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Affectual erasure : representations of indigenous peoples in Argentine cinema /
Comprehensive examination of how Indigenous peoples have been represented in Argentine film. Affectual Erasure examines how Argentine cinema has represented Indigenous peoples throughout a period spanning roughly a century. Cynthia Margarita Tompkins interrelates her discussion of films with the eth...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Albany :
State University of New York Press,
[2018]
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| Colección: | SUNY series in Latin American cinema.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 019 | |a 1162461776 |a 1300527080 | ||
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| 100 | 1 | |a Tompkins, Cynthia, |d 1958- |e author. | |
| 245 | 1 | 0 | |a Affectual erasure : |b representations of indigenous peoples in Argentine cinema / |c Cynthia Margarita Tompkins. |
| 264 | 1 | |a Albany : |b State University of New York Press, |c [2018] | |
| 264 | 4 | |c ©2018 | |
| 300 | |a 1 online resource (xi, 357 pages) | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 1 | |a SUNY series in Latin American cinema | |
| 520 | |a Comprehensive examination of how Indigenous peoples have been represented in Argentine film. Affectual Erasure examines how Argentine cinema has represented Indigenous peoples throughout a period spanning roughly a century. Cynthia Margarita Tompkins interrelates her discussion of films with the ethnographic context of the Indigenous peoples represented and an analysis of the affective dimensions at play. These emotions underscore the inherent violence of generic conventions, as well as the continued political violence preventing Indigenous peoples from access to their ancestral lands and cultural mores. Tompkins explores a broad range of movies beginning in the silent period and includes both feature films and documentaries, underscored by archival and contemporary film stills. She traces the initial erotic projection, moving through melodrama to the conventions of the Western, into the 1960s focus on decolonization, superseded by allegorical renditions and the promise of self-expression in late twentieth-century documentaries. Each section includes an introduction to the sociohistorical events of the period and their impact on film production. Analyzed chronologically, the films evidence different stages in the projection of the hegemonic Argentine imaginary, which fails to envision the daily life of Indigenous peoples prior to conquest or in colonial times--and remains in denial of their existence in the present. Cynthia Margarita Tompkins is Professor of Spanish at Arizona State University and the author of Experimental Latin American Cinema: History and Aesthetics. | ||
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a Melodrama and avant-la-lettre documentary in Alcides Greca's El último malón (the last "Indian" raid, 1917) -- Kitsch and exoticism in Nelo Cosimi's La quena de la muerte (Death kena, 1929) -- Femme fatale in Luis Belisario García Villar's Frontera sur (Southern border,1943) -- Betrayal and insanity in Lucas Demare's El último perro (The last one standing, 1956) -- The shifting meanings of translation in Lautaro Murúa's Shunko (1960) -- Transculturation in Jorge Prelorán's Hermógenes cayo (1967) -- Fatal kindness in Raúl Tosso's Gerónima (1986) -- Bewitched mirror images in Edgardo Cozarinsky's Guerreros y cautivas (Warriors and captives, 1989) -- The power of the word in Philip Cox and Valeria Mapelman Mbyá: Tierra en rojo (We are the Indians, 2005) -- State terrorism in Valeria Mapelman's Octubre pilagá (Pilaga October, 2010) -- Life as a specimen: Alejandro Fernández Mouján's Damiana kryygi (2015) -- Clashing ideologies, denunciation, and reparation in Ulise de la Orden's Tierra adentro (inland, 2011) -- Silence and isolation in Mathieu Orcel's Para los pobres piedras (Stones for the poor, 2013) -- Immersion and metamorphosis in Inés de Oliveira Cézar Cassandra (2012) -- The power of constelations in Sebastián Lingiardi's Las pistas-Lanhoyij-Nmitaxanaxac (Clues-Lanhoyij- Nmitaxanaxac, 2010). | |
| 588 | 0 | |a Print version record. | |
| 590 | |a eBooks on EBSCOhost |b EBSCO eBook Subscription Academic Collection - Worldwide | ||
| 650 | 0 | |a Indigenous peoples in motion pictures. | |
| 650 | 0 | |a Motion pictures |z Argentina |x History. | |
| 650 | 6 | |a Autochtones au cinéma. | |
| 650 | 6 | |a Cinéma |z Argentine |x Histoire. | |
| 650 | 7 | |a PERFORMING ARTS |x Reference. |2 bisacsh | |
| 650 | 7 | |a Indigenous peoples in motion pictures |2 fast | |
| 650 | 7 | |a Motion pictures |2 fast | |
| 651 | 7 | |a Argentina |2 fast | |
| 655 | 7 | |a History |2 fast | |
| 776 | 0 | 8 | |i Print version: |a Tompkins, Cynthia, 1958- |t Affectual erasure. |d Albany : State University of New York Press, 2018 |z 9781438470979 |w (DLC) 2017045873 |w (OCoLC)1010505241 |
| 830 | 0 | |a SUNY series in Latin American cinema. | |
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| 994 | |a 92 |b IZTAP | ||