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Table of Contents

  1. New Beginnings
  2. Bill Johnson González
  3. p. 1
  4. DOI: https://doi.org/10.1353/dlg.2020.0000
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  1. Screening the Indigenous Experience in Contemporary Latin American Cinema
  2. Manuel Medina, Bridget Franco
  3. pp. 3-6
  4. DOI: https://doi.org/10.1353/dlg.2020.0001
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  1. Películas en lenguas indígenas producidas en países hispanohablantes: Ixcanul y El abrazo de la serpiente
  2. Júlia González de Canales Carcereny
  3. pp. 7-19
  4. DOI: https://doi.org/10.1353/dlg.2020.0002
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  1. Mirada común a las visiones plurales: Los festivales de cine indígena en Brasil
  2. Luciana de Paula Freitas
  3. pp. 21-29
  4. DOI: https://doi.org/10.1353/dlg.2020.0003
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  1. Filmic Disciples and Indigenous Knowledges: The Pedagogical Imperative in El abrazo de la serpiente (Ciro Guerra, 2015)
  2. Charlotte Gleghorn
  3. pp. 31-45
  4. DOI: https://doi.org/10.1353/dlg.2020.0004
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  1. Descolonizando el texto visual: Bases para interpretar cuatro estéticas cinematográficas indigenistas ecuatorianas del siglo XXI
  2. Henry Tarco Carrera
  3. pp. 47-54
  4. DOI: https://doi.org/10.1353/dlg.2020.0005
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  1. Una discusión sobre el racismo y el trabajo doméstico en Roma, de Alfonso Cuarón
  2. Tereza María Spyer Dulci, Alfredo Nava Sánchez
  3. pp. 55-67
  4. DOI: https://doi.org/10.1353/dlg.2020.0006
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  1. Thunder and Terror: Storm as Allegory in Tatiana Huezo's Tempestad
  2. Patrick Ridge
  3. pp. 69-84
  4. DOI: https://doi.org/10.1353/dlg.2020.0007
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  1. Populating the Margins: Hope and Healing in Claudia Llosa's La teta asustada
  2. Douglas J. Weatherford
  3. pp. 85-99
  4. DOI: https://doi.org/10.1353/dlg.2020.0008
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  1. Collective Disruptions of Bare Life in Marcela Zamora's Maria en tierra de nadie
  2. Esteban E. Loustaunau
  3. pp. 101-112
  4. DOI: https://doi.org/10.1353/dlg.2020.0009
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  1. "My Camera Is Not a Weapon": Indigenous Erasure in Lucía Puenzo's Wakolda
  2. Bridget Franco
  3. pp. 113-125
  4. DOI: https://doi.org/10.1353/dlg.2020.0010
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  1. Identidad y resistencia en A tus espaldas de Tito Jara
  2. Manuel Medina
  3. pp. 127-141
  4. DOI: https://doi.org/10.1353/dlg.2020.0011
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  1. About the Artist: Nicolás de Jesús
  2. Franky Piña
  3. pp. 143-156
  4. DOI: https://doi.org/10.1353/dlg.2020.0012
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  1. From Filmmaker Warriors to Flash Drive Shamans: Indigenous Media Production and Engagement in Latin America ed. by Richard Pace (review)
  2. Argelia González Hurtado
  3. pp. 149-150
  4. DOI: https://doi.org/10.1353/dlg.2020.0013
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