Project MUSE®: Studies in Latin American Popular Culture - Latest Articles
https://muse.jhu.edu/journal/506
Project MUSE®: Latest articles in Studies in Latin American Popular Culture.daily12026-05-16T00:00:00-05:00text/htmlen-USVol. 28 (2010) through current issueLatest Articles: Studies in Latin American Popular CultureTWOProject MUSE®Studies in Latin American Popular Culture2157-29410730-9139Latest articles in Studies in Latin American Popular Culture. Feed provided by Project MUSE®Contemporary Trends in Latin American Cinema
https://muse.jhu.edu/article/966252
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Recent global, regional, and country-specific trends found in Latin American cinema or, better yet, cinemas, relate to nationality, streaming platforms, financing, marketing, distribution, access, and audience reception, as well as currents in theme and technique, new perspectives, the recognition of multiple filmmaking roles, critical analysis trends, and the global reach of Latin American cinema. Nationality, for example, is a topic represented on screen and a question of definition; national cinema exists within the framework of coproductions and international financing. One clear example is Ibermedia (founded in 1998), a program from Spain that finances film coproductions in Latin America, creating a financing
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallContemporary Trends in Latin American Cinema2025-07-18text/htmlen-USContemporary Trends in Latin American Cinema2025-07-182025TWOProject MUSE®106722026-05-16T00:00:00-05:002025-07-18México 2010: Cine, historia (y para las mujeres), nada que celebrar
https://muse.jhu.edu/article/966253
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México tiene una larga y rica historia de representar la historia en las películas de corte ficcional, desde los inicios de la tecnología hasta el día de hoy. Susana Aranda López, en la introducción a La ficción de la historia: El siglo XIX en el cine mexicano, impreso en 2010 para festejar el bicentenario, nota que el inicio del cine en México coincidió con la conmemoración del primer centenario de la independencia.1 Una de las tendencias de aquel cine incipiente era la incorporación de los “héroes del panteón nacional”, a quienes sometieron a un proceso que los transformó de seres humanos en “figuras rígidas, aplastadas por el peso de la solemnidad a todos los participantes en la forja de la patria” (7). De esa
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallMéxico 2010: Cine, historia (y para las mujeres), nada que celebrar2025-07-18text/htmlen-USMéxico 2010: Cine, historia (y para las mujeres), nada que celebrar2025-07-182025TWOProject MUSE®1002312026-05-16T00:00:00-05:002025-07-18The Rise of Central American Film in the Twenty-First Century edited by Mauricio Espinoza and Jared List (review)
https://muse.jhu.edu/article/966254
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Central American cinema has often been overshadowed by more prominent Latin American film industries, such as those in Mexico, Argentina, and Brazil. However, the twenty-first century has witnessed a significant surge in film production across the seven nations of Central America. The Rise of Central American Film in the Twenty-First Century, edited by Mauricio Espinoza and Jared List, arrives at a crucial moment, capturing this cinematic transformation and offering an in-depth exploration of how filmmakers from Central America navigate complex sociopolitical landscapes to produce works that are both artistically compelling and socially relevant.The editors have curated a collection of essays that illuminate the
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallThe Rise of Central American Film in the Twenty-First Century edited by Mauricio Espinoza and Jared List (review)2025-07-18text/htmlen-USThe Rise of Central American Film in the Twenty-First Century edited by Mauricio Espinoza and Jared List (review)2025-07-182025TWOProject MUSE®95352026-05-16T00:00:00-05:002025-07-18The Comedy of Bullfighting in the United States of America
https://muse.jhu.edu/article/966255
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wanted—For Stephens County Fair, Oct. 24, 25, 26, matador for reproduction of Spanish bull fight. Prefer man of experience. Write to stephens county fair association, W. L. Bumpass, Sec., Duncan, I. T.Ernest Carleton Bass said a lot of things. He claimed membership in the Bass Ale brewing clan; argued his descent from William Carleton, the famous Irish novelist; and declined to deny rumors that he belonged to an aristocratic English family, even being heir to a title and estates. He boasted of fighting “Kaffirs” and Matabeles in South Africa and related a fantastic tale of his participation in the ill-fated Jameson Raid against the Transvaal in 1895. He vividly described how he had befriended Leander Starr Jameson
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallThe Comedy of Bullfighting in the United States of America2025-07-18text/htmlen-USThe Comedy of Bullfighting in the United States of America2025-07-182025TWOProject MUSE®1130592026-05-16T00:00:00-05:002025-07-18Going “Against the Grain”: The (Re)configuration of Argentine Comics as a Field of Restricted Production in the Face of Increasing Globalization, 2001–2019
https://muse.jhu.edu/article/966256
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In the twenty-first century, Argentine comics and the general reading public grew apart. Many in the comics field felt, and still do, that they should fight this outcome tooth and nail. Yet it could very well be read as a desired destination. After all, various actors have worked actively since the late 1960s to allow the medium to ascend from mass culture to art. That is the hypothesis that threads through the present article: Contemporary, award-winning Argentine comics that have earned a (modest) place in cultural institutions and are compulsory reading in schools, even if they struggle to sell a few hundred copies, are not so much a downfall of as an achievement of a long symbolic operation that over half a
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallGoing “Against the Grain”: The (Re)configuration of Argentine Comics as a Field of Restricted Production in the Face of Increasing Globalization, 2001–20192025-07-18text/htmlen-USGoing “Against the Grain”: The (Re)configuration of Argentine Comics as a Field of Restricted Production in the Face of Increasing Globalization, 2001–20192025-07-182025TWOProject MUSE®1007692026-05-16T00:00:00-05:002025-07-18El escarabajo de oro y las posibilidades del ars combinatoria
https://muse.jhu.edu/article/966257
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“Las posibilidades del arte de combinar no son infinitas”, señala Jorge Luis Borges en los años treinta, “pero suelen ser espantosas. […] Hollywood acaba de enriquecer ese vano museo teratológico; por obra de un maligno artificio que se llama doblaje, propone monstruos que combinan las ilustres facciones de Greta Garbo con la voz de Aldonza Lorenzo” (283). A veces los festivales de cine se arriesgan también con inesperadas variaciones del arte combinatoria: es el caso de la iniciativa del festival danés CPH:DOX de financiar un proyecto cinematográfico con la condición de que sea codirigido por un/a cineasta escandinavo/a y uno/a no europeo/a.1 Por suerte, en el caso de El escarabajo de oro—O Victorias Hämnd (La
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallEl escarabajo de oro y las posibilidades del ars combinatoria2025-07-18text/htmlen-USEl escarabajo de oro y las posibilidades del ars combinatoria2025-07-182025TWOProject MUSE®687942026-05-16T00:00:00-05:002025-07-18German Conquistadores in Venezuela: The Welsers’ Colony, Racialized Capitalism, and Cultural Memory by Giovanna Montenegro (review)
https://muse.jhu.edu/article/966258
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The ill-fated German enterprise in Venezuela is one of the more obscure episodes of early Latin American colonial history. From Charles V’s granting of a charter to the Augsburg-based Welser Company in 1528 through the Spanish Crown’s takeover in 1556, the Welser banking multinational engaged in the exploitation of the region, based on the transit of enslaved Africans, the forced labor of the indigenous population, and the relentless pursuit of mineral wealth. Yet in less than three decades, Spanish resistance to the “foreign” Welser presence, coupled with suspicion of potential Lutheran influences and discord among the German colonists themselves, brought about the revocation of the Welser charter.Giovanna
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallGerman Conquistadores in Venezuela: The Welsers’ Colony, Racialized Capitalism, and Cultural Memory by Giovanna Montenegro (review)2025-07-18text/htmlen-USGerman Conquistadores in Venezuela: The Welsers’ Colony, Racialized Capitalism, and Cultural Memory by Giovanna Montenegro (review)2025-07-182025TWOProject MUSE®66392026-05-16T00:00:00-05:002025-07-18A Sense of Brutality: Philosophy After Narcoculture by Carlos Alberto Sánchez (review)
https://muse.jhu.edu/article/966259
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Much has been theorized and commented on narco culture—so much so, in fact, that at times it seems as if the topic should be exhausted. Yet this volume addresses an area that urgently needed to be explored: narco as a way of being in the world—and because narco lifestyle is predicated on violence, the subject of the book is the ontology of narco brutality. For Sánchez, narco culture is a culture of killing; it is buttressed by a thanatological power that justifies aggression and death, not only de-realizing and objectifying its victims in the process but also normalizing violent acts as an everyday cultural pattern. This is where the unimaginable and unsayable become the norm (84).Narco culture represents a form of
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallA Sense of Brutality: Philosophy After Narcoculture by Carlos Alberto Sánchez (review)2025-07-18text/htmlen-USA Sense of Brutality: Philosophy After Narcoculture by Carlos Alberto Sánchez (review)2025-07-182025TWOProject MUSE®97152026-05-16T00:00:00-05:002025-07-18“Mi sueño es cantar”: Natalia Oreiro en Miss Tacuarembó y Gilda, no me arrepiento de este amor
https://muse.jhu.edu/article/966260
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Take your passionAnd make it happenCuando se piensa en las películas argentinas más taquilleras de los últimos veinte años, indudablemente vienen a la mente las protagonizadas por Ricardo Darín: El aura (Fabián Bielinsky, 2005), XXY (Lucía Puenzo, 2007), El secreto de sus ojos (Juan José Campanella, 2009), Un cuento chino (Sebastián Borenstein, 2011), Relatos salvajes (Damián Szifron, 2016) y más recientemente, Argentina, 1985 (Santiago Mitre, 2022). Sin embargo, si se piensa en las películas argentinas más taquilleras de los últimos veinte años, no está claro quién es la actriz que más convoca audiencias ¿Mercedes Morán? ¿Valeria Bertucelli?, o ¿Natalia Oreiro? El honor parece llevárselo Oreiro, uruguaya de
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmall“Mi sueño es cantar”: Natalia Oreiro en Miss Tacuarembó y Gilda, no me arrepiento de este amor2025-07-18text/htmlen-US“Mi sueño es cantar”: Natalia Oreiro en Miss Tacuarembó y Gilda, no me arrepiento de este amor2025-07-182025TWOProject MUSE®546902026-05-16T00:00:00-05:002025-07-18Parisian Pablos: Narratives of Vice and Hypermasculine Posturing Among French Gangsta Rappers in Colombia
https://muse.jhu.edu/article/966261
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During the 1980s and 1990s, Medellín (Colombia) was statistically listed as the most dangerous city in the world. This was due to a multilayered struggle between Pablo Escobar’s Cartel de Medellín, the Colombian government, and many independent paramilitary organizations who aimed to destabilize one or both groups. Moreover, in the rural areas outside the city, leftist or communist organizations such as the Revolutionary Armed Forces of Colombia (FARC) and the National Liberation Army (ELN) dominated with a strong territorial presence. This latter duo of left-of-center groups not only sought to topple the Colombian government but also often worked with drug cartels or the paramilitary groups fighting them because
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallParisian Pablos: Narratives of Vice and Hypermasculine Posturing Among French Gangsta Rappers in Colombia2025-07-18text/htmlen-USParisian Pablos: Narratives of Vice and Hypermasculine Posturing Among French Gangsta Rappers in Colombia2025-07-182025TWOProject MUSE®969892026-05-16T00:00:00-05:002025-07-18Moviegoing Experience, Gender, and Socioeconomic Distinction in São Paulo During the 1920s
https://muse.jhu.edu/article/966262
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Moviegoing is a codified practice that extends beyond mere habit, offering a glimpse into attendance patterns, socioeconomic distinctions, aesthetic preferences, and notions of entertainment, culture, and gender differentiation. Although significantly influenced by major North American film companies, the practice of moviegoing is different in each location, unveiling cultural and social amalgamations, as well as specific societal roles attributed to women and workers, especially immigrants.Through an examination of how this process unfolded in São Paulo between 1925 and 1929, with a specific focus on the writings of film critic Octávio Gabus Mendes, I untangle the intricate web of connections that involve real and
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallMoviegoing Experience, Gender, and Socioeconomic Distinction in São Paulo During the 1920s2025-07-18text/htmlen-USMoviegoing Experience, Gender, and Socioeconomic Distinction in São Paulo During the 1920s2025-07-182025TWOProject MUSE®751852026-05-16T00:00:00-05:002025-07-18Digital Satire in Polarized Brazil: The Cases of Porta dos Fundos and Greg News
https://muse.jhu.edu/article/966263
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In December 2019, a far-right militia group launched Molotov cocktails at the headquarters of the comedy group Porta dos Fundos (“Porta” for short) in Rio de Janeiro on Christmas Eve in retaliation for its Netflix film The First Temptation of Christ (BBC, 2019).1 The comedy depicts Jesus as possibly gay; he brings home a boyfriend to meet the Holy Family. The film had already caused strong reactions in Brazilian society, and the comedians were accused of being “cultural Marxists.” This happened during the government of President Jair Bolsonaro, an extreme right-wing politician who gained popularity amongst religious and conservative groups with his motto “God, land, family, and freedom” (Watson), amid an
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallDigital Satire in Polarized Brazil: The Cases of Porta dos Fundos and Greg News2025-07-18text/htmlen-USDigital Satire in Polarized Brazil: The Cases of Porta dos Fundos and Greg News2025-07-182025TWOProject MUSE®686932026-05-16T00:00:00-05:002025-07-18Allende el mar by Óscar Osorio (review)
https://muse.jhu.edu/article/966264
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The raw, honest, and private human condition of ten Colombian emigrants departing their homeland, as the result of a multiplicity of traumatic antecedents, in search of the assumed American dream takes center stage in Óscar Osorio’s Allende el mar. A polyphony of distinctive minibiographies collides and provides a panoramic view of the Colombian journey to the United States of America that, if often met with varying levels of deception, hardships, and a patriotic nostalgia for la patria, can never be satisfied nor fully recovered with the fleeting passage of time. As expressed in “La luna y el lucero,” “Manteníamos pendientes de las noticias de Colombia. No éramos capaces de sacárnosla del corazón y de la mente”
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallAllende el mar by Óscar Osorio (review)2025-07-18text/htmlen-USAllende el mar by Óscar Osorio (review)2025-07-182025TWOProject MUSE®75412026-05-16T00:00:00-05:002025-07-18Other Americans: The Art of Latin America in the US Imaginary by Matthew Bush (review)
https://muse.jhu.edu/article/966265
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Migration across the US’s southern border was a central issue of the 2024 US elections, with many politicians propagating an image of Latin America and its people as violent and fundamentally other—the first word in the title of Matthew Bush’s clearly written, original study. Given that many US Americans know little about Latin America beyond such racist, exceptionalistic rhetoric, Bush focuses on how such spurious notions condition US Americans’ understanding of the region and its artistic and cultural production.Bush’s response to such prejudicial attitudes about Latin America is to focus on the disjunctures that these texts mediate: misunderstandings between North and South, the exoticism that Latin America
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallOther Americans: The Art of Latin America in the US Imaginary by Matthew Bush (review)2025-07-18text/htmlen-USOther Americans: The Art of Latin America in the US Imaginary by Matthew Bush (review)2025-07-182025TWOProject MUSE®90602026-05-16T00:00:00-05:002025-07-18Un archipiélago cinemático: Chiloé en el imaginario fílmico chileno, 2000–2023
https://muse.jhu.edu/article/966266
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Durante la segunda mitad del siglo XX, el archipiélago de Chiloé adquirió visibilidad en el cine chileno. Aunque se realizaron pocas producciones, estas adelantaron algunas visiones icónicas del paisaje y la sociedad chilota en el imaginario nacional. Desde principios del siglo XXI los tropos, íconos y experimentos del siglo anterior se han desplegado en múltiples sentidos y combinaciones posibles, en función de un imaginario archipelágico que el mismo cine contribuyó a producir. Se ha producido así un paisaje cinemático chilote donde se integra la dicotomía de la forma-paisaje (texto/escenario, ergon/parergon, memoria-materia/producción de la naturaleza) a la narración diegética. Mientras que gran parte del cine
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/506/image/coversmallUn archipiélago cinemático: Chiloé en el imaginario fílmico chileno, 2000–20232025-07-18text/htmlen-USUn archipiélago cinemático: Chiloé en el imaginario fílmico chileno, 2000–20232025-07-182025TWOProject MUSE®1083942026-05-16T00:00:00-05:002025-07-18