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The White Indians of Mexican Cinema: Racial Masquerade Throughout the Golden Age
Examines the filmic representation of whiteness as indigeneity and its role in mediating racial politics in Mexico.
Violated Frames
When Armando Bó and Isabel Sarli began making sexploitation films together in 1956, they provoked audiences by featuring explicit nudity that would increasingly become more audacious, constantly challenging contemporary norms. Their Argentine films developed a large and international fan base. Analyzing the couple's films and their subsequent censorship, Violated Frames develops a new, roughly constructed, and "bad" archive of relocated materials to debate questions of performance, authorship, stardom, sexuality, and circulation. Victoria Ruétalo situates Bó and Sarli’s films amidst the popular culture and sexual norms in post-1955 Argentina, and explores these films through the lens of bodies engaged in labor and leisure in a context of growing censorship. Under Perón, manual labor produced an affect that fixed a specific type of body to the populist movement of Peronism: a type of body that was young, lower-classed, and highly gendered. The excesses of leisure in exhibition, enjoyment, and ecstasy in Bó and Sarli's films interrupted the already fragmented film narratives of the day and created alternative sexual possibilities.
Struggles for Recognition
Struggles for Recognition traces the emergence of melodrama in Latin American silent film and silent film culture. Juan Sebastián Ospina León draws on extensive archival research to reveal how melodrama visualized and shaped the social arena of urban modernity in early twentieth-century Latin America. Analyzing sociocultural contexts through film, this book demonstrates the ways in which melodrama was mobilized for both liberal and illiberal ends, revealing or concealing social inequities from Buenos Aires to Bogotá to Los Angeles. Ospina León critically engages Euro-American and Latin American scholarship seldom put into dialogue, offering an innovative theorization of melodrama relevant to scholars working within and across different national contexts.
Alton's Paradox
Alton's Paradox builds upon extensive archival and primary research, but uses a single text as its point of departure—a 1934 article by the Hungarian American cinematographer John Alton in the Hollywood-published International Photographer. Writing from Argentina, Alton paradoxically argues of cine nacional, "The possibilities are enormous, but not until foreign technicians will take the matter in their hands and with foreign organization will there be local industry." Nicolas Poppe argues that Alton succinctly articulates a line of thought commonly held across Latin America during the early sound period but little explored by scholars: that foreign labor was pivotal to the rise of national film industries. In tracking this paradox from Hollywood to Mexico to Argentina and beyond, Poppe reconsiders a series of notions inextricably tied to traditional film historiography, including authorship, (dis)continuation, intermediality, labor, National Cinema, and transnationalism. Wide-angled views of national film industries complement close-up analyses of the work of José Mojica, Alex Phillips, Juan Orol, Ángel Mentasti, and Tito Davison.
Expanding Cinemas
This is the first book on experimental cinemas of Latin American and Spain to offer a comprehensive look at old and new technologies, including Super 8, VHS, cell phones, virtual reality, artificial intelligence, and more. From the militant films of the 1960s to today's expanded reality experiences, filmmakers in Argentina, Spain, Cuba, Colombia, Brazil, and Mexico have continually used alternative formats both to dialogue with international movements and to counter commercial cinematic trends. To make this argument and cover this vast geographic and historical terrain, Eduardo Ledesma adopts a transnational and intermedial approach, examining exchanges and associations between cineastes to better understand how their films were created and circulated. Ledesma works to untangle both the relations between media and the associations of experimental cinema to cultural phenomena such as diaspora, exile, displacement, and immigration. Throughout the book, connections are further made to other global avant-garde and alternative cinemas and formats, including in the United States.
Agriculture's Energy
Thomas D. Rogers's history of a modernizing Brazil tracks what happened when a key government program,created in the 1970s by the nation's military regime, aspired to harness energy produced by sugarcane agriculture to power the country's economy. The National Alcohol Program, known as Proalcool, was a deliberate economic strategy designed to incentivize ethanol production and reduce gasoline consumption. As Brazil's capacity grew and as international oil shocks continued, the regime's planners doubled down on Proalcool. Drawing financing from international lenders and curiosity from other oil-dependent countries, for a time it was the world's largest oil-substitution and renewable-energy pr...
The White Indians of Mexican Cinema
The White Indians of Mexican Cinema theorizes the development of a unique form of racial masquerade—the representation of Whiteness as Indigeneity—during the Golden Age of Mexican cinema, from the 1930s to the 1950s. Adopting a broad decolonial perspective while remaining grounded in the history of local racial categories, Mónica García Blizzard argues that this trope works to reconcile two divergent discourses about race in postrevolutionary Mexico: the government-sponsored celebration of Indigeneity and mestizaje (or the process of interracial and intercultural mixing), on the one hand, and the idealization of Whiteness, on the other. Close readings of twenty films and primary source...
Tastemakers and Tastemaking
Tastemakers and Tastemaking develops a new approach to analyzing violence in Mexican films and television by examining the curation of violence in relation to three key moments: the decade-long centennial commemoration of the Mexican Revolution launched in 2010; the assaults and murders of women in Northern Mexico since the late 1990s; and the havoc wreaked by the illegal drug trade since the early 2000s. Niamh Thornton considers how violence is created, mediated, selected, or categorized by tastemakers, through the strategic choices made by institutions, filmmakers, actors, and critics. Challenging assumptions about whose and what kind of work merit attention and traversing normative boundaries between "good" and "bad" taste, Thornton draws attention to the role of tastemaking in both "high" and "low" media, including film cycles and festivals, adaptations of Mariano Azuela's 1915 novel, Los de Abajo, Amat Escalante's hyperrealist art films, and female stars of recent genre films and the telenovela, La reina del sur. Making extensive use of videographic criticism, Thornton pays particularly close attention to the gendered dimensions of violence, both on and off screen.
Image! 30th Anthology #1 (Of 12)
Celebrate the 30th anniversary of the first Image comic with a year-long parade of all-new stories from some of the biggest and best names in comics! Featuring a combination of ongoing serials and standalone short stories, this inaugural issue kicks off with the first chapters of two 12-part stories: “The Blizzard” by GEOFF JOHNS & ANDREA MUTTI and “Red Stitches” by BRENDEN FLETCHER & BABS TARR—plus the opening installments of a trio of three-parters: “Gospel for a New Century” by WYATT KENNEDY & LUANA VECCHIO, “Loop / Hopeless” by MIRKA ANDOLFO, and “Shift” by KYLE HIGGINS & DANIELE DI NICUOLO. Plus plus! A first look at DECLAN SHALVEY’s upcoming OLD DOG series and an original ongoing comic strip by SKOTTIE YOUNG!
Image! #2 (Of 12)
The celebration of Image Comics’ 30th anniversary continues with the second issue in a 12-issue anthology, featuring all-new stories by some of the biggest and best names in comics! This issue features the second chapters of two 12-part stories: “The Blizzard” by GEOFF JOHNS & ANDREA MUTTI and “Red Stitches” by BRENDEN FLETCHER & ERIC HENDERSON, plus the second installments of three shorter serials: “Gospel for a New Century” by WYATT KENNEDY & LUANA VECCHIO, “Hopeless” by MIRKA ANDOLFO, and “Shift” by KYLE HIGGINS & DANIELE DI NICUOLO. Plus! An all-new ICE CREAM MAN short story by W. MAXWELL PRINCE and MARTÍN MORAZZO, the beginning of WES CRAIG’s KAYA, the opening installment of a 10-part serial by PATRICK KINDLON & MAURIZIO ROSENZWEIG, and the continuation of the all-new ongoing comic strip by SKOTTIE YOUNG!
