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The Latin American Road Movie PDF

288 Pages·2016·2.876 MB·English
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GLOBAL CINEMA The Latin American Road Movie Edited by Verónica Garibotto & Jorge Pérez Global Cinema Series Editors Katarzyna   Marciniak Ohio University Los Angeles ,   California U SA Anikó   Imre University of Southern California Claremont ,   California U SA Áine   O’Healy Loyola Marymount University Los Angeles ,   USA The Global Cinema series publishes innovative scholarship on the trans- national themes, industries, economies, and aesthetic elements that increasingly connect cinemas around the world. It promotes theoreti- cally transformative and politically challenging projects that rethink fi lm studies from cross-cultural, comparative perspectives, bringing into focus forms of cinematic production that resist nationalist or hegemonic frame- works. Rather than aiming at comprehensive geographical coverage, it foregrounds transnational interconnections in the production, distribu- tion, exhibition, study, and teaching of fi lm. Dedicated to global aspects of cinema, this pioneering series combines original perspectives and new methodological paths with accessibility and coverage. Both ‘global’ and ‘cinema’ remain open to a range of approaches and interpretations, new and traditional. Books published in the series sustain a specifi c concern with the medium of cinema but do not defensively protect the boundaries of fi lm studies, recognizing that fi lm exists in a converging media environ- ment. The series emphasizes a historically expanded rather than an exclu- sively presentist notion of globalization; it is mindful of repositioning ‘the global’ away from a US-centric/Eurocentric grid, and remains critical of celebratory notions of ‘globalizing fi lm studies.’ More information about this series at http://www.springer.com/series/15005 Verónica Garibotto • J orge Pérez Editors The Latin American Road Movie Editors Verónica Garibotto Jorge Pérez The University of Kansas The University of Kansas USA USA Global Cinema ISBN 978-1-137-59035-0 ISBN 978-1-137-58093-1 (eBook) DOI 10.1057/978-1-137-58093-1 Library of Congress Control Number: 2016942695 The Editor(s) (if applicable) and The Author(s) 2 016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the pub- lisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover illustration: © Stefano Politi Markovina / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Nature America Inc. New York A CKNOWLEDGEMENTS We would like to thank fi rst and foremost our contributors, who responded enthusiastically to our invitation to participate in this project and whose work made it all possible. A number of colleagues and friends have helped us with expert advice at various stages of the process. From the University of Kansas camp, Santa Arias and Stuart Day shared their wise thoughts and helpful models when we were putting together the book proposal. Rafael Acosta served as inspiration by having us over for homemade Mexican food and an unforgettable viewing session of Lola la trailera , arguably the kitschiest road movie ever made. The generous travel funds received from the Department of Spanish and Portuguese allowed us to attend the LASA Convention in Puerto Rico to present this project. We were also lucky to receive the help of a fabulous team of graduate research assistants, courtesy of Graduate Research Fellowships allocated by the University of Kansas. Andrés Rabinovich and Lina Muñoz-Márquez put together for us a thorough archive of materials and publications about Latin American road movies. Juan Pablo Román-Alvarado prepared the fi nal version of the manuscript with unparalleled attention to detail. We also want to thank Joanna Page from the University of Cambridge for calling our attention to experts in Latin American road movies. Santiago Fouz Hernández, a master in collaborative projects, provided extremely helpful insights about the ins and outs of publishing a coedited volume. At Palgrave Macmillan, we are indebted to our commissioning editor, Shaun Vigil, for believing v vi ACKNOWLEDGEMENTS in this project and for his superb professionalism to move forward with it, as well as to the patience and helpful guidance of editorial assistant Erica Buchman. As always, family, partners, and friends were patient and uncon- ditionally supportive throughout our road trip. C ONTENTS 1 Introduction: Reconfi guring Precarious Landscapes: The Road Movie in Latin America 1 Verónica Garibotto and Jorge Pérez Part I L atin American Modernity on the Road and in the Spotlight 29 2 Revisiting Modernity Through the Latin American Road Movie 31 Nadia Lie 3 Journey to the Ruins of Modernity: Euforia and 40 días 53 Ignacio M. Sánchez-Prado 4 The Power of Running on Empty: On the Road in Post-Soviet Cuba 7 3 Vicky Unruh Part II T he Latin American Road Movie: Readings and Genealogies 95 5 Recorriendo las Américas: Cars, Roads, and Latin American Cinema 97 Gilberto Blasini 6 Lonely Souls in Sólo Dios Sabe by Carlos Bolado: Pastoralism and Syncretic Spirituality in Times of Crisis 121 Salvador Oropesa vii viii CONTENTS 7 Tania Hermida’s Qué tan lejos: Bending Conventions on the Road to Cuenca 1 37 Carolina Rueda Part III H eterogeneous Territories: Mapping Class, Race, Gender, and Sexuality 155 8 Central American Non-belonging: Reading ‘El Norte’ in Cary Fukunaga’s Sin nombre 1 57 Yajaira M. Padilla 9 Decolonizing Maya Border Crossings in El Norte and La Jaula de Oro 1 75 Alicia Ivonne Estrada 10 Confi guring Desire and Social Order in the Contemporary Mexican Youth Road Film 1 95 Olivia Cosentino Part IV Regional Techniques and Local Iconographies 215 11 The Contemporary Documentary Road Movie in Latin America: Issues on Mobility, Displacement, and Autobiography 217 Pablo Piedras 12 The Contemporary Brazilian Road Movie: Remapping National Journeys on Screen in Viajo porque preciso, volto porque te amo 2 37 Sara Brandellero 1 3 Inscription and Subversion of the Road Movie in Inés de Oliveira Cézar’s Cassandra (2012) 255 Cynthia Tompkins Index 2 73 N C OTES ON ONTRIBUTORS Gilberto   M.   Blasini is Associate Professor of English and Director of the Film Studies program at the University of Wisconsin, Milwaukee. His work has appeared in the anthologies Film Analysis: A Norton Reader ; P rospero’s Isles: The Presence of the Caribbean in the North American Imaginary ; and V isible Nations: Latin American Film and Video , as well as in the journals B lack Camera , Caribbean Studies , Centro: Journal of the Center for Puerto Rican Studies , Objeto Visual and Emergences: Journal for the Study of Media & Composite Cultures . Sara   B randellero is Lecturer of Brazilian Literature and Culture at Leiden University. She is the author of the monograph On a Knife-Edge: The Poetry of João Cabral de Melo Neto (Oxford UP, 2011) and the editor of the volume T he Brazilian Road Movie (U of Wales P, 2013). She has also published numerous articles in journals such as Bulletin of Hispanic Studies , P ortuguese Studies , and T esserae: Journal of Iberian and Latin American Studies . Olivia   Cosentino is pursuing her Ph.D. in Latin American Literatures and Cultures at The Ohio State University. Her research focuses on the r epresentations and ideologies of youth in Mexican cinema from the 1960s onward. Alicia   I vonne   E strada is an associate professor in the Chicana/o Studies Department at California State University, Northridge. Her research focuses on Maya cultural productions in Guatemala and the USA. She has published articles in Romance Notes , Studies in 20th and 21st Century Literature , ACME: An International E-Journal for Critical Geographies, and Istmo . Her current book manuscript is entitled Ka Winaq: The Maya Diaspora in Los Angeles, Historical Memory and Cultural Agency . ix

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