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Nicholas Poppe
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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.
Cosmopolitan Film Cultures in Latin America, 1896–1960
Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumière Cinématographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through t...
History of Mar Yahballaha and Rabban Sauma
This book tells a story of serendipity. Two Christian monks left China about 1274, headed to Jerusalem. Travelling on an itinerary similar to that Marco Polo had taken, they reached Iran, ruled by a Mongol dynasty, the Ilkhans. There, what they never had expected happened: one of them, Mark by name, was elected Patriarch of the Church of the East (with the name Yahballaha), while the other, Rabban Sauma, was sent as ambassador to the pope and the courts of France and England by the Mongol Ilkhan Arghun. From Rabban Sauma's report of his embassy, and the two monk's memories of their journey from China to Mesopotamia, an anonymous author compiled a biography of Sauma and Mark. He interspersed their report and memories with a narrative about "the occurrences of their time - what happened to them, through them or because of them, relating everything just as it happened". The result was a chronicle entitled "History of Mar Yahballaha and Rabban Sauma", a rich and lively testimony of a time of unprecedented interconnectedness in the history of Eurasia at the epoch of the Mongol Empire.
Uncanny Histories in Film and Media
Uncanny Histories in Film and Media brings together a stellar lineup of established and emergent scholars who explore the uncanny twists and turns that are often occluded in larger accounts of film and media. Prompted by fresh archival research and new conceptual approaches, the works included here probe the uncanny as a mode of historical analysis that reveals surprising connections and unsettling continuities. The uncanny stands for what often eludes us, for what remains unfamiliar or mysterious or strange. Whether writing about film movements, individual works, or the legacies of major or forgotten critics and theorists, the contributors remind us that at the heart of the uncanny, and indeed the writing of history, is a troubling of definitions, a challenge to our inherited narratives, and a disturbance of what was once familiar in the uncanny histories of our field.
Reminiscences
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Ethnolinguistic Prehistory
This volume provides the most up-to-date and holistic but compact account of the peopling of the world from the perspective of language, genes and material culture. The book provides detailed answers to the question of where we all came from.
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.
