Tracing Lesbian Cinema in Latin America

2021 ◽  
pp. 719-740
Author(s):  
Vinodh Venkatesh
Keyword(s):  
Latin America ◽  
Latin American ◽  
American Cinema ◽  
Latin American Cinema ◽  
Point Of Reference

This chapter discusses the representation of lesbian bodies, desires, and identities in Latin American cinema. It contextualizes the production of LGBTQ cinema in Latin America, and its accompanying body of criticism. In doing so, the chapter identifies a critical lacuna that it then proceeds to address by first providing a historical tracing of several important films dealing with lesbian and gynosexual desires—including movies by such directors as Jaime Humberto Hermosillo, Abel Salazar, Diego Lerman, Lucía Puenzo, María Luisa Bemberg, Julia Solomonoff, and Raúl Fuentes. The chapter then proceeds to explore why these films are understudied within the field. The chapter broadens the scope of the current studies on queer Latin American cinema by adapting their theoretical and taxonomical structures to lesbian-themed films, to thus provide a point of reference for future filmic production and critique.

Mock Classicism

2018 ◽  
Author(s):  
Nilo Couret
Keyword(s):  
Latin America ◽  
Latin American ◽  
Cultural Practices ◽  
Film Theory ◽  
Latin American Film ◽  
Broadcast Media ◽  
American Cinema ◽  
Conventional Film ◽  
Latin American Cinema ◽  
New Latin American Cinema

This book reconceptualizes both the geopolitical boundaries and the periodization of Latin American film histories in order to reveal a predominant comic mode in the cultural practices of Latin America in the twentieth century. Comedies have been either relegated to the margins of regional film histories in the shadow of the New Latin American Cinema or articulated to the broader socializing and nationalistic function of earlier commercial traditions. Rather than map Latin American cinema according to radical politics, film directors, or film movements—as do conventional film histories—this comparative project examines the formal and narrative operations of Argentine, Brazilian, and Mexican commercially successful comedies released between the 1920s and the 1950s in order to demonstrate how they functioned as peripheral responses to modernization and prefigured the more explicitly political New Latin American Cinema of the 1960s. Each chapter braids empirical research, close reading, film theory, and Latin American studies to argue that Latin American cinema from the studio period became classical in ways that were phenomenally distinct from but structurally akin to those of Hollywood. To that end, each chapter presents one way that classical Hollywood was constructed within film studies and demonstrates how the ways cinema became classical in Hollywood do not occur identically in Latin America. Using an approach that encompasses both textual analysis as well as a range of practices from the film experience, such as stardom, trade and popular publications, and broadcast media, this book proposes thinking classicism as a discourse that mediates and renders the world, looking at the construction of the aesthetic world as diegetic totality and the circulation of the texts and objects in global circuits of economic exchange.

scholarly journals Beatriz Palacios: Ukamau’s Cornerstone (1974–2003)

2021 ◽  
Vol 48 (2) ◽  
pp. 77-92
Author(s):  
Isabel Seguí
Keyword(s):  
Latin American ◽  
American Cinema ◽  
Political Cinema ◽  
Latin American Cinema ◽  
Popular Classes ◽  
Authorial Persona ◽  
Correct Understanding ◽  
The Impact ◽  
The Voice ◽  
Cine Latinoamericano

Beatriz Palacios’s instrumental role in the Ukamau group has been largely ignored by film historiography and criticism. The authorial persona of her comrade and husband, Jorge Sanjinés, has eclipsed Palacios’s work and ideas. Her erasure is due to the perspectives chosen to analyze Ukamau (male-centered auteurist and formalist approaches) and to the almost exclusive use of the voice of Sanjinés (interviews, essays, and films interpreted in an authorial key) to construct the group’s history. Ignoring the contribution and importance of Palacios’s work and not accounting for her share in the authorship of the films made during the years they lived and worked together impedes a correct understanding of the complexity of the production context and the amplitude of the contribution of Ukamau to Latin American cinema. While her work as a producer is increasingly recognized, delving into her roles as a disseminator of political cinema in alternative circuits, evaluator of the impact of the movies on the popular classes, and documentary director completes the portrait of her all-encompassing life and career. En gran medida, el papel instrumental de Beatriz Palacios en el grupo Ukamau ha sido ignorado por la historiografía y la crítica cinematográficas. La persona autoral de su camarada y esposo, Jorge Sanjinés, ha eclipsado la obra e ideas de Palacios. Dicha eliminación se debe a las perspectivas elegidas para analizar Ukamau (enfoques y formalistas) y al uso casi exclusivo de la voz de Sanjinés (entrevistas, ensayos y películas interpretadas en clave autoral) para construir la historia del grupo. Ignorar la contribución e importancia del trabajo de Palacios, así como su participación en la autoría de las películas realizadas durante los años que vivieron y trabajaron juntos, impide una correcta contribución de Ukamau al cine latinoamericano. Mientras que su trabajo como productora es cada vez más reconocido, ahondar en su labor como divulgadora de cine político en circuitos alternativos, evaluadora del impacto de las películas en las clases populares y directora de documentales, completa debidamente retrato de su vida y carrera.

scholarly journals The “Argentine Franco”?: The Regime of Juan Carlos Onganía and Its Ideological Dialogue with Francoist Spain (1966–1970)

2021 ◽  
Vol 78 (1) ◽  
pp. 89-117
Author(s):  
Daniel G. Kressel
Keyword(s):  
Latin America ◽  
Cold War ◽  
Latin American ◽  
Spanish Civil War ◽  
Conventional Wisdom ◽  
State Model ◽  
Right Wing ◽  
Economic Miracle ◽  
Intellectual Networks ◽  
Point Of Reference

AbstractThe article examines the ideological character of Juan Carlos Onganía's dictatorship by exploring its ties and dialogue with Francisco Franco's Spain. Known as the “Argentine Revolution,” Onganía's regime (1966-70) was, the article shows, one of the first Cold War Latin American dictatorship to overtly use Francoist ideology as its point of reference. While building on the conventional wisdom that the legacies of the Spanish Civil War informed right-wing thought in Latin America, the study then shifts its focus to Spain's 1960s “economic miracle” and technocratic state model, observing them as a prominent discursive toolkit for authoritarian Argentine intellectuals. Drawing on newly discovered correspondence and archival sources, the article first excavates the intellectual networks operating between Franco's Spain and the Argentine right during the 1950s and 1960s. Once handpicked by Onganía to design his regime, these Argentine Franco-sympathizers were to decide the character of the Argentine Revolution. Second, the article sheds light on the intimate collaboration between the two dictatorships, and further explores the reasons for Onganía's downfall. In doing so, the study adds to a burgeoning historiographic field that underscores the significance of the Francoist dictatorship in the Latin American right-wing imaginary.

After New Latin American Cinema

2012 ◽  
Vol 51 (2) ◽  
pp. 87-112 ◽  
Author(s):  
Paul A. Schroeder Rodríguez
Keyword(s):  
Latin American ◽  
American Cinema ◽  
Latin American Cinema ◽  
New Latin American Cinema
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