Studies in Spanish & Latin American Cinemas最新文献_第2页

La conquista del espacio: cine silente uruguayo (1915–32), Georgina Torello (2018) 征服空间：乌拉圭无声电影（1915-32），乔治娜·托雷洛（2018）

Studies in Spanish & Latin American Cinemas Pub Date : 2021-06-01 DOI: 10.1386/slac_00050_5

Juan Sebastián Ospina León

引用次数: 0

The Two cines con niño: Genre and the Child Protagonist in Over Fifty Years of Spanish Film (1955–2010), Erin Hogan (2018) 《两部电影》niño:西班牙电影50多年(1955-2010)中的类型与儿童主角，艾琳·霍根(2018)

Studies in Spanish & Latin American Cinemas Pub Date : 2021-06-01 DOI: 10.1386/slac_00053_5

Rachel Beaney

引用次数: 1

A re-visionist Her-story of De cierta manera ([1974] 1977): Reading Yoruba myth in Sara Gómez’s revolutionary classic1 她的故事([1974]1977):萨拉Gómez革命经典中的约鲁巴神话解读

Studies in Spanish & Latin American Cinemas Pub Date : 2021-06-01 DOI: 10.1386/slac_00046_1

Susanne Hackett

{"title":"A re-visionist Her-story of De cierta manera ([1974] 1977): Reading Yoruba myth in Sara Gómez’s revolutionary classic1","authors":"Susanne Hackett","doi":"10.1386/slac_00046_1","DOIUrl":"https://doi.org/10.1386/slac_00046_1","url":null,"abstract":"Recent scholarship on Sara Gómez has expanded upon existing discourse on her work beyond her singular feature film, De cierta manera/One Way or Another ([1974] 1977) to examine not only her earlier documentary shorts of the 1960s, but to demonstrate the impact that her body of work has had on a subsequent generation of Cuban filmmakers who continue her mission to critique the Revolution through an antiracist and feminist lens – contemporary filmmakers such as Gloria Rolando, Sandra Gómez and Susana Barriga. This article seeks to push this conversation forward by arguing several interrelated points: (1) that De cierta manera contains symbolic, visually embedded references to a specific patakí (myth) about the Afro-Cuban orishas Ogun and Ochún; (2) that De cierta manera holds this in common with Gloria Rolando’s Oggun: An Eternal Presence (1991), which tells the patakí in a more explicit manner, and therefore the two films warrant comparison and (3) lastly, that this interpretation of De cierta manera offers a novel take on a ‘classic’ Cuban revolutionary film, offering additional interpretive layers that do not change the message of the film, per se, but complicate it by adding an additional filter through which to view and interpret it: that of Yoruba moral philosophy. The Afro-Cuban word patakí in Cuban Lucumí liturgical speech refers to a parable with a moral lesson, and is derived from the word pàtàkì, which means ‘[something] important’ in the Yorùbá language of West Africa. This article will attempt to answer how and why this particular myth is ‘important’ (pàtàkì) to the reading of De cierta manera and argue for a broader re-centring and privileging of African-derived philosophical frameworks within Cuban intellectual history and popular culture.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46451690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

In (Spanish) (西班牙语)

Studies in Spanish & Latin American Cinemas Pub Date : 2021-01-01 DOI: 10.5040/9781350965638

引用次数: 2

Ethics, hospitality and aesthetics in Fresa y chocolate/Strawberry and Chocolate (Gutiérrez Alea and Tabío 1993) and Santa y Andrés/Santa and Andrés (Lechuga 2016) 弗雷萨巧克力/草莓巧克力和巧克力(gutisamurez Alea and Tabío 1993)和圣诞老人与安德瑞斯/圣诞老人与安德瑞斯(Lechuga 2016)中的道德、热情好客和美学

Studies in Spanish & Latin American Cinemas Pub Date : 2020-09-01 DOI: 10.1386/SLAC_00030_1

Dunja Fehimović

{"title":"Ethics, hospitality and aesthetics in Fresa y chocolate/Strawberry and Chocolate (Gutiérrez Alea and Tabío 1993) and Santa y Andrés/Santa and Andrés (Lechuga 2016)","authors":"Dunja Fehimović","doi":"10.1386/SLAC_00030_1","DOIUrl":"https://doi.org/10.1386/SLAC_00030_1","url":null,"abstract":"This article draws on Levinas’ ‘first ethics’ and Derrida’s account of hospitality in order to examine how Fresa y chocolate/\u0000Strawberry and Chocolate (Gutiérrez Alea and Tabío 1993) and Santa y Andrés/Santa and Andrés (Lechuga 2016)make perceptible (drawing on the etymology of aesthetics as ‘aistheta’, perceptible things) the problem of the encounter with the Other. As films, they inevitably thematize and reduce both the Other’s infinite alterity and our own infinite responsibility. However, whereas Santa y Andrés makes the viewer experience the uncertainty produced by the subject’s encounter with difference, developing an aesthetics that bears a trace of this ‘first ethics’, Fresa y chocolate reduces alterity in favour of resolution. Examining the characters’ interactions in light of Derrida’s ‘hostipitality’, it becomes clear that, whereas Alea’s work encourages us to forget the power imbalances that neuter Diego’s authority as host, Lechuga’s film gestures towards a pervasive sovereignty that determines the exercise of hospitality as ethical response. Thus, by acknowledging the uncomfortable proximity of hospitality, hostility and discipline, and by allowing the viewer to access a trace of the unsettling encounter with infinite otherness, Santa y Andrés encourages a more ethical engagement with difference than its predecessor.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43443844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

El Noticiario C.L.A.S.A., órgano de difusión gubernamental (1934‐52) c.l.a.s.a.新闻，政府广播机构(1934 - 52)

Studies in Spanish & Latin American Cinemas Pub Date : 2020-06-01 DOI: 10.1386/slac_00017_1

Tania Celina Ruiz Ojeda

引用次数: 0

El uso del cine en la política indigenista mexicana: El cine del Instituto Nacional Indigenista (INI) de su primera etapa (1956‐70) 电影在墨西哥土著政治中的应用:国家土著研究所(INI)第一阶段(1956 - 70)的电影

Studies in Spanish & Latin American Cinemas Pub Date : 2020-06-01 DOI: 10.1386/slac_00019_1

Claudia Arroyo Quiroz

引用次数: 1

Forgotten cinemas: The institutional uses of documentary in twentieth-century Mexico (1930‐80) 被遗忘的电影院:20世纪墨西哥纪录片的制度使用(1930 - 80)

Studies in Spanish & Latin American Cinemas Pub Date : 2020-06-01 DOI: 10.1386/slac_00016_2

Claudia Quiroz, Alvaro Vázquez Mantecón, D. Wood

引用次数: 1

Mexicans in Nicaragua: Revolution and propaganda in Sandinista documentaries of the University Center for Cinematographic Studies (CUEC-UNAM) 尼加拉瓜的墨西哥人:桑地诺纪录片中的革命与宣传(CUEC-UNAM)

Studies in Spanish & Latin American Cinemas Pub Date : 2020-06-01 DOI: 10.1386/slac_00020_1

Ana Daniela Nahmad Rodríguez

{"title":"Mexicans in Nicaragua: Revolution and propaganda in Sandinista documentaries of the University Center for Cinematographic Studies (CUEC-UNAM)","authors":"Ana Daniela Nahmad Rodríguez","doi":"10.1386/slac_00020_1","DOIUrl":"https://doi.org/10.1386/slac_00020_1","url":null,"abstract":"Film production played a decisive role in the Nicaraguan Revolution. During the preparation of the 1979 Ofensiva Final (Final Offensive), the Sandinistas clearly understood the need to produce audio-visual documents that would serve as testimony and political propaganda\u0000 of this historic moment. To do so, they sought the support of internationalist filmmakers among whom a group of Mexicans were most prominent. This article focuses on materials on the Sandinista Revolution preserved at the film archive of the University Center for Cinematographic Studies (CUEC)\u0000 of the National Autonomous University of Mexico (UNAM). It analyses them in relation to the role of left-wing film internationalism in political documentary in Latin America and builds an ‘other’ history of a Mexican film institution that in the 1970s was uniquely politicized as\u0000 a result of the 1968 Mexican student movement and, later, the influence of Latin American exiles. As a particular case study, this article rescues one of the key figures of Mexican internationalism during the Sandinista Revolution, Adrián Carrasco Zanini Molina, and the role of Mexican\u0000 filmmakers in the creation of institutions dedicated to film production in Nicaragua such as the Nicaraguan Film Institute (INCINE).","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81420592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Docudrama for the emerging post-war order: Documentary film, internationalism and indigenous subjects in 1950s Mexico1 战后新秩序的纪实电影:1950年代墨西哥的纪实电影、国际主义和本土主题1

Studies in Spanish & Latin American Cinemas Pub Date : 2020-06-01 DOI: 10.1386/slac_00018_1

D. Wood

{"title":"Docudrama for the emerging post-war order: Documentary film, internationalism and indigenous subjects in 1950s Mexico1","authors":"D. Wood","doi":"10.1386/slac_00018_1","DOIUrl":"https://doi.org/10.1386/slac_00018_1","url":null,"abstract":"This article focuses on the productive tensions between the competing ideological discourses of post-war internationalism, Mexican post-revolutionary nationalism and local indigenous representational paradigms in the activities of the film unit of the UNESCO-sponsored adult education\u0000 centre (CREFAL) in the town of Pátzcuaro, Mexico in the 1950s, which combined village screenings of educational, promotional and informative movies from the world over, with the local production of pedagogical documentary shorts by non-professional filmmakers from across Latin America.\u0000 Inspired by the work of British documentarian Paul Rotha, whose United Nation picture World Without End (Mexico/Thailand/United Kingdom, 1953, codirected with Basil Wright) was partly filmed at CREFAL, these films frequently resorted to a docudrama format that enabled amateur documentary\u0000 filmmakers to engage with the agendas of their indigenous subjects even as they subordinated them to the United Nation’s call to hygiene, progress and civic values. In doing so, they responded creatively to appeals by theorists such as Kracauer and Grierson for a critical realist cinema.\u0000 They also acted as a link between the so-called ‘classical’ pre-war documentary movements in the United Kingdom, North America and elsewhere, and the later, socially committed new cinemas.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85010652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0