ENGLISH

Affectual Erasure: Representations of Indigenous Peoples in Argentine Cinema

By Cynthia Margarita Tompkins

Book information

Publisher
State University of New York Press
Year
2018
ISBN
1438470975, 9781438470979
Language
english
Format
PDF
Filesize
45 MB (47530020 bytes)
Series
SUNY series in Latin American Cinema
Pages
398\400
Library
Memory of the World Library
Time added
2022-04-27 12:25:47

Description

Comprehensive examination of how Indigenous peoples have been represented in Argentine film. Contents List of Figures Preface Acknowledgments Introduction Historical Background Institutional Discourse on Native Peoples in Argentina Ideological Reproduction Conventions of Photographic Representation Affect Part 1: Early Cinema, 1896–1932 1 Melodrama and Avant- la- Lettre Documentary in Alcides Greca’s El último malón (The Last “Indian” Raid, 1917) El Último Malón Sociohistorical Representation Affect Ethnographic Representation Cinema of Attractions 2 Kitsch and Exoticism in Nelo Cosimi’s La quena de la muerte (Death Kena, 1929) La Quena De La Muerte Affect Ethnographic Representation Conclusion Part 2: Classical Cinema, 1933–1956 3 Femme Fatale in Luis Belisario García Villar’s Frontera Sur (Southern Border, 1943) Ethnographic Representation Affect Conclusion 4 Betrayal and Insanity in Lucas Demare’s El último perro (The Last One Standing, 1956) Ethnographic Representation Emotions Conclusion Part 3: Modernity and Auteur Cinema, 1957–1983 Representation of Indigenous Peoples in Movies of This Period 5 The Shifting Meanings of Translation in Lautaro Murúa’s Shunko (1960) Ethnographic Representation Language Emotion 6 Transculturation in Jorge Prelorán’s Hermógenes Cayo (1967) Hermógenes Cayo Ethnographic Representation Jorge Prelorán’s Ethnobiographic Cinema Emotions Part 4: Cinema in Democracy, 1983–1993 7 Fatal Kindness in Raúl Tosso’s Gerónima (1986) Affect 8 Bewitched Mirror Images in Edgardo Cozarinsky’s Guerriers et Captives (Warriors and Captives, 1989) Indigenous Representation Emotions Part 5: Contemporary Period, 1993–2017 9 The Power of the Word in Philip Cox and Valeria Mapelman’s Mbyá: Tierra en rojo (We Are the Indians, 2005) Ethnographic Representation Aesthetics Emotion 10 State Terrorism in Valeria Mapelman’s Octubre Pilagá (Pilagá October, 2010) Ethnographic Background Octubre Pilagá Affect 11 Life as a Specimen: Alejandro Fernández Mouján’s Damiana Kryygi (2015) Damiana Kryygi Affect Aesthetics 12 Clashing Ideologies, Denunciation, and Reparation in Ulises de la Orden’s Tierra adentro (Inland, 2011) Affect Aesthetics 13 Silence and Isolation in Mathieu Orcel’s Para los pobres piedras (Stones for the Poor, 2013) Ethnic Representation Affect Aesthetics Conclusion 14 Immersion and Metamorphosis in Inés de Oliveira Cézar’s Cassandra (2012) Ethnographic Background Cassandra Affect Aesthetics Conclusion 15 The Power of Constellations in Sebastián Lingiardi’s Las pistas- Lanhoyij- Nmitaxanaxac (Clues- Lanhoyij- Nmitaxanaxac, 2010) Ethnographic Representation Aesthetics Conclusion Appendix: A Political Map of Argentina Notes Bibliography Index

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