Argentine Cinema

2016 ◽  
Author(s):  
Jessica Stites Mor ◽  
Nicolas Poppe
Keyword(s):  
Social Movements ◽  
New Media ◽  
Latin American ◽  
Film History ◽  
Professional Associations ◽  
The United States ◽  
Cultural Imperialism ◽  
Political Cinema ◽  
History Of ◽  
Media Politics

The field of Argentine cinema studies can be said to have begun in earnest with the publication of film journalist Domingo Di Núbila’s landmark two-volume history of Argentina’s film history in 1959 and 1960, Historia del cine argentino (Buenos Aires, Argentina: Cruz de Malta). A work of tremendous range and scope, Di Núbila’s history not only provided a synopsis and critique of an abundance of individual films but also examined the influence of professional associations and industry, more broadly speaking. Perhaps due to the comprehensiveness of these volumes, minimal scholarly publishing on Argentine cinema followed until the 1970s, when interest in political cinema propelled Argentine cinema into the global spotlight. Scholarly writing about Argentine film in Europe, the United States, and, to a certain extent, Cuba during this period of heightened Cold War tensions tended to focus on questions of the political and the techniques of radical cinema. Writers from outside Argentina focused predominantly on films being made contemporaneously that engaged questions of colonialism, violence, social movements, and revolution. However, by the late 1970s and early 1980s, filmmakers themselves took on the task of building a new media studies that centered on Latin American cinema with interests in questions of industry, cultural imperialism, and consumption at the core of their inquiry. By the 1980s and early 1990s, growing interest in Argentine filmmaking among academic audiences both at home and abroad culminated in the emergence of a local film studies culture in Argentina that was finally dominated by scholars rather than biographers or filmmakers. This wave of scholarship converged around questions related to the 1976–1983 dictatorship and the subsequent democratic opening. Since 2001, a new wave of interest in Argentine film following the financial crisis has pushed scholarship beyond political questions to engage more seriously with aesthetic and conceptual aspects of national films. However, booming grassroots documentary production in the new digital era captured the interest of nontraditional film scholars interested in media politics, social movements, gender and sexuality, and film as a mode of communication more broadly.

scholarly journals History of Global Media

Communication ◽  
2020 ◽  
Author(s):  
Sönke Kunkel
Keyword(s):  
Mass Media ◽  
Latin American ◽  
Public Diplomacy ◽  
Wide Spectrum ◽  
The United States ◽  
Media History ◽  
Cultural Imperialism ◽  
Historical Study ◽  
Global Media ◽  
History Of

Inspired by the “global turn” in the humanities and social sciences, the history of global media has developed into a burgeoning interdisciplinary field in recent years and now integrates a wide spectrum of diverse approaches and disciplines, ranging from media and communication studies over political science to history. This article reviews particularly the newer historical scholarship which has seen a major rise of output in recent years and has added much new empirical insight to the field. The focus is especially on works covering the 19th and 20th centuries and it concentrates first on newer works on global telegraphy and news agencies as well as on broader overviews. The second part of this article then maps works on the classic mass media in Africa, Asia, and Latin America: print, radio, and television, with a few glimpses toward cinema. It concludes with a section on the Cold War. Global media history means three things in the context of this article: (1) the history of media as global connectors and forces of globalization that enabled and promoted transnational flows of news, texts, pictures, information, ideas, and lifestyles; (2) the history of mass media in regions beyond the United States and Europe; and (3) the history of the ways in which governments and other historical actors used media to promote cross-national and international connections, messages, and interactions. The underlying understanding here, then, is that writing global media history involves as much a specific perspective on entanglements and interconnections as it is a programmatic effort to decenter existing European and US-centered national historiographies and enrich those with Latin American, African, and Asian experiences. The first studies on global media already appeared in the 1960s and 1970s. Mostly written by social scientists and communication scholars under contract by governments or UNESCO (United Nations Educational, Scientific and Cultural Organization), those works mapped the contemporary media environments of African, Asian, and Latin American countries, but usually also touched on historical developments. Common themes of those works were the media policies of the postcolonial state and the charge of cultural imperialism. Genuinely historical works on global mass media only began appearing from the mid-1980s on and initially focused on the interrelationships between diplomacy and global communications. Since the 2000s the historical study of global media has gradually broadened, and now overlaps considerably with other fields such as imperial history, business history, the history of public diplomacy and propaganda, and even ocean studies, making it a highly dynamic and fast-growing field.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

The History of Occupational Therapy Assistants in Canada: A Comparison with the United States

2001 ◽  
Vol 68 (4) ◽  
pp. 217-227 ◽  
Author(s):  
Penny Salvatori
Keyword(s):  
United States ◽  
Occupational Therapy ◽  
Professional Associations ◽  
Training Model ◽  
The United States ◽  
Professional Affiliation ◽  
Standards Of Practice ◽  
History Of ◽  
And Training

In the middle of the twentieth century, the role of occupational therapy assistant was introduced in North America. Although the role, utilization and training of assistant personnel have raised much controversy and debate within the profession, Canada and the United States have taken very different paths in terms of dealing with these issues. This paper focuses on the history of occupational therapy assistants in Canada, using the experience in the United States for comparison purposes. The occupational therapy literature and official documents of the professional associations are used to present a chronology of major historical events in both countries. Similarities and differences emerge in relation to historical roots; training model and standards of education; certification, regulation, and standards of practice; career laddering and career mobility; and professional affiliation. The paper concludes with a summary of issues which require further exploration, debate and resolution if the profession is to move forward in Canada.

Epilogue

2018 ◽  
Author(s):  
Rosina Lozano
Keyword(s):  
New York ◽  
World War Ii ◽  
Bilingual Education ◽  
Latin American ◽  
The United States ◽  
Spanish Language ◽  
Spanish Speakers ◽  
History Of ◽  
American Spanish ◽  
Education Act

This epilogue briefly identifies some of the major changes in Spanish language politics since World War II. These include community shifts in activism. For example, the Chicano Movementreclaimed the language and advocated for culturally affirming bilingual education programs. The epilogue also turns to federal support for Spanish instruction with the 1968 Bilingual Education Act and with the 1975 extension to the Voting Rights Act that provides federal protection for ballots in languages other than English. Spanish is no longer a language of just the Southwest and there are major populations of Spanish speakers in cities like Chicago, New York, and Miami today. In 2013, tens of millions of U.S. residents spoke Spanish in their homes. Spanish language perseverance in the United States is due to a long history of Latin American migration to the country. It began as a language of settlement and power in the nineteenth century and has transformed into a language often deemed as foreign or un-American. Spanish is an American language historically and this book has recovered that history.

Mexico, Gilberto Bosques and the Refugees

2000 ◽  
Vol 57 (1) ◽  
pp. 1-12 ◽  
Author(s):  
Friedrich Katz
Keyword(s):  
United States ◽  
Latin American ◽  
The United States ◽  
American Military ◽  
Latin Americans ◽  
North Americans ◽  
Promised Land ◽  
Mexican Government ◽  
History Of ◽  
The Right

In the eyes of many North Americans, Mexico is above all a country of immigration from which hundreds of thousands hope to pass across the border to find the promised land in the United States. What these North Americans do not realize is that for thousands of Latin Americans and for many U.S. intellectuals, Mexico after the revolution of 1910-1920 constituted the promised land. People persecuted for their political or religious beliefs—radicals, revolutionaries but liberals as well—could find refuge in Mexico when repressive regimes took over their country.In the 1920s such radical leaders as Víctor Raúl Haya De La Torre, César Augusto Sandino and Julio Antonio Mella found refuge in Mexico. This policy continued for many years even after the Mexican government turned to the right. Thousands of refugees from Latin American military dictatorships in Argentina, Chile, and Uruguay fled to Mexico. The history of that policy of the Mexican government has not yet been written.

Latina/os in Media: Representation, Production, and Consumption

2019 ◽  
Author(s):  
Manuel G. Avilés-Santiago
Keyword(s):  
United States ◽  
New Media ◽  
Cultural History ◽  
The United States ◽  
Spanish Language ◽  
Production And Consumption ◽  
History Of ◽  
Streaming Services ◽  
Technological Means ◽  
Radio Industry

Developments in contemporary Latina/os media are the result not only of an exponentially growing Latina/o population in the United States but also of the synergy between transformations in the global political economy and the emergence of new media platforms for production, distribution, and consumption. To reflect upon the emergence of the industry is to consider the politics of the labeling of the Latina/o community and the eventual configuration of a market audience. It also requires a confrontation with the cultural history of representations and stereotypes of Latina/os, particularly in radio, TV, film, and the internet, and the transnational aesthetics and dynamics of media produced by and/or for Latina/os in the United States. If the notion of media revolves around a technological means of communication, it also encompasses the practices and institutions from within which the Latina/o communities are imagined, produced, and consumed. At the start of the 21st century, the idea of Latina/os in media revolved around a handful of Latina/o stars in Hollywood who often performed stereotypical representations, a racialized and marginal Spanish-language radio industry, and two Spanish television networks, Univision and Telemundo. A more complex constellation of representations has evolved in both mainstream and Spanish-language media, among them new platforms for production and resistance, including social media (e.g., Facebook, Instagram, Snapchat), radio podcasts and streaming services (e.g., Hulu and Netflix), and a more active and engaged audience that consumes media in Spanish, English, and even Spanglish.

SEMINARIES AND WRITING THE HISTORY OF NEW SPAIN: An Interview with Stafford Poole, C.M.

2012 ◽  
Vol 69 (2) ◽  
pp. 237-254
Author(s):  
Susan Schroeder
Keyword(s):  
United States ◽  
Latin American ◽  
American History ◽  
New Spain ◽  
The United States ◽  
Latin American History ◽  
The Past ◽  
Past Half Century ◽  
History Of ◽  
Past Half

Over the course of the past half century, the field of colonial Latin American history has been greatly enriched by the contributions of Father Stafford Poole. He has written 14 books and 84 articles and book chapters and has readily shared his knowledge at coundess symposia and other scholarly forums. Renowned as a historian, he was also a seminary administrator and professor of history in Missouri and California. Moreover, his background and formation are surely unique among priests in the United States and his story is certainly worth the telling.

Sign in / Sign up

Export Citation Format

Share Document