Representing History, Class, and Gender in Spain and Latin America: Children and Adolescents in Film PDF
Preview Representing History, Class, and Gender in Spain and Latin America: Children and Adolescents in Film
Representing History, Class, and Gender in Spain and Latin America Also by Carolina Rocha Masculinities in Contemporary Argentine Popular Cinema (2012) New Trends in Argentine and Brazilian Cinema (2011), coedited with Cacilda Rêgo Violence in Contemporary Argentine Literature and Film (2010), coedited with Eliza- beth Montes Garcés Argentinean Cultural Production during the Neoliberal Years (1989– 2001) (2007), coedited with Hugo Hortiguera Representing History, Class, and Gender in Spain and Latin America Children and Adolescents in Film Edited by Carolina Rocha and Georgia Seminet representing history, class, and gender in spain and latin america Copyright © Carolina Rocha and Georgia Seminet, 2012. Softcover reprint of the hardcover 1st edition 2012 978-1-137-03086-3 All rights reserved. First published in 2012 by PALGRAVE MACMILLAN® in the United States — a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-44061-0 ISBN 978-1-137-03087-0 (eBook) DOI 10.1057/9781137030870 Library of Congress Cataloging- in- Publication Data is available from the Library of Congress. A catalogue record of the book is available from the British Library. Design by Scribe Inc. First edition: August 2012 10 9 8 7 6 5 4 3 2 1 To Evangelina — Carolina Rocha To my parents and brother — Georgia Seminet Contents Acknowledgments ix Introduction 1 Carolina Rocha and Georgia Seminet I Memory and Trauma 1 Surviving Childhood: The Nepantla Generation as Portrayed in On the Empty Balcony by Jomí García Ascot 33 Julia Tuñón 2 Fairies, Maquis, and Children without Schools: Romantic Childhood and Civil War in Pan’s Labyrinth 49 Antonio Gómez L- Quiñones 3 A Child’s Voice, A Country’s Silence: Ethnicity, Class, and Gender in El silencio de Neto 63 Georgia Seminet 4 Children’s Views of State- Sponsored Violence in Latin America: Machuca and The Year My Parents Went on Vacation 83 Carolina Rocha 5 Enabling, Enacting, and Envisioning Societal Complicity: Daniel Bustamante’s Andrés no quiere dormir la siesta 101 Janis Breckenridge II Childhood and Paths to Citizenship 6 Innocence Interrupted: Neoliberalism and the End of Childhood in Recent Mexican Cinema 117 Ignacio M. Sánchez Prado 7 From Buñuel to Eimbcke: Orphanhood in Recent Mexican Cinema 135 Dan Russek viii contents 8 Through “Their” Eyes: Internal and External Focalizing Agents in the Representation of Children and Violence in Iberian and Latin American Film 151 Eduardo Ledesma 9 Roads to Emancipation: Sentimental Education in Viva Cuba 171 Rosana Díaz- Zambrana III Gender Identity 10 Constructing Ethical Attention in Lucía Puenzo’s XXY: Cinematic Strategy, Intersubjectivity, and Intersexuality 189 Jeffrey Zamostny 11 Cinematic Portrayals of Teen Girls in Brazil’s Urban Peripheries: Realist and Subjectivist Approaches to Adolescent Dreams and Fantasy in Sonhos roubados and Nina 205 Jack Draper 12 No Longer Young: Childhood, Family, and Trauma in Las mantenidas sin sueños 223 Beatriz Urraca Notes on Contributors 239 Index 243 Acknowledgments The impetus for this project was provided by the Latin American Stud- ies Association (LASA) Montreal conference in 2008, which allowed the coeditors a venue to think about children and young protagonists in film. We are grateful to the contributors for their dedication to meet- ing deadlines and their collaboration throughout the process. We also want to thank Cristina Carrasco, Caryn Connelly, Sophie Dufays, Regina Faunes, Yvonne Gavela, Erin Hogan, Juliet Lynd, Aldona Pobutsky, Anna Profitt, Liz Rangel, Ana Ros, and Sarah Thomas who are also working on this topic and have provided us with insight along the way. We are especially indebted to Rachel Merriman for her professional work on the index. Contributors Janis Breckenridge, Jack Draper, Beatriz Urraca and Jeff Zamostny generously took the time to help out during the edito- rial process. Naomi Lindstrom, Philippe Seminet, Sylvia Carullo, Cacilda Rêgo, and David Uskovich have provided insight and critical commen- tary through their thorough reading of the volume. We are indebted to them, as well as to Melissa Raslevich, who provided us with historical data from LASA. Finally, we would like to thank the anonymous readers who provided us with valuable comments on the manuscript and our assistant editor at Palgrave, Sara Doskow, who promptly supported us throughout the process. Our family and friends can attest to the hours we have put into the volume, and for their support and patience Georgia Seminet would like to thank the Silversteins, the Smiths, the Seminets, the Zacharys, and most of all Philippe, Chloé, and Camille for helping Seminet keep her feet on the ground. For her part, Carolina Rocha is very grateful for her fam- ily’s understanding while she embarked on yet another project. Thanks to Camila, Clara and Armando. Rocha is grateful to, Paulina Piselli, who helped in obtaining films. The coeditors are also indebted to their institutions. Georgia Seminet would like to thank the College of Humanities at St. Edward’s University for their enthusiastic support of her ongoing research projects. She is also indebted to the College of Liberal Arts and colleagues in the Department of Modern Languages at the University of Texas–A rlington. Seminet would also like to thank her students during the fall of 2010, who prof- fered exceptional help in the editorial process and deserve to be named: x acknowledgments Adriana Cabeza, Ana Dávila, Laura Díaz, Moyasser Elqutob, Christina García, Anel Herrera, Lauren Jaynes, Ruby Manuel, Hugo Montalván, Donna Montoya, Katherine Monzón, Johana Orellana, Danielle Purcell, María Saldaña, Ana Saldívar, and Jorge Vásquez. She is also grateful to her students from the spring of 2011, who helped cultivate ideas and theories regarding the child and adolescent in film. Carolina Rocha is grateful for the support of the Graduate School of Southern Illinois University and the support of her colleagues: Jennifer Miller, Tom Lavallee, and Joaquín Florido Berrocal, as well as Deidre Johnson for her patience and continuous help. Special thanks are in order for students Joshua Castillo and Kristina Becker, who were her research assistants.
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