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Area and Ethnic Studies > Latin American and Caribbean Studies

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Brazilian Women's Filmmaking Cover

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Brazilian Women's Filmmaking

From Dictatorship to Democracy

At most recent count, there are no fewer than forty-five women in Brazil directing or codirecting feature-length fiction or documentary films. In the early 1990s, women filmmakers in Brazil were credited for being at the forefront of the rebirth of filmmaking, or retomada, after the abolition of the state film agency and subsequent standstill of film production. Despite their numbers and success, films by Brazilian women directors are generally absent from discussions of Latin American film and published scholarly works._x000B__x000B_Filling this void, Brazilian Women's Filmmaking focuses on women's film production in Brazil from the mid-1970s to the current era. Leslie L. Marsh explains how women's filmmaking contributed to the reformulation of sexual, cultural, and political citizenship during Brazil's fight for the return and expansion of civil rights during the 1970s and 1980s and the recent questioning of the quality of democracy in the 1990s and 2000s. She interprets key films by Ana Carolina and Tizuka Yamasaki, documentaries with social themes, and independent videos supported by archival research and extensive interviews with Brazilian women filmmakers. Despite changes in production contexts, recent Brazilian women's films have furthered feminist debates regarding citizenship while raising concerns about the quality of the emergent democracy. Brazilian Women's Filmmaking offers a unique view of how women's audiovisual production has intersected with the reconfigurations of gender and female sexuality put forth by the women's movements in Brazil and continuing demands for greater social, cultural, and political inclusion._x000B_

Brazil's Living Museum Cover

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Brazil's Living Museum

Race, Reform, and Tradition in Bahia

Anadelia A. Romo

Romo examines ideas of race in key cultural and public arenas through a close analysis of medical science, the arts, education, and the social sciences. As she argues, although Bahian racial thought came to embrace elements of Afro-Brazilian culture, the presentation of Bahia as a living museum threatened by social change portrayed Afro-Bahian culture and modernity as necessarily at odds. Romo's finely tuned account complicates our understanding of Brazilian racial ideology and enriches our knowledge of the constructions of race across Latin America and the larger African diaspora. Brazil's northeastern state of Bahia has built its economy around attracting international tourists to what is billed as the locus of Afro-Brazilian culture and the epicenter of Brazilian racial harmony. Chronicling the period from the abolition of slavery in 1888 to the start of Brazil's military regime in 1964, Romo uncovers how the state's nonwhite majority moved from being a source of embarrassment to being a critical component of Bahia's identity.

Broadcasting the Civil War in El Salvador Cover

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Broadcasting the Civil War in El Salvador

A Memoir of Guerrilla Radio

By Carlos Henriquez Consalvi ("Santiago")

During the 1980s war in El Salvador, Radio Venceremos was the main news outlet for the Frente Farabundo Martí para la Liberación Nacional (FMLN), the guerrilla organization that challenged the government. The broadcast provided a vital link between combatants in the mountains and the outside world, as well as an alternative to mainstream media reporting. In this first-person account, “Santiago,” the legend behind Radio Venceremos, tells the story of the early years of that conflict, a rebellion of poor peasants against the Salvadoran government and its benefactor, the United States. Originally published as La Terquedad del Izote, this memoir also addresses the broader story of a nationwide rebellion and its international context, particularly the intensifying Cold War and heavy U.S. involvement in it under President Reagan. By the war’s end in 1992, more than 75,000 were dead and 350,000 wounded—in a country the size of Massachusetts. Although outnumbered and outfinanced, the rebels fought the Salvadoran Army to a draw and brought enough bargaining power to the negotiating table to achieve some of their key objectives, including democratic reforms and an overhaul of the security forces. Broadcasting the Civil War in El Salvador is a riveting account from the rebels’ point of view that lends immediacy to the Salvadoran conflict. It should appeal to all who are interested in historic memory and human rights, U.S. policy toward Central America, and the role the media can play in wartime.

Broken Souths Cover

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Broken Souths

Latina/o Poetic Responses to Neoliberalism and Globalization

Michael Dowdy

Broken Souths offers the first in-depth study of the diverse field of contemporary Latina/o poetry. Its innovative angle of approach puts Latina/o and Latin American poets into sustained conversation in original and rewarding ways. In addition, author Michael Dowdy presents ecocritical readings that foreground the environmental dimensions of current Latina/o poetics.
 
Dowdy argues that a transnational Latina/o imaginary has emerged in response to neoliberalism—the free-market philosophy that underpins what many in the northern hemisphere refer to as “globalization.” His work examines how poets represent the places that have been “broken” by globalization’s political, economic, and environmental upheavals. Broken Souths locates the roots of the new imaginary in 1968, when the Mexican student movement crested and the Chicano and Nuyorican movements emerged in the United States. It theorizes that Latina/o poetics negotiates tensions between the late 1960s’ oppositional, collective identities and the present day’s radical individualisms and discourses of assimilation, including the “post-colonial,” “post-national,” and “post-revolutionary.” Dowdy is particularly interested in how Latina/o poetics reframes debates in cultural studies and critical geography on the relation between place, space, and nature.
 
Broken Souths features discussions of Latina/o writers such as Victor Hernández Cruz, Martín Espada, Juan Felipe Herrera, Guillermo Verdecchia, Marcos McPeek Villatoro, Maurice Kilwein Guevara, Judith Ortiz Cofer, Jack Agüeros, Marjorie Agosín, Valerie Martínez, and Ariel Dorfman, alongside discussions of influential Latin American writers, including Roberto Bolaño, Ernesto Cardenal, David Huerta, José Emilio Pacheco, and Raúl Zurita.

Buen Gusto and Classicism in the Visual Cultures of Latin America, 1780-1910 Cover

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Buen Gusto and Classicism in the Visual Cultures of Latin America, 1780-1910

Paul B. Niell

The promotion of classicism in the visual arts in late eighteenth and nineteenth-century Latin America and the need to “revive” buen gusto (good taste) are the themes of this collection of essays. The contributors provide new insights into neoclassicism and buen gusto as cultural, not just visual, phenomena in the late colonial and early national periods and promote new approaches to the study of Latin American art history and visual culture.

The essays examine neoclassical visual culture from assorted perspectives. They consider how classicism was imposed, promoted, adapted, negotiated, and contested in myriad social, political, economic, cultural, and temporal situations. Case studies show such motivations as the desire to impose imperial authority, to fashion the nationalist self, and to form and maintain new social and cultural ideologies. The adaptation of classicism and buen gusto in the Americas was further shaped by local factors, including the realities of place and the influence of established visual and material traditions.

Buenas Noches, American Culture Cover

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Buenas Noches, American Culture

Latina/o Aesthetics of Night

María DeGuzmán

Often treated like night itself—both visible and invisible, feared and romanticized—Latina/os make up the largest minority group in the US. In her newest work, María DeGuzmán explores representations of night in art and literature from the Caribbean, Colombia, Central and South America, and the US, calling into question night's effect on the formation of identity for Latina/os in and outside of the US. She takes as her subject novels, short stories, poetry, essays, non-fiction, photo-fictions, photography, and film, and examines these texts through the lenses of nationhood, sexuality, human rights, exoticism, among others.

Building Nineteenth-Century Latin America Cover

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Building Nineteenth-Century Latin America

Re-Rooted Cultures, Identities, and Nations

Edited by William G. Acree Jr. and Juan Carlos González Espitia

How did culture and identity take root as the new nations and state institutions were being fashioned across Latin America after the wars of independence? These original essays tease out the power of print and visual cultures, examine the impact of carnival, delve into religion and war, and study the complex histories of gender identities and disease.

Butterflies Will Burn Cover

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Butterflies Will Burn

Prosecuting Sodomites in Early Modern Spain and Mexico

By Federico Garza Carvajal

Drawing on previously unpublished records of some three hundred sodomy trials conducted in Spain and Mexico between 1561 and 1699, Garza Carvajal examines the sodomy discourses that emerged in Andalucía, seat of Spain's colonial apparatus, and in the viceroyalty of New Spain (Mexico), its first and largest American colony.

Cañar Cover

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Cañar

A Year in the Highlands of Ecuador

By Judy Blankenship

Once isolated from the modern world in the heights of the Andean mountains, the indigenous communities of Ecuador now send migrants to New York City as readily as they celebrate festivals whose roots reach back to the pre-Columbian past. Fascinated by this blending of old and new and eager to make a record of traditional customs and rituals before they disappear entirely, photographer-journalist Judy Blankenship spent several years in Cañar, Ecuador, photographing the local people in their daily lives and conducting photography workshops to enable them to preserve their own visions of their culture. In this engaging book, Blankenship combines her sensitively observed photographs with an inviting text to tell the story of the most recent year she and her husband Michael spent living and working among the people of Cañar. Very much a personal account of a community undergoing change, Cañar documents such activities as plantings and harvests, religious processions, a traditional wedding, healing ceremonies, a death and funeral, and a home birth with a native midwife. Along the way, Blankenship describes how she and Michael went from being outsiders only warily accepted in the community to becoming neighbors and even godparents to some of the local children. She also explains how outside forces, from Ecuador’s failing economy to globalization, are disrupting the traditional lifeways of the Cañari as economic migration virtually empties highland communities of young people. Blankenship’s words and photographs create a moving, intimate portrait of a people trying to balance the demands of the twenty-first century with the traditions that have formed their identity for centuries.

Caballero noble desbaratado Cover

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Caballero noble desbaratado

Autobiografía e invención en el siglo XVI

by José Luis Gastañaga Ponce de León

First-person narrative does not always fall under the genre of autobiography. In the centuries before the genre was defined, authors often patterned their personal narratives after prestigious discourses, such as hagiography, historiography, and the literary miscellany. Caballero noble desbaratado: Autobiografía e invención en el siglo XVI [Noble Knight Disrupted: Autobiography and Invention in the Sixteenth Century] analyzes several first-person narratives from Spain and the conditions of their writing and reception. It focuses on the sixteenth-century Libro de la vida y costumbres [Book of life and customs] by Alonso Enríquez de Guzmán (1499-1547), the knight of the title. One chapter looks at antecedents to the central work: the late fourteenth-century Memorial by Leonor López de Córdoba, who narrates difficult passages of her life; the Breve suma de la vida y hechos [Brief Summary of the Life and Deeds] by Diego García de Paredes, who speaks of duels and battles as an object lesson in honor and courage for his son; and Cautiverio y trabajos [Captivity and Travails] by Diego Galán, a tale of captivity and flight in Muslim lands that constitutes an early example of fictionalized autobiography. The study also examines the influence of writers like Bartolomé de Torres Naharro, Antonio de Guevara, and Pedro Mexía and the vitality of lyric poetry on both sides of the Atlantic. Although the Biblioteca de Autores Españoles has devoted a volume to Enríquez de Guzmán, there has never been a book-length study dedicated to this author. This book fills that gap and constitutes a valuable contribution to the study of autobiography in Spanish.

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