The first in-depth treatment of Latino film and video.
This groundbreaking volume is the first to examine the range of Latino media arts, from independent feature production to documentary to experimental video. The essays explore the work of Chicano, Puerto Rican, Cuban American, and Latino film and video artists and address avant-garde practices, queer media, and performance art as well as more conventional film and video representations.
Contributors to The Ethnic Eye provide close readings of a wide variety of films and videos, including Stand and Deliver, American Me, Bedhead, El Mariachi, Carmelita Tropicana, Improper Conduct, Welcome to America’s Finest Tourist Plantation, Border Brujo, Mérida Proscrita, and Spitfire. The essays are unified by a concern with the creation of a common ground for Latino media arts, one that is pan-ethnic rather than narrowly transcribed by race, ethnicity, or national heritage. The volume also provides the first in-depth treatment of such artists as Robert Rodriquez, Ela Troyano, Raphael Montañez Ortiz, and Frances Salomé España. Eclectic in the range of media artists and works considered, The Ethnic Eye is unique in its inclusion of site-specific public art, as well as performance-based works. Contributors: Marcos Becquer; Charles Ramírez Berg, U of Texas; C. Ondine Chavoya; Marvin D’Lugo, Clark U; Claire F. Fox, Stanford U; Ilene S. Goldman; Carmen Huaco-Nuzum, U of California, Davis; Lillian Jiménez; Alisa Lebow; Scott MacDonald, Utica College; José Esteban Muñoz, New York U; Frances Negrón-Muntaner; Kathleen Newman, U of Iowa; Christopher Ortiz.Rewrites Latin American film from the perspective of nationhood.
In the current "global" moment, the study of Latin American cinema has become insistently national—a phenomenon fully explored in this collection of essays by some of the most interesting and innovative scholars of media and Latin American culture working today.
The contributors to Visible Nations consider different national film and video histories in Latin America since the silent period. From the perspectives of feminism, psychoanalysis, new historicism, and reception theory, among others, they consider the styles through which—and the ends toward which—the nation has been represented, desired, and contested in films, film industries, and alternative video work in Mexico, Chile, Venezuela, Brazil, Colombia, and Cuba. The result is nothing less than a rewriting of Latin American film history. Contributors: Patricia Aufderheide, American U; Charles Ramírez Berg, U of Texas at Austin; Gilberto Moises Blasini; Julianne Burton-Carvajal, U of California, Santa Cruz; Seth Fein, Georgia State U; Claire F. Fox, Stanford U; Brian Goldfarb, U of Rochester; Ilene S. Goldman; Monica Hulsbus; Ana M. López, Tulane U; Kathleen Newman, U of Iowa; Laura Podalsky, Bowling Green State U; Harmony H. Wu.READERS
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