Cover

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Title Page, Copyright

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Contents

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1. After Human Rights

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pp. 1-29

I begin this book by acknowledging that the narrative of human rights, which in the 1980s and 1990s gained unprecedented momentum in Latin America and around the world, has facilitated profound changes in the very constitution of the political, at the intersection of subjective...

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2. Literature between Rights and the Possibility of Justice

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pp. 30-58

Latin American cultural criticism has been divided between those defending the capacity of the state or the national form to effectively represent a sense of community and the arena for political change and ...

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3. Global Fictions, Truth and Reconciliation, and the Judgment of History

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pp. 59-92

This chapter discusses a body of novels published in the 1990s and 2000s that deal with the aftermath of dictatorships and civil wars that swept throughout Latin America in the 1970s and 1980s, novels that I see as constituting a definite trend. I call this corpus “novels of truth ...

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4. Exhibiting The Disappeared: Visual Arts and Auratic Distance

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pp. 93-120

The collective exhibition The Disappeared was organized by the North Dakota Museum of Art and subsequently launched as a touring show with a successful run,1 hosted by a substantial number of museums and ...

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5. Judicial Documentary, Evidence, and the Question of Technology

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pp. 121-146

Documentary filmmaking has experienced a resurgence (in film festivals, in critical theory, and to some extent in commercial film circuits) at a time when it has become common sense that the association between images’ technological reproduction and reality is shaky, when ...

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6. After Interpellation I: Police Violence and Spectacle in José Padilha’s Films

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pp. 147-173

Starting with his acclaimed directorial debut with documentary Ônibus 174 (2002; Bus 174) and continuing with the fictional saga Tropa de Elite (2007; Elite Squad) and Tropa de Elite 2: O Inimigo Agora É Outro (2010; Elite Squad: The Enemy Within), Brazilian director José Padilha’s filmography ...

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7. After Interpellation II: Artistic Performance and Police Collaboration

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pp. 174-198

A well-known Martín Chambi’s photograph (ca. 1923 and often titled Policía con niño [Policeman with child]) shows a policeman pulling a child’s ear. The photographer gives a frontal and full-body presentation ...

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Epilogue

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pp. 199-212

The narrative of human rights is neither temporarily closed nor formally self-enclosed. What the human rights corpus contains and the way different aspects of it might be mobilized to different aims has changed...

Notes

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pp. 213-260

Works Cited

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pp. 261-282

Index

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pp. 283-296

Back Cover

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