[ecrea] Studies in Spanish & Latin American Cinemas 14.3

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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