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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: 2012 vol. 21 n. 4

Poppe, Nicolas. Made in Joinville: Transnational Identitary Aesthetics in Carlos Gardel's Early Paramount Films. p. 481-495 Argentina
Gardel, Carlos / Cine / Paramount
Siglo XX

Resumen

The arrival of sound technologies in the cinema fundamentally changed film production and consumption. Fearing a potential loss in market share in foreign markets such as that of Latin America due to the inevitable premieres of talkies produced by national industries, Hollywood studios began devising strategies to exert and extend their hegemonic market position. Though an initial strategy centering on multilinguals failed, Paramount ultimately achieved success through the production in their studios in Joinville, France, of Spanish-language original features. Some of the most successful, both commercially and artistically, of these features are those films of Carlos Gardel. In this paper, I explore the ways in which the protagonists Gardel plays channel affective and identitary connections to cinematic geography in the three feature films he shot for Paramount in their Joinville studios: Las luces de Buenos Aires (The Lights of Buenos Aires, Adelqui Millar, 1931), ¡Esperáme!, (Wait for me!, Louis Gasnier, 1932), and Melodía de arrabal (Suburban Melody, Gasnier, 1932). I argue that the increasingly regional deterritorialization in these early Paramount films not only mediated but embodied by Gardel's protagonists suggests an attempt to create an ostensibly authentic and commercially viable transnational Hispanic cinema.

Colombo, Pamela. A Space Under Construction: The Spatio-Temporal Constellation of Esma in El Predio. p. 497-515 Argentina
Cine documental / Memoria histórica / Dictadura / Terrorismo de Estado / El Predio / Jonathan Perel
Siglo XX

Resumen

In this article, I look at the relationship between concentrationary space and images, taking as my focus an analysis of the documentary El Predio (The Site) filmed by Jonathan Perel inside the Escuela de Mecánica de la Armada (The Navy Mechanics School) (ESMA). The analysis is framed by three theoretical perspectives which throw light on different but essential aspects of the concentrationary space: space as lived/imagined (Henri Lefebvre), space as tour or itinerary (Michel de Certeau) and space as constellation (Walter Benjamin). In the first section I analyse how ESMA is ‘under construction’ in a double sense: both because of the alteration-repair of its ruins and because of the open and unfinished character of the space in itself, here using the idea of the social production of space developed by Lefebvre. In the second section, basing myself on de Certeau's practice of everyday life, I problematise the different types of maps or itineraries that can be made of the space of ESMA. In the last section, framing my reflections within ideas developed by Benjamin, I propose to use the term constellation to give an account of the peculiar manner in which the concentrationary world is constituted by intersections and superimpositions of different spaces and times.

Polgovsky Ezcurra, Mara. Zona De Dolor: Body and Mysticism in Diamela Eltit's Video-Performance Art. p. 517-533 Chile
Vídeo-performance / Autosacrificio / Crítica política / Dictadura / Diamela Eltit
Siglo XX

Resumen

Self-sacrifice as a moral gesture lies in a paradoxical zone between the internalisation of punishment and the affirmation of subjectivity. Recognised by the Christian tradition as redemptive suffering, practices of self-wounding traverse the history of the Western world but occupy an uneasy place in today's ‘wound culture' (Seltzer 1997). What is the social meaning of self-sacrifice? What are its consequences in the process of subject formation? This paper is a discussion of an unconcealed, yet highly experimental, self-inflicted ‘zone of pain' (zona de dolor). At the time of Chile's military dictatorship, the writer Diamela Eltit publicly displayed images of her self-burned and lacerated forearms and combined them with recorded excerpts from her reading of Lumpérica (her novel-in-progress) in an impoverished brothel. This video-performance, now iconic of the Chilean escena de avanzada, has often been analysed as an allegorical critique of the disciplining of bodies by the dictatorial regime. I revisit Eltit's video-performance in order to problematize these interpretations by looking at Judith Butler's discussion of the question of self-sacrifice in the light of recent reconsiderations of the relationship between agency, power, and subjectivity. Furthermore, I consider the use of religious motifs in Eltit's work and their relation to the Christian mystic tradition as crucial to understanding the way excess and pain become a parodic critique of power.

Antebi, Susan. A Rhetoric of Hygiene: Juan O'Gorman's Functionalism and the Futures of the Mexican Cityscape. p. 535-556 México
Juan O'Gorman / Urbanismo / Arquitectura / Higienismo / Análisis del discurso
Siglo XX

Resumen

This article analyses the concept of hygiene in Mexican functionalist architect Juan O'Gorman's written manifestos and building projects from the early 1930s. O'Gorman's technical notion of hygiene, in which architecture addresses social inequality, and describes a fluid system of exchange between bodies and the built spaces they inhabit, both overlaps and conflicts with a broader nationalist version of hygiene geared towards a eugenic and aesthetic vision of Mexico's future. In 1932 O'Gorman began collaboration with the Secretaría de Educación Pública on the design of a series of urban primary schools, in accordance with a hygenicist-eugenic logic to promote the health and well-being of the family and the future of the nation. This project, as well as O'Gorman's writing of the period, exemplifies the architect's insistence on the technical over the aesthetic, and the ways in which the rhetoric of hygiene serves to highlight conflicts between an overarching revolutionary nationalist project, and the immediate technical and social goals of building design. Analysis of O'Gorman's work reveals not only the origins of his eventual disillusion with the state-sponsored logic of building for a Mexican future, but also the crucial role of hygiene itself as symptomatic of a multiple and fractured post-revolutionary discourse.

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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