Affectual Erasure : Representations of Indigenous Peoples in Argentine Cinema (Suny series in Latin American Cinema)

Tompkins, Cynthia Margarita

State University of New York Press（2018/09発売）

State University of New York Press（2018/09発売）

• 製本 Hardcover:ハードカバー版／ページ数 398 p.
• 言語 ENG
• 商品コード 9781438470979
• DDC分類 791.436529

Full Description

Comprehensive examination of how Indigenous peoples have been represented in Argentine film.

Affectual Erasure examines how Argentine cinema has represented Indigenous peoples throughout a period spanning roughly a century. Cynthia Margarita Tompkins interrelates her discussion of films with the ethnographic context of the Indigenous peoples represented and an analysis of the affective dimensions at play. These emotions underscore the inherent violence of generic conventions, as well as the continued political violence preventing Indigenous peoples from access to their ancestral lands and cultural mores. Tompkins explores a broad range of movies beginning in the silent period and includes both feature films and documentaries, underscored by archival and contemporary film stills. She traces the initial erotic projection, moving through melodrama to the conventions of the Western, into the 1960s focus on decolonization, superseded by allegorical renditions and the promise of self-expression in late twentieth-century documentaries. Each section includes an introduction to the sociohistorical events of the period and their impact on film production. Analyzed chronologically, the films evidence different stages in the projection of the hegemonic Argentine imaginary, which fails to envision the daily life of Indigenous peoples prior to conquest or in colonial times-and remains in denial of their existence in the present.

Contents

List of Figures
Preface
Acknowledgments
Introduction

Part I. Early Cinema, 1896-1932

1. Melodrama and Avant- la- Lettre Documentary in Alcides Greca's El último malón (The Last "Indian" Raid, 1917)

2. Kitsch and Exoticism in Nelo Cosimi's La quena de la muerte (Death Kena, 1929)

Part II. Classical Cinema, 1933-1956

3. Femme Fatale in Luis Belisario García Villar's Frontera Sur (Southern Border, 1943)

4. Betrayal and Insanity in Lucas Demare's El último perro (The Last One Standing, 1956)

Part III. Modernity and Auteur Cinema, 1957-1983

5. The Shifting Meanings of Translation in Lautaro Murúa's Shunko (1960)

6. Transculturation in Jorge Prelorán's Hermógenes Cayo (1967)

Part IV. Cinema in Democracy, 1983-1993

7. Fatal Kindness in Raúl Tosso's Gerónima (1986)

8. Bewitched Mirror Images in Edgardo Cozarinsky's Guerriers et Captives (Warriors and Captives, 1989)

Part V. Contemporary Period, 1993-2017

9. The Power of the Word in Philip Cox and Valeria Mapelman's Mbyá: Tierra en rojo (We Are the Indians, 2005)

10. State Terrorism in Valeria Mapelman's Octubre Pilagá (Pilagá October, 2010)

11. Life as a Specimen: Alejandro Fernández Mouján's Damiana Kryygi (2015)

12. Clashing Ideologies, Denunciation, and Reparation in Ulises de la Orden's Tierra adentro (Inland, 2011)

13. Silence and Isolation in Mathieu Orcel's Para los pobres piedras (Stones for the Poor, 2013)

14. Immersion and Metamorphosis in Inés de Oliveira Cézar's Cassandra (2012)

15. The Power of Constellations in Sebastián Lingiardi's Las pistas- Lanhoyij- Nmitaxanaxac (Clues- Lanhoyij- Nmitaxanaxac, 2010)

Conclusion
Appendix: A Political Map of Argentina
Notes
Bibliography
Index