during the screening of her unforgettable film Las Madres: The Mothers of the Plaza de Mayo in 1987, a year after it received an Academy Award nomination for Best Documentary. I was living in Santa Barbara at the time, writing a dissertation on telecommunication policy and teaching a course on Chicano/a cinema...

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PART ONE. The Woman Behind the Camera

Part one introduces readers to Portillo through three separate interviews. Rosa Linda Fregoso’s first interview with Portillo takes place in Chicago on November 12, 1998, during the world premier of Corpus: A Home Movie for Selena at the “Tribute to Mexican Women” festival sponsored by the Mexican Fine Arts Museum...

One. Interview with Lourdes Portillo (1998)

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pp. 27-39

Two. Interview with Lourdes Portillo (1994)

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pp. 40-47

Three. Interview with Lourdes Portillo (1990) by

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pp. 48-73

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PART TWO. Critical Perspectives

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pp. 75-80

This section brings together a range of academic writings on issues of cultural politics, racial, class, and sexual differences, and scholars informed by multicultural feminist practices. Since the1980s, critical interest in multicultural media has grown, due inparticularly in light of the expansion of international festival...

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Four. Devils and Ghosts, Mothers and Immigrants: A Critical Retrospective of the Works of Lourdes Portillo

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pp. 81-101

Lourdes Portillo’s films and videos are emblematic of the broad spectrum of social, cultural, and political concerns of Chicana and Latina imagemakers. In writing this essay I am taking my cue from Alexandra Juhasz,who notes: “In our present climate, when women are reinventing thefeminist wheel to fight yet again for our rights to health care and...

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Five. Ironic Framings: A Queer Reading of the Family (Melo)drama in Lourdes Portillo's The Devil Never Sleeps/El diablo nunca duerme

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pp. 102-118

The Devil Never Sleeps/El diablo nunca duerme (1996) responds to a uniqueevent in San Francisco-based Lourdes Portillo’s life: news of her favoriteuncle Oscar’s death in Chihuahua, Mexico. The multiple layering andironic framings of this film create a house of mirrors that allows for queeridentifications and semirevelations. Through these identifications and by...

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Six. Performances of The Devil Never Sleeps/El diablo nunca duerme

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pp. 119-143

Returning to the memories of her childhood with The Devil Never Sleeps/El diablo nunca duerme, Lourdes Portillo locates herself at the unstable in-tersection of various roles: niece, coming back to Chihuahua after themysterious death of a beloved uncle, Tío Oscar; detective, trying to findout if he committed suicide or if he was murdered, as some of her rela-...

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Seven. Who Is the Devil, and How or Why Does He or She Sleep?: Viewing a Chicana Film in Mexico

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pp. 144-159

From a Mexican audience’s point of view, the cinematic works of Lourdes Portillo, especially her documentary The Devil Never Sleeps,play an important role in the deconstruction of Mexican culture. The Devil Never Sleeps is a film that, as much in form as in content, breaks with the established canons of its genre and reveals unspoken aspects of Mexican culture....

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Eight. Pinning Down the Bad-Luck Butterfly: Photography and Identity in the Films of Lourdes Portillo

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pp. 160-185

In this paper I will examine three films directed or codirected by Lourdes Portillo that privilege the photographic image in various ways: Las Madres: The Mothers of the Plaza de Mayo (codirected with Susana Blaustein Mu

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PART THREE. Production Materials

The materials compiled in the following section represent a sampling of documents used by filmmakers in organizing a film— items which I earlier termed the “invisible seams in the production process.” Included is the storyboard for Portillo’s Columbus on Trial...

Nine. Script Notes for Despues del Terremoto

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pp. 194-202

Ten. Cast List for Despues del Terremoto

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pp. 203-206

Eleven. Funding Application for Despues del Terremoto

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pp. 207-209

Twelve. Letter for Oscar Nomination of Las Madres: The Mothers of the Plaza de Mayo

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p. 210

Thirteen. Transcript for Narration of La Ofrenda

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pp. 211-238

Fourteen. Transcript for Interviews in La Ofrenda

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pp. 239-242

Fifteen. Screenplay for Columbus on Trial

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pp. 243-255

Sixteen. Floor Plans for Set Design of Columbus on Trial

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pp. 256-258

Seventeen. Storyboard for Columbus on Trial

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pp. 259-280

Appendix.

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pp. 283-295

Filmography

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p. 296

Major Awards and Honors

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pp. 297-299

Notes

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pp. 300-311

Notes on Contributors

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pp. 312-313

Index

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pp. 314-316