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Full Description
Riven with unresolved traumas and appropriated by successive governments, the past haunts spaces in Mexican film and visual culture. These events, without consensus or a singular/unifying narrative, act like spectres haunting the present. To comprehend how they manifest, Legacies of the Past considers how filmmakers and visual artists have found ways of understanding these haunted spaces.
With case studies of films like El atentado (2010), Flor en Otomí (2012) and the photography of Dulce Pinzón, this collection analyses the audio-visual representations of several heightened events in Mexican history. The conbtributors' explorations, imaginings and counter-imaginings bring the past to the foreground, creating new narratives and proposing new histories in order to show the significance of storytelling and narrative for a shared understanding of ourselves.
Contents
List of Figures
Acknowledgements
Introduction: Legacies of the Past: Memory and Trauma in Mexican Visual and Screen CultureNiamh Thornton
1. On the Commemoration of Mexico '68: Los agachados de Rius, número especial de los cocolazos de julio-agosto-septiembre y octubre quién sabe si tambor...Chris Harris
2. 1976 and 1968: Felipe Cazals and Servando González Grapple with the Aftermath and the ArchiveNiamh Thornton
3. Spectres of Mexico's 'Dirty Wars: Gendered Haunting and the Legacy of Women's Armed Resistance in Mexican Documentary FilmViviana MacManus
4. Stages for an Assassination: Roles of Cinematic Landscape in Jorge Fons' El atentado (2010) and Carlos Bolado's Colosio: el asesinato (2012)Maximiliano Maza-Pérez
5. Aliens as Superheroes: Science Fiction, Immigration and the Photography of Dulce PinzónCatherine Leen
6. #YoSoy132 as a Continuation of the 1968 LegacyJessica Wax-Edwards
7. Loss and Mourning in Documentary: Tatiana Huezo's Ausencias (2015)Miriam Haddu
8. Teresa Margolles' Work with Space: Ruins, Resonances and the Echo of the AbsentJulia Banwell
Notes on the Contributors
