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Revista Journal of Iberian and Latin American Studies

Journal of Latin American Cultural Studies

Revista Journal of Latin American Studies

Año: 2014 vol. 23 n. 2

Garibotto, Verónica. Staging Politics and Activism in the Kirchner Era: Documentary and Fiction in El estudiante.  / Escenificación política y activismo en la era de Kirchner: documental y ficción en El estudiante p. 115-132 Argentina


This article claims that Santiago Mitre's 2011 film El estudiante stages a confrontation regarding the notions of politics and activism that polarize Argentina in the Kirchner era (and arguably Latin America in the so-called New Left in general). The mixture of documentary and fiction and the filmic images' particular combination of indexical and symbolic components unveil a tension between a practical notion that considers politics to be the result of either gestión or emotions, and an ideal notion that sees politics as a series of principles and concepts and sees activism as a morally subordinate sphere. Thus, on the one hand, the article breaks with a monolithic view of politics and activism during Kirchnerismo, unpacking a confrontation that can resignify these concepts. On the other, it helps to further understand how the mixture of documentary and fiction, which is quite typical in new Argentine cinema, can be read ideologically.

Navitski, Rielle. Spectacles of Violence and Politics: El automóvil gris (1919) and Revolutionary Mexico's Sensational Visual Culture.  / Espectáculos de violencia y política: El automóvil gris (1919) y cultura visual sensacionalista del México revolucionario p. 133-152 México
Siglo XX


One of the first box-office successes of Mexican cinema, the 1919 ‘El automóvil gris’ (dir. Enrique Rosas) fictionalized a case that exemplified a national crisis of political legitimacy – a series of robberies committed by the ‘Grey Automobile Gang’ with the complicity of military officials – using the narrative and visual conventions of French and North American crime film. Evoking cosmopolitan iconographies of crime cultivated in the police blotter, serial literature, and cinema, the film casts criminality as a thrilling and threatening sign of local urban modernity, glossing over the problem of corruption by distorting real-life events. Capitalizing on cinema's claims to topicality and authenticity, even as it extends the use of visual reproduction technologies as a means of social control, ‘El automóvil gris’ exemplifies a sensationalistic visual culture fueled by the dissemination of photochemical images and the expansion of the popular press. By incorporating ostensibly unstaged footage of the real criminals' execution into its fictionalization of the case, ‘El automóvil gris’ throws into relief the political uses of the cinematic image's reality effects. The film foregrounds visual reproduction technologies' role in registering the violent costs of industrialization, urbanization, and civil war, processes that defined the contested trajectory of modernization in early twentieth-century Mexico.

Muñoz, Alicia. La Quintrala's Confessions: The Contesting of Female Agency and Indigeneity in Two Popular Chilean Visual Narratives.  / Confesiones de La Quintrala: la impugnación de la Agencia de la Mujer y el indigenismo en dos narrativas visuales populares chilenas p. 153-172 Chile


Doña Catalina de los Ríos y Lisperguer, known as ‘La Quintrala,’ a seventeenth-century aristocratic woman of mixed ancestry accused of torture, witchcraft, and murder, has persisted as a recurring figure in the Chilean imaginary. While literary representations of this figure have been well explored, this article contributes an examination of two visual narratives, paying particular attention to the manner in which genre and context influence the repurposing of this violent woman: the 1986 teleserie La Quintrala, produced by Chile's state-owned television station (TVN), and the Chilean newspaper Las últimas noticias's 2008 comic ‘La Quintrala y el Cristo de Mayo.’ The teleserie, a product of the Pinochet era, positions her as an antithesis to the ideal Chilean woman, simultaneously denying her agency and condemning her. The comic echoes the rhetoric of the Concertación governments as it prominently links La Quintrala's downfall and redemption to the genesis of modern Chile at the cost of her distinctive racial and gendered characteristics. Ultimately, each work employs the structure of confession to recall her crimes while rejecting the female agency and racially mixed heritage La Quintrala represents.

Llenín-Figueroa, Beatriz. ‘The Island Blazed’: A Blinding Light and Tiepolo's Hound.  / 'La isla ardió': una luz cegadora y la caza de Tiepolo p. 173-191 Caribe


This essay is primarily a study of Derek Walcott's Tiepolo's Hound as an affirmation of Caribbean, tropical, blinding light through an engagement with the life and work of Camille Pissarro. Conceived as such, the poem, I argue, proposes an “adamic” vision and imagination attuned with “Time” rather than “History” (the concepts are Walcott's), as well as an intensification of sensory-perception beyond vision. In order to better appreciate the historical and contextual relevance of Tiepolo's Hound, the essay provides first a general introduction to: (1) a nuanced understanding of light and its “otherness” emerging from modern physics; (2) some of the ways in which western capitalism and Cartesian perspectivism, as a hegemonic aesthetic and philosophical tradition in the West, have attempted to capture and control light and its “otherness;” and (3) the blinding quality of light in the tropical context, which repositions light as a force against any and all exploitative capitalist desires.

Hernández García, Henry Eric. From Salvation and Impurity to Renunciation: Pilgrim Representations and Cuban Women's Militant Roles.  / De la salvación y la impureza a la renuncia: representaciones pilgrim y roles militantes de las mujeres cubanas p. 193-210 Cuba


How have the representations of the cinema of political pilgrimage turned the stereotype of Cuban women into one of political sacrifice, that is to say, woman as saviour figure and woman as figure of renunciation? How have political stereotypes defined the kind of behaviour by women that could be part of Communist society? Starting from these questions, this article discusses the beginnings of the imaginary of militant Cuban women and its connections to the revolutionary Cuban imaginary: a symbolical register negotiated between the political Other and Self, that is, between the revolutionary institutions and the Left intellectual sympathisers who from its inception have visited the Cuban Revolution and have been its political and ideological guests. Specifically, I analyse three films of this cinema of political pilgrimage (Realengo 18, Cuba 58', Soy Cuba) as some of the founding productions of the Cuban revolutionary imaginary.

Maguire, Geoffrey. Bringing Memory Home: Historical (Post)Memory and Patricio Pron's El espíritu de mis padres sigue subiendo en la lluvia (2011).  / Recuperación de la memoria: (post)memoria histórica y El espíritu de mis padres sigue subiendo en la lluvia (2011) de Patricio Pron p. 211-228 Argentina


Published in 2011, Patricio Pron's semi-autobiographical novel details the return of a young Argentine academic to visit his dying father in Buenos Aires, and points precisely to the problematic generational inheritance that characterises the work of Argentina's second generation of dictatorship victims. Negotiating both personal and appropriated memories of his father's militancy during Argentina's last dictatorship (1976–1983), the protagonist gestures to memory not as a source of any objective or official history, but to its inherent quality as a subjective, postponed and mediated construct. Playing with the distinction between history and memory, the novel problematises the potential of postmemory's insistence on creative investment and highlights the difficulties inherent in the re-writing of history as an attempt to understand the past. By building on critical debates surrounding the application of post-Holocaust theory in Argentina, this article will place theories of postmemory firmly within an Argentine context and call for the need to reassess the political nature of the legacy inherited by this second generation. While advancing the discussion of these political elements of Argentine postmemory, attention will thus be drawn to the mechanisms of mnemonic transfer both between and within generations, highlighting how the subjective modification of what is being remembered allows Pron to move beyond an objectively unknowable past and look toward a future that is both open to, and shaped by, his contemporaries.

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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