A sweeping analysis of the lasting effects of neocolonial extractivism in Latin American aesthetic modernity from 1920 to the present
Looking to the extractive frontier as a focal point of Latin American art, literature, music, and film, Jens Andermann asks what emerges at the other end of landscape. Art in the Global South has long represented and interrogated “insurgent nature”—organic and inorganic matter, human and nonhuman life, thrown into turmoil.
In Entranced Earth: Art, Extractivism, and the End of Landscape, Andermann traces the impact of despaisamiento—world-destroying un-landscaping—throughout the Latin American modernist archive. At the same time, he explores innovative, resilient modes of allyship forged between diverse actors through their shared experiences of destruction. From the literary regionalism of the 1930s to contemporary bio art, from modernist garden architecture to representations of migration and displacement in sound art and film, Entranced Earth tracks the crisis of landscape and environmental exhaustion beyond despair toward speculative, experimental forms of survival.
Europe and Love in Cinema explores the relationship between love and Europeanness in a wide range of films from the 1920s to the present. A critical look at the manner in which love—in its broadest sense—is portrayed in cinema from across Europe and the United States, this volume exposes constructed notions of "Europeanness" that both set Europe apart and define some parts of it as more "European" than others. Through the international distribution process, these films in turn engage with ideas of Europe from both outside and within, while some, treated extensively in this volume, even offer alternative models of love. A bracing collection of essays from top film scholars, Europe and Love in Cinema demonstrates the centrality of desire to film narrative and explores multiple models of love within Europe's frontiers.
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