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América Latina Portal Europeo
REDIAL Red Europea de Información y Documentación sobre América Latina
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. 4

Pizarro Cortés, Carolina. The decentring of the historical subject in the contemporary imaginary of the independent process. p. 323-342 América Latina
Proceso de independencia / Imaginario contemporáneo / Latinoamérica
Siglo XIX

Resumen

This paper offers an analysis of several contemporary forms of the historical subject's representation – essays, novels, poems, comics, documentaries, films and soap operas – all of which contribute to shaping a new collective imaginary of the independence process in Latin America. All of these representations have in common the decentring of the historical subject. This operation can be verified in at least three variations: (1) the decentring of the figure of the hero, (2) the emergence of alternative heroes (popular heroes and heroines), and (3) the visibilization of marginalized historical subjects because of their ethnic origin (Amerindians, Afro-American, mulattos and mestizos).

Garabano, Sandra. The Brilliance of progress: People, nature and nation . p. 343-354 Chile
Progreso / Nación / Terremoto chileno / Bernardo Subercaseaux
Siglo XIX | Siglo XX | Siglo XXI

Resumen

The earthquake that Chile suffered in February 2010 suspended the celebrations of the nation's bicentennary and diverted the energy of most Chileans into tasks of mourning and reconstruction. This article revisits Bernardo Subercaseaux's suggestion about the Centennary as a fractured spectacle, in order to trace a narrative that challenges the received wisdom of a Chile in which progress could flourish undeterred by the political passions experienced by the rest of Latin America. On balance, however, in 1910 just as in 2010, the liberal-romantic paradigm about the inevitablity of Chilean progress entails a large number of paradoxes.

Giaudrone, Carla. Territorial imagination and visual culture in the centenary: the construction of the national landscape in Uruguay's Centenary Book (1926) . p. 355-375 Uruguay
Uruguay / Primer centenario de la independencia nacional
Siglo XX

Resumen

The formation of a canonical landscape helps the state to consolidate the symbolic unification of diversity. Through the 1920s the notion of a distinctive national landscape is formed for the first time in Uruguay alongside the expansion of image reproduction technologies and new directions in geographic studies. This article examines the relationship between territorial identity and landscape within the framework of the commemorative celebrations of the first centenary of national independence, starting with photographs and paintings reproduced in the Libro del centenario uruguayo (Uruguay Centenary Book, 1926). Analyses of this graphic material account for two different, though not necessarily exclusive, ways of looking at a landscape: one which projects it toward the future and another which secures it in its historical value. These two perspectives correspond to rival political projects whose discrepancies remained echoed in dissimilar commemorative initiatives. This article will address the functions of landscape, its process of formation, meaning and representation in the graphic Uruguayan album from a multidisciplinary perspective that includes analytical theories derived mainly from art history and cultural geography.

Arroyo Quiroz, Claudia. Echoes of the Mexican revolution: cinematic and museographic approaches to history in the 2010 bicentenary . p. 377-395 México
Revolución mexicana / Bicentenario / Aproximación histórica / Películas acerca de la revolucíon
Siglo XXI

Resumen

In Mexico in 2010, the double celebration of the bicentenary of independence and the centenary of the revolution triggered a variety of different approaches to those historical periods. The most conspicuous of these was official cultural policy, which sought to legitimise itself through the patronage of cultural and artistic projects that reevaluated the commemorated events and their cultural representation. These projects included the production of a number of fiction films that articulated new perspectives on independence, the Porfiriato, the revolution and the country's present situation. Another project financed under official policy was a museum exhibition about films dealing with the revolution. This article will explore the discursive specificity of these historically oriented projects, focusing in particular on the topic of the revolution and its cultural representation. It will do this by presenting a broad review of this series of fiction films, and through a somewhat more detailed analysis of one of them, Revolution, and of the museum exhibition mentioned above. The article will also reflect on the relation between this film and the exhibition, and on the way in which both projects are positioned in relation to other discourses on history that flourished during the bicentenary.

Mosquera, Daniel O. Close Up on the Mexican Revolution: Memory and Archive in Taboada Tabone's Documentary Films . p. 397-418 México
Francesco Taboada / Revolución mexicana / Película documental
Siglo XX

Resumen

Going beyond a critical review of Francesco Taboada's filmic approach to the Mexican Revolution, this article explores its political aesthetics for both reconstructing historical memory and challenging national state and media memorializing discourses of the Revolution. A nostalogic approach (in a Blochian sense) to historical memory, Taboada's search for surviving stories resonates with past and present contestations of Mexican modernities, rekindling subalternist narratives of insurgency and political malaise that resonate with current national territorial and cultural disputes with a deeply rooted utopian flavor. Taboada's films theorize a visual multiperspectivism and non-synchronicity born of a nostalgia more in synch with Ernst Bloch's cognitively dynamic sense of this term – a memorializing process whose utopian vitality is always present, always shaping the elusive present and rewriting a presumably already narrated past.

Suarez, Juana. Transitions towards the new museum: the mise-en-scène of the bicentenary in Colombia . p. 419-442 Colombia
Museo Nacional / Museo de la independencia / Colombia / Celebración del bicentenario
Siglo XXI

Resumen

This article discusses and analyses three exhibitions that focus on the Colombian bicentennial celebrations housed in the Museo Nacional, the Museo de la Independencia-Casa del Florero and the Iglesia Museo Santa Clara (all in Bogotá). In all three cases the occasion elicited generational enquiries and actual changes in cultural policy, signaling a transition towards the concept of the new museum, characterized by different conceptions of the viewing public and of the relationship between public and museum. In addition, the new museum marks the entry into the museum space of a wide gamut of new technologies and participatory forms in its effort to seduce the public. When addressing some of the polemics and discussions generated by and around these exhibitions, this article reflects on the place of both the traditional and the new museum as a site for the inscription of national narrative scripts and rethinking of the nation's cultural heritage. While charting these debates, it also gives space to reflection on the tectonics of neoliberalism and globalization and their challenges to concepts of “the national”, the reconfiguration of national destinies, and discussions around new social actors and movements.

Richards, Keith J. Manichaean Realism: Being the Baddie in Bolivian Films . p. 443-448 América Latina
Bicentenario de la independencia / Retrato de héroes nacionales / Latinoamérica
Siglo XXI

Resumen

The Bicentenary of the first coherent independence movements in Latin America has generally served political and ideological consolidation rather than aesthetic innovation. In film terms, this follows an established pattern – film portrayals of national heroes, whether those involved in independence movements or otherwise, have tended towards cinematic conservatism, whatever their content. This can even apply to usually innovative filmmakers: in Venezuela, Luis Alberto Lamata's Miranda regresa (Miranda Returns, 2007) and Diego Rísquez's Manuela Saenz (2001) are cases in point, offering less than stimulating interpretations of inherently inspirational protagonists. Much the same applies to Miguel Littín's Sandino (Chile/Spain/Cuba/Mexico/Nicaragua, 1990) which appeared shackled by the responsibility and expectation involved in portraying a figure synonymous with free Nicaragua. An exception was Jorge Ali Triana's Bolívar soy yo (Bolívar is Me; Colombia, 2002). But Triana's film is far from simply an institutional monument; it explores the revered Liberator's hold on the popular imagination, and thus the nature of foundational material itself. In Argentina, Sebastián Pivotto's Belgrano (Argentina, 2010) is a lively and perceptive portrayal that skilfully interweaves public and personal concerns.

Wood, David M.J. Mexico: The Celluloid Revolution . p. 449-461 México
México / Revolución mexicana / La luz y la guerra: el cine de la Revolución mexicana
Siglo XX

Resumen

This review essay evaluates two books published in 2010, the centennial year of the Mexican revolution: La luz y la guerra: el cine de la Revolución mexicana (ed. Fernando Fabio Sánchez and Gerardo García Muñoz) and Constructing the Image of the Revolution: Cinema and the Archive (Zuzana Pick). An initial reflection on the Yo México multimedia light-and-sound show, held in Mexico City's zócalo in November 2010, serves as a springboard for an analysis of these two books' historical, critical and theoretical accounts of the presence of the Mexican revolution in cinema. Among the key themes dealt with are the ideological meanings pinned to the revolution in filmic discourse; the relations between cinema, state and market interests; the intertextuality, commodification, reflexivity and aesthetics of spectacle that define and determine many of these narratives; the notion of filmic images as ‘visual archives’ of the revolution; and the ways in which cinematic images address and are received by audiences.

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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