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Seen by:Au Naturel: (Re)Reading Hispanic Naturalism.
Book chapter. Au Naturel: (Re)Reading Hispanic Naturalism. Ed. J.P. Spicer-Escalante and Lara Anderson. Newcastle upon Tyne: Cambridge Scholars Publishing, 2010. 3-10. Co-authored with Lara Anderson.
Literary naturalism, within the Hispanic context, has traditionally been read as a graphic realist school or movement... more Literary naturalism, within the Hispanic context, has traditionally been read as a graphic realist school or movement linked predominantly to late nineteenth century literary production. The essays in Au Naturel: (Re)Reading Hispanic Naturalism—written by scholars from different generations, nationalities and ideological backgrounds—propose a major revisionist contribution to the study of Hispanic naturalism. Based on a theoretical proposal that re-semanticizes naturalismo as a diachronic counter-metanarrative phenomenon that transcends the chronological and geographic limitations imposed by traditional criticism on naturalism, the collection provides new readings of traditional naturalist fare as well as re-readings of works that have not been read, within the bounds of conventional criticism, as naturalist. Re-read within the proposed theoretical framework, its essays demonstrate the countless ways in which Hispanic naturalist texts–literary and more recently, filmic—continue to frankly engage the societal problematics that has impeded true social, political, economic and cultural progress from taking place in the Hispanic world from the turbulent fin-de-siècle period of the nineteenth century through the present day, globalized context. Au Naturel: (Re)Reading Hispanic Naturalism is thus also an open invitation to the scholarly community to re-consider other socio-critical works within the Hispanic naturalist context that observe and reflection upon social issues that continue to plague Hispanic society today.
Young Argentine Filmmakers: Remembering the Past from a Present of Crisis
by Ana Ros
In David Gallagher (ed.) Latin American Studies: Critiques of Contemporary Cinema, Literatures, Politics and Revolution. Palo Alto: Academica Press, 2011.
In this essay, I reflect on how young filmmakers intervene in the formation of collective memory about the last... more In this essay, I reflect on how young filmmakers intervene in the formation of collective memory about the last Argentine dictatorship (1976-1983), contributing to the renewed societal interest on the subject. The two films I analyze share a concern with creating a more instructive and inclusive collective memory by encouraging different groups to learn from the past to inform decisions in the present. In an experimental documentary, Diario argentino/Argentine Diary (2007), Lupe Pérez García focuses on the so-called “bystanders”—those who were neither activists nor represores. She challenges their typical image as passive spectators in a war between “two demons” and highlights their role as political actors in the past and the present. Secondly, in the feature film Cordero de Dios/Lamb of God (2008), Lucía Cedrón, herself daughter of a “disappeared” activist, proposes a way of taking the past as a guide for acting in present situations of hate and violence. The 2001 crisis plays an important role in these two films and in the directors' lives. The uncertainty impels them to understand their choices in relation to their interpretation of the past and to own the decisions they make and their (political/human) implications.
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Seen by:La crítica cinematográfica. Un pacto con el nuevo cine argentino.
Publicado en la revista Question, Universidad Nacional de La Plata
Este trabajo aborda el papel de la crítica de cine en el surgimiento y consolidación del Nuevo Cine Argentino entre... more Este trabajo aborda el papel de la crítica de cine en el surgimiento y consolidación del Nuevo Cine Argentino entre 1995 y la actualidad. Desde la perspectiva de la teoría de los campos de Pierre Bourdieu, se analiza la intervención de la crítica en tanto discurso instituyente, prestando atención a las transformaciones culturales de la época que permiten comprender su rol en este proceso. A través de una breve historia del espacio de la crítica de cine y de un análisis discursivo de sus expresiones contemporáneas, se propone una interpretación de la trascendencia del Nuevo Cine Argentino y de su vínculo con la crítica a través de las figuras de la promesa y el pacto.
