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Review Studies in Hispanic Cinemas

Studies in Spanish & Latin-American cinemas

Review TECSISTECATL Revista Académica de Ciencias Sociales de México

Year: 2015 vol. 12 n. 3

Thomas, Sarah. Rupture and reparation: Postmemory, the child seer and graphic violence in Infancia clandestina (Benjamín Ávila, 2012) .  / Rotura y reparación: Postmemory, el vidente infantil y la violencia gráfica en Infancia Clandestina (Benjamín Avila, 2012) p. 235-254 América Latina
Benjamín Ávila / Infancia clandestina / Niño en la película / Guerra sucia / Postmemory / Subjetividad
Siglo XXI


Although films representing violence through a child’s eyes have become increasingly commonplace in Latin American cinema of the last three decades, this article proposes that Bejamín Ávila’s 2012 Infancia clandestina provides an innovative approach. The film emphasizes ruptures – aesthetic, thematic and spectatorial – as well as gestures towards their repair in an attempt to represent the child’s perspective and engage the viewer in approaching the nation’s violent past. These forms of rupture and reparation, along with oscillations between identification with and distance from the protagonist’s perspective, draw attention not only to the complexities of representing the child’s subjective viewpoint but also of representing the violence of state repression. After examining the film’s treatment of postmemorial generational rupture, the article explores the mechanisms by which the film aligns the viewer with the perspective of its child protagonist while refusing complete identification with his subject position. Finally, it demonstrates how the child’s perspective of violence is cast as unique – underscoring his difference and questioning the possibility of representing ‘realistically’ the violence of the Dirty War years.

Mora, Sergio de la. Arturo Ripstein’s and Paz Alicia Garciadiego’s Lucha Reyes and the aesthetics of Mexican abjection.  / "Lucha Reyes", de Arturo Ripstein y Paz Alicia Garciadiego y la estética de la abyección mexicana p. 279-294 México
Reyes / Ripstein / Raro / Música ranchera / Recepción / Sexualidad
Siglo XX


This article explores questions of representation and reception of Arturo Ripstein’s biopic La reina de la noche/The Queen of the Night (1994), loosely based on the life of the pioneer Mexican ranchera music performer Lucha Reyes (1906–1944). Reyes created the sound of ranchera singing as we understand it today: simultaneously aggressive, pained, festive. Her troubled and controversial career is examined in light of the film’s mixed reception, notably the unfavourable reception in Mexico due to the irreverent treatment of this national icon. The divisive representation of Reyes’s alcoholism, mental illness and bisexual lifestyle opens a window into exploring how Reyes’s non-conformist agency rubbed uneasily against dominant society. Yet, despite this critical edge, the focus on Reyes as a tragic and abject victim and her rendering as a queer icon register the multiple layers of ambiguity that made the film so problematic for audiences and critics.

Studies in Spanish & Latin-American cinemas
Paper | Numerical version with subscription | Cuatrimestral | United Kingdom SLAC
Print ISSN: 2050-4837
Online ISSN: 2050-4845
Year of creation: 2013

Publisher: Intellect Ltd.
Address: The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, United Kingdom


Formerly published as Studies in Hispanic Cinemas, 2004-2013, the journal is dedicated to the study of Spanish-speaking and Latin American cinemas. Coverage includes the cinemas of Spain and Spanish-speaking South, Central and North America, including the Caribbean, and Brazil. Our target readership includes students, teachers and scholars. The double-blind peer-reviewed journal is written in English to maximize the opportunities for contact between academic disciplines such as Media, Film Studies, Latin American and Post- colonial Studies, as well as Hispanic Studies, thereby encouraging an inter-cultural and inter-disciplinary focus.

Review related to: Studies in Hispanic Cinemas

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