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The earliest films made in Cuba—newsreel footage of the Cuban-Spanish-American War—date from the end of the nineteenth century, but Cuba cannot be said to have had an indigenous film industry before the revolution of 1959. The melodramas, musicals, and comedies made until then reflected Hollywood’s—and the United States’s—cultural domination of the island, but the revolution precipitated urgent debates about the role of cinema in a socialist country and the kinds of films best suited to the needs of the people and their rulers. Among the feature films, documentaries, and short subjects made in accordance with revolutionary principles are celebrated works by Tomás Gutiérrez Alea, Humberto Solás, and other filmmakers who have had a profound influence on both Latin American and world cinema.Michael Chanan provides a comprehensive, authoritative, and absorbing account of Cuban cinema both before and after the revolution, deftly setting individual films and filmmakers within the larger framework of Cuba’s social, political, and cultural history. First published as The Cuban Image in 1984 to wide acclaim, Cuban Cinema now appears in a new, expanded edition that updates Chanan’s discussion to the beginning of the twenty-first century. New chapters address ongoing concerns about freedom of expression; Havana’s restored importance within the Latin American film industry through the Havana Film Festival, before state support for filmmakers dwindled in the economic collapse that followed the fall of the Soviet Union; Cuban cinema’s place within the globalized cultural market; and the changing audience for Cuban films. The only book-length study of Cuban cinema written in English, this indispensable work on one of the world’s most vital national cinemas offers a unique perspective on the Cuban experience in the twentieth century.Michael Chanan is a documentary filmmaker and professor of cultural and media studies at the University of the West of England in Bristol.

Cueva Blanca lies in a volcanic tuff cliff some 4 km northwest of Mitla, Oaxaca, Mexico. It is one of a series of Archaic sites excavated by Kent Flannery and Frank Hole as part of a project on the prehistory and human ecology of the Valley of Oaxaca. The oldest stratigraphic level in Cueva Blanca yielded Late Pleistocene fauna, including some species no longer present in southern Mexico. The second oldest level, Zone E, produced Early Archaic material with calibrated dates as old as 11,000–10,000 BC .  Zones D and C provided a rich Late Archaic assemblage whose closest ties are with the Abejas phase of Puebla’s Tehuacán Valley (fourth millennium BC).  Spatial analyses undertaken on the Archaic living floors include (1) the drawing of density contours for tools and animal bones; (2) a search for Archaic tool kits using rank-order and cluster analysis; and (3) an attempt to define Binfordian “drop zones” using an approach drawn from computer vision.

2026 Mejor libro Humanidades, Mexico Section of the Latin American Studies Association

2026 Honorable Mention, First Book Prize, Cultural Studies Association

2025 Excellence in Scholarly Research and Publication Award, SECAC (formerly the Southeastern College Art Conference)

How the visual culture of food, cookery, and consumption played a central role in the making of postrevolutionary Mexico.

Postrevolutionary Mexico City was a site of anxious nation-building, as rampant modernization converged and clashed with the nation’s growing nostalgia for its pre-Columbian heritage. During this volatile period, food became a meaningful symbol for a Mexican citizenry seeking new modes of national participation.

Culinary Palettes explores how the artistic invocation of food cultures became an arena in which to negotiate the political entanglements of postrevolutionary Mexico. Lesley Wolff casts a nuanced eye on the work of visual artists such as Tina Modotti, Carlos González, and Rufino Tamayo, who nurtured the symbolic and performative power of iconic foods such as pulque, mole poblano, and watermelon. Through analysis of a wide array of visual evidence, including paintings, architecture, vintage postcards, menus, and cookbooks, Culinary Palettes demonstrates how these artists positioned their work within a broad visual landscape that relied upon the power of Mexican foodways in the urban and national imagination. In the studios of modernists, Wolff argues, artistic production, foodways, and Indigeneity proved to be mutually constitutive—and at times weaponized—agents in articulating competing claims to a new nationhood.

Since World War II, the Green Revolution has boosted agricultural production in Latin America and other parts of the Third World, with money, technical assistance, and other forms of aid from United States development agencies. But the Green Revolution came at a high price—massive pesticide dependence that has caused serious socioeconomic and public health problems and widespread environmental damage.

In this study, Douglas Murray draws on ten years of field research to tell the stories of international development strategies, pesticide problems, and agrarian change in Latin America. Interwoven with his considerations of economic and geopolitical dimensions are the human consequences for individual farmers and rural communities.

This highly interdisciplinary study, integrating the perspectives of sociology, ecology, economics, political science, and public health, adds an important voice to the debate on opportunities for and obstacles to more lasting and sustainable development in the Third World. It will be of interest to a wide audience in the social and environmental sciences.

The Jesuits’ colonial legacy in Latin America is well-known. They pioneered an interest in indigenous languages and cultures, compiling dictionaries and writing some of the earliest ethnographies of the region. They also explored the region’s natural history and made significant contributions to the development of science and medicine. On their estates and in the missions they introduced new plants, livestock, and agricultural techniques, such as irrigation. In addition, they left a lasting legacy on the region’s architecture, art, and music. The volume demonstrates the diversity of Jesuit contributions to Latin American culture. This volume is unique in considering not only the range of Jesuit activities but also the diversity of perspectives from which they may be approached. It includes papers from scholars of history, linguistics, religion, art, architecture, cartography, music, medicine and science.

In the twenty years of postrevolutionary rule in Mexico, the war remained fresh in the minds of those who participated in it, while the enigmas of the revolution remained obscured. Demonstrating how textuality helped to define the revolution, Culture and Revolution examines dozens of seemingly ahistorical artifacts to reveal the radical social shifts that emerged in the war’s aftermath.

Presented thematically, this expansive work explores radical changes that resulted from postrevolution culture, including new internal migrations; a collective imagining of the future; popular biographical narratives, such as that of the life of Frida Kahlo; and attempts to create a national history that united indigenous and creole elite society through literature and architecture. While cultural production in early twentieth-century Mexico has been well researched, a survey of the common roles and shared tasks within the various forms of expression has, until now, been unavailable. Examining a vast array of productions, including popular festivities, urban events, life stories, photographs, murals, literature, and scientific discourse (including fields as diverse as anthropology and philology), Horacio Legrás shows how these expressions absorbed the idiosyncratic traits of the revolutionary movement.

Tracing the formation of modern Mexico during the 1920s and 1930s, Legrás also demonstrates that the proliferation of artifacts—extending from poetry and film production to labor organization and political apparatuses—gave unprecedented visibility to previously marginalized populations, who ensured that no revolutionary faction would unilaterally shape Mexico’s historical process during these formative years.

In an innovative cultural history of Argentine movies and radio in the decades before Peronism, Matthew B. Karush demonstrates that competition with jazz and Hollywood cinema shaped Argentina's domestic cultural production in crucial ways, as Argentine producers tried to elevate their offerings to appeal to consumers seduced by North American modernity. At the same time, the transnational marketplace encouraged these producers to compete by marketing "authentic" Argentine culture. Domestic filmmakers, radio and recording entrepreneurs, lyricists, musicians, actors, and screenwriters borrowed heavily from a rich tradition of popular melodrama. Although the resulting mass culture trafficked in conformism and consumerist titillation, it also disseminated versions of national identity that celebrated the virtue and dignity of the poor, while denigrating the wealthy as greedy and mean-spirited. This anti-elitism has been overlooked by historians, who have depicted radio and cinema as instruments of social cohesion and middle-class formation. Analyzing tango and folk songs, film comedies and dramas, radio soap operas, and other genres, Karush argues that the Argentine culture industries generated polarizing images and narratives that provided much of the discursive raw material from which Juan and Eva Perón built their mass movement.

In communities throughout precontact Mesoamerica, calendar priests and diviners relied on pictographic almanacs to predict the fate of newborns, to guide people in choosing marriage partners and auspicious wedding dates, to know when to plant and harvest crops, and to be successful in many of life's activities. As the Spanish colonized Mesoamerica in the sixteenth century, they made a determined effort to destroy these books, in which the Aztec and neighboring peoples recorded their understanding of the invisible world of the sacred calendar and the cosmic forces and supernaturals that adhered to time. Today, only a few of these divinatory codices survive. Visually complex, esoteric, and strikingly beautiful, painted books such as the famous Codex Borgia and Codex Borbonicus still serve as portals into the ancient Mexican calendrical systems and the cycles of time and meaning they encode.

In this comprehensive study, Elizabeth Hill Boone analyzes the entire extant corpus of Mexican divinatory codices and offers a masterful explanation of the genre as a whole. She introduces the sacred, divinatory calendar and the calendar priests and diviners who owned and used the books. Boone then explains the graphic vocabulary of the calendar and its prophetic forces and describes the organizing principles that structure the codices. She shows how they form almanacs that either offer general purpose guidance or focus topically on specific aspects of life, such as birth, marriage, agriculture and rain, travel, and the forces of the planet Venus. Boone also tackles two major areas of controversy—the great narrative passage in the Codex Borgia, which she freshly interprets as a cosmic narrative of creation, and the disputed origins of the codices, which, she argues, grew out of a single religious and divinatory system.

Una exploración profunda de la historia, la autenticación y la relevancia moderna del Códice Maya de México, el libro más antiguo del continente americano.

Los antiguos escribas mayas registraban profecías y observaciones astronómicas en las páginas de libros pintados. Aunque la mayoría se perdieron por el desgaste del paso del tiempo o porque fueron destruidos, se sabía que tres códices mayas prehispánicos habían sobrevivido. Sin embargo, en la década de 1960 apareció en México, en circunstancias misteriosas, un cuarto libro diferente a los demás. Después de cincuenta años de debate sobre su autenticidad, investigaciones recientes con análisis científicos e histórico-artísticos de vanguardia, determinaron que el Códice Maya de México (antes conocido como Códice Grolier) es, de hecho, el libro más antiguo del continente americano: al menos doscientos años más antiguo que los demás.
 
Este volumen ofrece una introducción multifacética a la creación, el descubrimiento, la interpretación y la autenticación científica del Códice Maya de México. Además, un facsímil a todo color y una guía de la iconografía página por página hacen que un amplio público pueda acceder al códice. Otros temas incluyen los usos y la importancia de los libros sagrados en Mesoamérica, el papel de la astronomía en las antiguas sociedades mayas y la continua relevancia del códice para las comunidades mayas contemporáneas.
 
La publicación de este volumen acompaña la exposición que se exhibirá en el J. Paul Getty Museum ubicado en el Getty Center del 18 de octubre de 2022 al 15 de enero de 2023.

An in-depth exploration of the history, authentication, and modern relevance of Códice Maya de México, the oldest surviving book of the Americas.
 
Ancient Maya scribes recorded prophecies and astronomical observations on the pages of painted books. Although most were lost to decay or destruction, three pre-Hispanic Maya codices were known to have survived, when, in the 1960s, a fourth book that differed from the others appeared in Mexico under mysterious circumstances. After fifty years of debate over its authenticity, recent investigations using cutting-edge scientific and art historical analyses determined that Códice Maya de México (formerly known as Grolier Codex) is in fact the oldest surviving book of the Americas, predating all others by at least two hundred years.
 
This volume provides a multifaceted introduction to the creation, discovery, interpretation, and scientific authentication of Códice Maya de México. In addition, a full-color facsimile and a page-by-page guide to the iconography make the codex accessible to a wide audience. Additional topics include the uses and importance of sacred books in Mesoamerica, the role of astronomy in ancient Maya societies, and the codex's continued relevance to contemporary Maya communities.
 
This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from October 18, 2022, to January 15, 2023.
 

An in-depth exploration of the history, authentication, and modern relevance of Códice Maya de México, the oldest surviving book of the Americas.
 
Ancient Maya scribes recorded prophecies and astronomical observations on the pages of painted books. Although most were lost to decay or destruction, three pre-Hispanic Maya codices were known to have survived, when, in the 1960s, a fourth book that differed from the others appeared in Mexico under mysterious circumstances. After fifty years of debate over its authenticity, recent investigations using cutting-edge scientific and art historical analyses determined that Códice Maya de México (formerly known as Grolier Codex) is in fact the oldest surviving book of the Americas, predating all others by at least two hundred years.
 
This volume provides a multifaceted introduction to the creation, discovery, interpretation, and scientific authentication of Códice Maya de México. In addition, a full-color facsimile and a page-by-page guide to the iconography make the codex accessible to a wide audience. Additional topics include the uses and importance of sacred books in Mesoamerica, the role of astronomy in ancient Maya societies, and the codex's continued relevance to contemporary Maya communities.
 
This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from October 18, 2022, to January 15, 2023.