[ecrea] Spanish and Latin American Cinema 15.3 published

Intellect is pleased to announce that Studies in Spanish and Latin 
American Cinema 15.3 is now available. For more information about the 
issue, click here >>https://bit.ly/2qIDrnc

*_Contents_*

*Articles*

_Queer temporalities in Mariana Rondón’s Pelo malo/Bad Hair (2013)_

Authors: Charles St-Georges
Page Start: 293

Sometimes criticized for the film’s emphasis on delay and ‘dead time’, 
the present analysis suggests a reading of the seemingly stagnant 
plot-line of Mariana Rondón’s Pelo malo/Bad Hair (2013) as an effective 
rhetorical strategy for interpellating viewers into the ‘sideways’ time 
of queer childhood – a theoretical framework established by Kathryn Bond 
Stockton – to explore the intersectional processes at work in the 
subject formation of Junior, the film’s 9-year-old Afro-Venezuelan 
protagonist. In contrast to most contemporary Latin American films with 
child protagonists that serve as embodiments of history, Rondón refuses 
viewers this temporal distance to depict a child undergoing ghostly 
erasure by the patriarchal mechanisms that dictate the terms of a 
nation’s history and citizenship.

_Animal suffering and/as discourse in 1960s Latin American cinema_

Authors: Carl Fischer
Page Start: 311

Vidas secas/Barren Lives (dos Santos, 1963) and La hora de los 
hornos/The Hour of the Furnaces (Getino and Solanas, 1968) made fierce 
denunciations of poverty in Brazil and Argentina, respectively, such 
that non-human animals were central to their critiques. Although the 
directors likely intended those animals (often depicted suffering and 
dying) to merely metaphorize human suffering, I argue that they become 
agents of discourse themselves, thanks to cinematic language (even 
though the use of verbal language is precisely what defines the 
ontological separation of human animals from non-human animals). 
Although montage has been historically understood as a device of 
metaphor, in these films it allows for the representation of very 
literal commonalities in the suffering experienced by all on-screen 
bodies, irrespective of species. Drawing viewers’ attention to animal 
suffering on its own terms can thus broaden the discourses of liberation 
and compassion inherent to Cinema Novo and ‘Third Cinema’.

_The villero cinema of César González_

Authors: Rocio Gordon
Page Start: 331

This article focuses on the cinema of César González, a filmmaker born 
and raised in a villa miseria (shantytown) of Buenos Aires, Argentina. 
Thanks to digital film technology, González has been able to make his 
own films in and of the slums without external mediations. This article 
examines how his films can be thought of as a ‘line of flight’ or escape 
from the dominant representations of marginalized sectors of society. 
Using digital technology, in general, and long takes, more specifically, 
González creates cinematic experiences in which the villero (the slum 
dweller) becomes an open subject whose agency is reaffirmed.

_La productora colombiana Dynamo: Del cine nacional al transnacional?_

Authors: Carolina Rocha
Page Start: 349

Since the beginning of the twenty-first century, Colombia has attempted 
to promote film production through legal measures: Law 814 in 2003 and 
Law 1556 in 2012. Official state support for Colombian cinema made 
possible the appearance in 2006 of the production company Dynamo; in the 
past eleven years it has been an active agent domestically and 
internationally. This article analyses Dynamo’s productions in order to 
assess its contributions to Colombian cinema and to the Colombian film 
industry. A review of Dynamo’s productions allows for the exploration of 
the effectivity and impact of Laws 814 and 1556.

_New Latin American cinematic culture: Through the frame of the Morelia 
International Film Festival_

Authors: Marvin D’Lugo
Page Start: 369

On the occasion of the fifteenth anniversary of the Morelia 
International Film Festival (FICM), Studies in Spanish and Latin 
American Cinemas looks at the dynamics that shape one of the region’s 
principal film festivals. This dossier profiles some of the key 
alliances that have contributed towards its longevity and success; the 
overview of the festival’s history is followed by an interview with its 
founding director, Daniela Michel, and concludes with external views by 
two influential film historians: Eduardo de la Vega Alfaro and Josetxo 
Cerdán. Each has participated in festival juries and related activities 
and, jointly, they reflect national and international perspectives on 
the significance of the Morelia Festival. In profiling FICM our 
objective is to understand the place and influence of Latin American 
film festivals more generally as gatekeepers but also catalysts for the 
production, distribution and reception of local productions in regional 
and global markets.

_Una apuesta por el cine mexicano de todos los tiempos_

Authors: Eduardo de la Vega Alfaro
Page Start: 379

Tracing the historical development of the Morelia Film Festival from a 
‘national’ perspective, this article focuses on the local roots of 
FICM’s development. These include an emphasis on local competitive 
awards for Mexican shorts, documentaries and feature-length films; the 
network of Mexican institutions and influential local entrepreneurs and 
politicians. The article concludes with a discussion of the festival’s 
unique spotlight on artists and films connected to the Michoacán region 
of which Morelia is state capital.

_Upside down: Un festival de cine nacional en tiempos transnacionales_

Authors: Josetxo Cerdán
Page Start: 385

This article highlights the particular centrality of the competitive 
film documentary category at the Morelia International Film Festival 
(FICM). The Spanish film programmer and scholar notes the significance 
of FICM in providing an important showcase for Mexican documentaries 
while also stabilizing an international circuit for the circulation of 
Mexican films for international festival.

_Entrevista con Daniela Michel_

Authors: Marvin D’Lugo
Page Start: 391

Director of Festival Internacional de Cine de Morelia (FICM) Daniela 
Michel looks back over the festival’s history, commenting on its origins 
as a biannual showcase for Mexican short films. Begun in 1994, the 
Jornadas de Cortometraje Mexicano (Sessions of Mexican Short Films) that 
Michel coorganized at Mexico City’s Cineteca Nacional, provided 
important exposure to aspiring Mexican filmmakers at the beginning of 
their careers. Michel discusses the festival’s underlying philosophy as 
it contributes to the enrichment and expansion of Mexican cinema for 
national and international audiences.

*Book Reviews*

Authors: Sarah Thomas And Kathryn Everly And Jo Labanyi And Jesse Barker 
And Mónica García Blizzard And Nicolas Poppe And Rachel ten Haaf And 
Juan Llamas-Rodriguez

Page Start: 397

  * The Child in Spanish Cinema, Sarah Wright (2013)
  * El niño en el cine argentino de la postdictadura (1983–2008):
    alegoría y nostalgia, Sophie Dufays (2014)
  * Children on the Threshold in Contemporary Latin American Cinema:
    Nature, Gender, and Agency, Rachel Randall (2017)
  * Spanish Lessons: Cinema and Television in Contemporary Spain, Paul
    Julian Smith (2017)
  * Ghostly Landscapes: Film, Photography, and the Aesthetics of
    Haunting in Contemporary Spanish Culture, Patricia M. Keller (2016)
  * Spanish Erotic Cinema, Santiago Fouz-Hernández (ed.) (2018)
  * Cosmopolitan Film Cultures in Latin America: 1896–1960, Rielle
    Navitski and Nicolas Poppe (eds) (2017)
  * Pantallas Transnacionales: El Cine Argentino Y Mexicano Del Período
    Clásico, Ana Laura Lusnich, Alicia Aisemberg and Andrea Cuarterolo
    (eds) (2017)
  * Afetos, Relações e Encontros Com Filmes Brasileiros Contemporâneos,
    Denilson Lopes (2017)
  * Queer Mexico: Cinema and Television since 2000, Paul Julian Smith
    (2017)

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