Archive for November 2017

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[ecrea] Studies in Spanish & Latin American Cinemas 14.3

Tue Nov 21 22:08:48 GMT 2017






Intellect is delighted to announce that the new issue of Studies in Spanish & Latin American Cinemas <https://www.intellectbooks.co.uk/journals/view-issue,id=3405/>is now available.


Articles within this issue include (partial list):


Naïve and sophisticated and long-term readings of foreign and national films viewed in a Mexican northern town during the 1930-60s <https://www.intellectbooks.co.uk/journals/view-Article,id=24827/>

Authors:José Carlos Lozano, Daniel Biltereyst and Philippe Meers

Page Start: 277


The memories and recollections of films viewed in the past have not been as frequently and as comprehensively examined as the decoding and appropriation of contemporary movies by media and cultural studies scholars, despite the value of gathering long-term evidence of accumulated readings and meanings audiences attach to specific types of contents or media experiences. By analysing the recollection of 28 Mexican elders about foreign and national films seen when they were kids or youngsters, this article evaluates their degree of acceptance, negotiation or rejection not of single movies but of types of films according to their origin or genre.


Savages and saviours in Icíar Bollaín’s Tambíen la Lluvia/Even the Rain <https://www.intellectbooks.co.uk/journals/view-Article,id=24829/>

Authors:Andrea Meador Smith

Page Start: 315


Acclaimed Spanish director Icíar Bollaín’sTambién la lluvia/Even the Rain (2010) is a fictionalized account of the Cochabamba Water Wars of 2000, whose title alludes to local protestors’ claim that the US-based corporation Bechtel sought to control and tax even the rain water that peasants collected. While /También la lluvia/ may be a thoughtful attempt to denounce the oppression of native peoples, it in fact epitomises the white saviour trope that has been prevalent in American and British cinema for years. In this study, I argue that the film adheres to what sociologist Joe Feagin calls a ‘white racial frame’ that perpetuates the perceived universality of the white European gaze by depicting fictional filmmakers Costa and Sebastián as ‘white saviour’ figures and indigenous community leader Daniel as a ‘noble savage’. The result is a film made by and for white westerners that replicates traditional western ways of portraying racial and cultural difference.


Melancholia and memory in Ciudad Juárez: Lourdes Portillo’s Señorita Extraviada/Missing Young Woman (2001)and the communal mourning of feminicide <https://www.intellectbooks.co.uk/journals/view-Article,id=24832/>

Authors:Lucia Mulherin Palmer

Page Start: 367


Engaging with the sizeable scholarship on Lourdes Portillo’s 2001 documentary Señorita Extraviada/Missing Young Woman, this article investigates the potential of the visual image to create a form of radical melancholy that resists containment by the persistent patriarchal frameworks used to interpret the Juárez feminicide. Taking /Señorita Extraviada/ as a historically important feminist text documenting a crucial moment in grassroots women’s activism against the gender violence systematically expressed in Ciudad Juárez, Mexico, this article discusses the film’s resistant potential. Engaging with Rosa Linda Fregoso’s measured praise and critique of the film, the article proposes other vantage points through which to interpret the film to highlight some of Portillo’s affective and abstracting techniques that undermine the patriarchal meanings underlying the religious iconography used by grassroots women’s groups to protest the violence and impunity. By putting Fregoso into dialogue with theoretical concepts from Alicia Schmidt Camacho and Laura Marks on memory and melancholia, this article argues for an affective reading of/Señorita Extraviada/ as a politicised narrative expressing feminicidal melancholia through depictions of rituals of mourning, mobilisations of activism and the production of liminal space between presence and absence, life and death.

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