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The Latin Americanist, June 2012 Machado de Assis, e um ensaio de 1874 sobre a origem da prática (literal) da antropofagia. Não se deve pensar a literatura como uma evolução pautada numa linha temporal. É mais produtivo estabelecer paralelos entre diferentes momentos para entender melhor nosso presente. Assim, Antropofagia Hoje? Oswald de Andrade em Cena ajuda-nos a refletir sobre o mundo globalizado. Como nota Roberto Fernández Retamar na quarta parte da antologia, Oswald de Andrade “ainda tem muito para nos ensinar” (330). Victoria Livingstone Department of Romance Studies Boston University LA LUZ Y LA GUERRA: EL CINE DE LA REVOLUCION MEXICANA. By Fernando Fabio Sánchez and Gerardo García Muñoz, eds. Mexico City: Consejo Nacional para la Cultura y las Artes, 2010, 688 pp., $21.00. 2010 was an important year for Mexico, as the country celebrated the bicentennial of the opening of Independence and the centennial of its Revolution with great pomp and circumstance amidst an atmosphere of violence the country had not seen since, well, the Revolution. Nevertheless , 2010 was a year of festivals, parades, art exhibitions, and publications celebrating the uniqueness of Mexican culture. It is in this context that La luz y la guerra: el cine de la Revolución mexicana by Fernando Fabio Sánchez and Gerardo García Muñoz appeared. This excellent volume gathers a dozen essays by scholars from Mexico, the US and Canada to explore the relationship between the Revolution and cinema. The Revolution has been of central importance for Mexico because of its principles of social justice, but mostly because of the mythology of its popular heroes and the vibrant culture it produced that was popularized by photography and cinema. Since the Revolution happened at a time when photography had already established itself as a medium and an art form and when cinema was becoming the most important way of communication and entertainment, both photography and film helped shape the movement and how it was perceived. Unfortunately, as Felipe Cazals writes in the “Preamble” to this book, the cinema of the Revolution was sequestered by private television stations and shown based on commercial interests, resulting in the perception of the Revolution as something remote, cartoonish, and grandiloquent (100). The importance of this book, therefore, resides in part in that it offers a more complex view of the Revolution by reviewing its abundant filmed materials. The task is not easy because many of these materials are inaccessible , incomplete, and fragmented. Nonetheless the collection of essays gathered here offers a comprehensive yet fresh view of the Revolution as it was represented on film, challenging in the process the view that the Revolution, as a narrative, had exhausted itself. 198 Book Reviews Following a chronological order, the first chapter of the volume centers on documentaries and other materials produced before and during the Revolution, mostly film footages by the Alba brothers, Jesus H. Abitia, and particularly Salvador Toscano. Chapter two is an excellent analysis of the adventure of Eisenstein in Mexico and his unfinished film iQué Viva Mexico! This brief chapter by Aurelio de los Reyes is an informative, well-documented, and engaging account of Eisenstein’s time and work in Mexico. Chapter three examines Fernando de Fuentes’s acclaimed trilogy of the Revolution (iVámonos con Pancho Villa!, El compadre Mendoza, and El prisionero 13). It argues that unlike most films about the Revolution, De Fuentes’ work avoided presenting the movement in the folkloric view that dominated Mexican cinema. Chapter Four centers on the adaptations of Los de abajo, Mariano Azuela’s seminal novel of the Revolution, discussing how the movement was perceived through time. Chapter five, an interesting account of the image of Pancho Villa, traces the presence of the hero in the silver screen from the beginning to his official acceptance into the pantheon of heroes of the Revolution, which came late in the 1960s, and beyond. (The last chapter of the book centers on the other popular hero, Emiliano Zapata, a less represented figure.) The following three chapters give special attention to the role of women in the Revolution and the ways in which they were represented on film as wives...


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pp. 198-199
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