Cover

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Title Page, Copyright Page

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Contents

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pp. v-vi

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Preface

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pp. vii-xix

This book is the fourth in a series dealing with Latin American film. Contemporary Argentine Cinema (1994) examined Argentine filmmaking since the return to constitutional democracy in 1983 and was therefore focused on films that dealt with issues of re-democratization in that country: the abuse of power, authoritarianism, ...

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Introit Queer Difference

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pp. 1-18

Approximately ten minutes into María Luisa Bemberg’s De eso no se habla (1993), Leonor, the mother of the central character, Charlotte, awakens the boy who runs errands and helps out in the general store she owns and orders him to hitch her sulky, and she rides out into the countryside. There, ax in hand, Leonor approaches ...

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Homosexuality In and Out of the Closet

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pp. 19-49

It is a generally accepted principle in queer studies that no adequate definition of heterosexuality would be possible without the category of the ‘‘homosexual’’ (Dollimore; Katz). In conformance with basic principles of semiotics, no sign can exist without defining what it is not, and what it is not is as important as what it is. In the distinctive feature analysis ...

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Political Intersections

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pp. 50-84

Released in 1984, Néstor Almendros and Orlando Jiménez-Leal’s Conducta impropia1 (Iwill use the title with which it is known in the Spanish-speaking world and among Hispanic scholars) was one of the first major international documents to protest human rights abuses in Castro’s Cuba, which along with the issue of Cuban ...

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Forging Queer Spaces

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pp. 85-126

One long final sequence occurs in Jaime Humberto Hermosillo’s 1985 film, Doña Herlinda y su hijo (Doña Herlinda and Her Son).1 The sequence ends with the baptism of the infant child of the main character,Rodolfo. Surrounded by his loving wife, adoring mother, and closest friends, Rodolfo presents his son to the world to the strains ...

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Queer Transcendence

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pp. 127-162

There is a moment, about a half-hour into Marcelo Piñeyro’s Plata quemada (2000, based on Ricardo Piglia’s 1997 novel of the same name), of really quite purely tragic dimensions. I use the word ‘‘tragic’’ advisedly, not in its overused sense of ‘‘pathetic’’ or ‘‘unfortunate,’’ nor to capture the inevitable violence and death that stalk all ...

Notes

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pp. 163-170

References

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pp. 171-180

Index

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pp. 181-186