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CEISAL Consejo Europeo de Investigaciones Sociales de América Latina
Revista Journal of Iberian and Latin American Studies

Journal of Latin American Cultural Studies

Revista Journal of Latin American Studies

Año: 2011 vol. 20 n. 1

Bentes, Ivana. Subjective Displacements and Reserves of Life . p. 5-19 Brasil
Morrinho / Rio de Janeiro / Impressive construccion of bricks
Siglo XXI


Morrinho, a 300m2 maquette in the Favela do Pereira˜o, Rio de Janeiro, is an al fresco miniature duplicate of the favela itself forming an impressive construction of clay, painted bricks, recycled material and chicken wire. It is a chaos-construction of houses, streets, miniature cars, street lamps, and sundry objects: an impressive jumble. Moreover, this giant-miniature-model is inhabited by locals and visitors, little figurines made from blocks of LEGO and moved by the hands of their creators.

Freire-Medeiros, Bianca. I went to the City of God: Gringos, guns and the touristic favela . p. 21-34 Brasil
Ciudad de Dios / Favela turística / Rio de Janeiro / Pobreza como atracción turística
Siglo XXI


A regular tourist destination since the early 1990s, Rocinha - the paradigmatic touristic favela in Rio de Janeiro, Brazil - has seen the number of foreigners visitors grow considerably after the successful international release of City of God in 2003. In dialogue with the new mobilities paradigm and based on a socio-ethnographic investigation which examines how poverty-stricken and segregated areas are turned into tourist attractions, the article sheds lights on the ways tourists who have watched Fernando Meirelles's film re-interpret their notion of “the favela” after taking part in organized tours. The aim is to examine how far these reinterpretations, despite based on first-hand encounters, are related back to idealized notions that feed upon the cinematic favela of City of God while giving further legitimacy to it.

Sá, Lucia. Flânerie and Invasion in the Monstrous City: São Paulo in recent cinema . p. 35-48 Brasil
Sao Paulo / O Príncipe de Ugo Giorgetti / Urbânia de Flávio Frederico / Invasor de Beto Brant / Invasión de la ciudad por extraños
Siglo XXI


Changes in the physical space of São Paulo are the focus of three films released early in the 21st century: O Príncipe (2002; The Prince), by Ugo Giorgetti; Urbânia (2001), by Flávio Frederico; and O Invasor (2002; The Trespasser), by Beto Brant. All three films convey a sense of deep division in the urban space by focusing on the “invasion” of certain parts of São Paulo by people who supposedly do not belong there: homeless, squatters, inhabitants of periferia. But they do so in different ways. The first two films play with the identification between viewers and the gaze of their flâneur-protagonists, creating, as a result, a shared feeling of nostalgia for a city that no longer exists. O Invasor, by contrast, uses camera work to de-stabilize the viewers' gaze, much complicating our attempts to identify with its protagonists and their ways of looking at the city. This paper will examine how gaze (camera gaze, characters' gaze, implied viewers' gaze) relates to issues of class difference and spatial division in the three films, paying most attention to O Invasor. By comparing this film to O Príncipe and Urbânia, it will re-assess the meanings of the invasion suggested in its title.

Rodríguez, Juan Carlos. The Figure of the Enemy in Elizam Escobar's La Ficción . p. 49-61 Puerto Rico
Elizam Escobar /Artista puertoriqueño/ La ficción / Relaciones entre arte, derecho y política en La ficción
Siglo XX | Siglo XXI

On April 4th, 1980, Puerto Rican artist Elizam Escobar was arrested along with other members of the Fuerzas Armadas de Liberación Nacional (FALN) in Evanston, lllinois. All the members of the FALN claimed to be combatants in an anticolonial struggle against the US government and were found guilty of seditious conspiracy against the government of the United States in a series of trials in which none of them participated. Escobar's art, theory and criticism cannot be detached from the criminal proceedings brought against him, the consequences of which have also been influential in Escobar's cultural production. In this essay, I will explore the relationship of art, law and politics in Elizam Escobar's La ficción, a painting from 1992 in which the Puerto Rican artist imagines his own funeral taking place in US Supreme Court. I will argue that the figure of the enemy in Escobar's La ficción, with its projection of the death of the juridical subject in all its undecidability, opens up the possibility of questioning the limits of art, politics, and law. As it invites us to consider the death of politics in connection to the figure of the enemy, Escobar's La ficción unfolds as a spectral return of the political.

Coleman, Kevin P. A Camera in The Garden of Eden . p. 63-96 Honduras
Fotógrafo Rafael Platero Paz / El Progreso, Honduras / Fotografías de campesinos y comerciantes
Siglo XX


In an unpublished image from the 1930s, studio photographer Rafael Platero Paz embraces a white North American man near a river in El Progreso, Honduras. Both men are stark naked and cover only their genitals with leaves. They look directly into the camera. This essay examines Platero Paz's self-portraits, found in a visual archive made up mostly of photos of peasants and banana laborers, new mothers and local merchants. Invoking Jean-Paul Sartre's phenomenology of sight, I argue that in his traditional self-portraits, Platero Paz posed for an eventual Other. He was there, waiting for the Other's recognition and approval. And insofar as the Other was posited as the destination and ideal viewer of these portraits, Platero Paz was declaring: “I am the Other.” In contrast, in the Garden of Eden photo, Platero Paz incorporates the Other into his landscape and declares “I am we,” establishing a homosocial, if not homoerotic, subject-subject relation in the hypermasculine space of a banana plantation.

Journal of Latin American Cultural Studies
Papel | Versión digital con suscripción | Trimestral (desde 2011) | Reino Unido Journal of Latin American Cultural Studies. Travesia
ISSN versión papel: 1356-9325
ISSN versión digital: 1469-9575
Año de creación: 1992

Editor: Routledge (Taylor and Francis Group)

Publica artículos sobre la historia y la análisis de la cultura latinoamericana así como sobre el desarrollo de teorías y de métodos a fines de estudiar las costumbres latinoamericanas. Los artículos multi diciplinarios que contribuyen a dar sentido a una área de investigación y de debate están particularmente bienvenidos así como las disciplinas de cierto interés tales como la antropología, la comunicación, la historia y la literatura.

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Sistema Regional de Información en Línea para Revistas Científicas de América Latina, el Caribe, España y Portugal. Recurso creado por una red internacional que reune y difunde información bibliográfica sobre las publicaciones científicas seriadas producidas en la región. El "Directorio" recoge las publicaciones académicas y científicas que superan un nivel mínimo de calidad editorial, mientras que en el "Catálogo" ingresan aquellas que alcanzan un nivel óptimo en los criterios de evaluación. REDIAL colabora suministrando información sobre las revistas latinoamericanistas europeas.

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