1920s to 2020s: To Hollywood and Back: Latin American Gender and Cinema in a Global Context

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February 6-7, 2014 University of New Mexico Latin American & Iberian Institute

TABLE OF CONTENTS ACKNOWLEDGMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 ABOUT THE LAII. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 SYMPOSIUM OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 AGENDA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 PRESENTATION ABSTRACTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 PRESENTER BIOGRAPHIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 FILM SCREENINGS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 ENGAGE WITH THE LAII. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

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ACKNOWLEDGMENTS DR. GREENLEAF A distinguished scholar of colonial Latin America, Dr. Richard E. Greenleaf (1930-2011) had an extensive career in teaching, research, and service. He has been called “one of the most influential historians of colonial Latin America” (Schwaller, 2008) with a sphere of influence that extends across international borders. Reflecting upon Dr. Greenleaf, Susan Tiano (Director of the Latin American & Iberian Institute) said, “He had such a tremendous impact on not only colonial studies but also Latin American Studies writ large. He dedicated his life to scholarship, teaching, mentoring, and Latin American Studies administration. There is no doubt that his legacy will continue to make a difference and inform Latin American Studies.” In part, his lasting effect will continue at the University of New Mexico through a generous endowment to the LAII which guarantees the LAII the ability to regularly hold an annual conference on Latin America.

In 2014, the LAII honors this gift by organizing the third Richard E. Greenleaf Symposium on Latin American Studies. The first symposium, held in 2011, addressed “Africans and Their Descendants in the Early Modern Ibero-American World”; the second, held in 2013, addressed “Authority and Identity in Colonial Ibero-America.”

PLANNING COMMITTEE The following UNM faculty provided significant input throughout the planning process: Linda Hall, Distinguished Professor, Department of History; Jeremy Lehnen, Assistant Professor, Department of Spanish and Portuguese; Miguel López, Associate Professor, Department of Spanish and Portuguese; and Miguel Gandert, Distinguished Professor, Department of Communication and Journalism. LAII staff oversaw conference logistics, with indispensible support provided by LAII Graduate Assistant Neoshia Roemer.

SPONSORSHIP The symposium is made possible by Dr. Richard E. Greenleaf’s generous endowment to the LAII and the LAII’s US Department of Education Title VI National Resource Center grant.

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ABOUT THE LAII Because of the geographic location and unique cultural history of New Mexico, the University of New Mexico (UNM) has emphasized Latin American Studies since the early 1930s. In 1979, the Latin American & Iberian Institute (LAII) was founded to coordinate Latin American programs on campus. Designated a National Resource Center by the U.S. Department of Education, the LAII offers academic degrees, supports research, and provides development opportunities for faculty. In addition to the Latin American Studies degrees offered, the LAII supports Latin American studies in departments and professional schools across campus by awarding student fellowships and providing funds for faculty and curriculum development. The LAII is also committed to expanding awareness, knowledge, and understanding of Latin America and Iberia among diverse constituents.

Through its community education programs, the LAII coordinates a wide array of outreach initiatives, including K-12 teacher professional development opportunities; post-secondary academic conferences and lecture series; workshops and symposia for business leaders, government officials, and media representatives; and cultural events for the general community.

The LAII’s mission is to create a stimulating environment for the production and dissemination of knowledge of Latin America and Iberia at UNM. We believe our goals are best pursued by efforts to build upon the insights of more than one academic discipline. We support research from the humanities and social sciences, as well as the natural sciences, health sciences, and other professional schools. Therefore, when allocating materials and human resources, we give special consideration to broadly interdisciplinary projects that promote active collaboration from different schools, colleges, and/or departments.

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SYMPOSIUM OVERVIEW “1920s to 2020s: To Hollywood and Back: Latin American Cinema & Gender in a Global Context” is a two-day, interdisciplinary symposium focused on stimulating cross-disciplinary dialogue among UNM faculty and invited scholars from across the country whose work involves Brazilian Studies, Chicana/o Studies, Cuban and Caribbean Studies, International and Area Studies, Language and Linguistics, and Spanish and Portuguese.

The symposium will consider the ebbs and flows of actors, directors, films and ideas between Hollywood and Latin America. The focus of the panelists will be on questions of gender, be it in the form of appropriation of actors and actresses from Latin America by Hollywood, the socio-political positioning of gender rights vis-á-vis an international cinematic stage, the growth of other directorial voices that challenge—or not—the traditional heteronormative male gaze, or the use of film and its growing accessibility as a socio-political forum that traverses borders.

Since the beginning of the 20th century, the relationship of Hollywood to Latin American cinema has been both productive and contentious. In the 1920s, for example, Brazil began importing increasingly significant numbers of Hollywood films, which proved devastating to the burgeoning national production of the 1910s. Mexico, for its part, in the 1920s was almost without a national film industry as it emerged from the Revolution and political turmoil. During this period, Hollywood became a major exporter of films to Latin American and at the same time began “importing” Latin American talent. One of the first international female stars from Latin America, Dolores del Río, began her career in Hollywood in the 1920s, only later to become an icon of the Golden Age of Mexican cinema. Shortly thereafter, in the 1940s, the Brazilian actress Carmen Miranda immigrated to Hollywood and gained the infamous nickname of the “Brazilian Bombshell” that would haunt her career.

The contemporary period again has seen a growing number of individuals transiting from Latin America to Hollywood and back including directors such as Fernando Meirelles, Guillermo del Toro and Alejandro González Iñárritu, as well as actors such as Wagner Moura and Gael García Bernal, —all of whom are increasingly international figures. These flows of talent, together with the growth of international cinematic co-productions, underlie the organization of this symposium.

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THURSDAY, FEB. 6, 2014

AGENDA 8:30 - 9:00 A.M.

UNM SUB: BALLROOM A

OPENING REMARKS

Susan Tiano, Director, Latin American & Iberian Institute,

University of New Mexico

Richard Wood, Special Advisor to the Provost,

University of New Mexico

9:00 - 10:00 A.M.

KEYNOTE I: EL CINE MEXICANO SE IMPONE: FOREIGNERS, GENDER, SOCIAL HIERARCHIES IN MEXICAN GOLDEN AGE CINEMA

Robert Irwin, Department of Spanish & Portuguese,

University of California, Davis

10:00 - 10:15 A.M. COFFEE BREAK 10:15 - 12:00 P.M. PANEL I: THE EVOLUTION OF MEXICAN FILM IN

THE 20TH CENTURY

Moderator: Robert Irwin, Department of Spanish &

Portuguese, University of California, Davis

Sergio de la Mora, Department of Chicana/o Studies,

University of California, Davis

Carl Mora, Department of Cinematic Arts,

University of New Mexico

12:00 - 1:00 P.M.

LUNCH BREAK (on your own)

1:00 - 2:45 P.M.

PANEL II: HOLLYWOOD, EXOTICISM, AND NATIONALISM: WOMEN AND STARDOM ACROSS BORDERS

Moderator: Linda Hall, Department of History,

University of New Mexico

Kathryn Sรกnchez, Department of Spanish & Portuguese,

University of Wisconsin, Madison

Laura Isabel Serna, Department of Cinematic Arts,

University of Southern California

2:45 - 3:00 P.M.

COFFEE BREAK

3:00 - 4:00 P.M. CLOSING REMARKS & INTERDISCIPLINARY DIALOGUE

Linda Hall, Department of History,

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University of New Mexico

AGENDA 8:45 - 9:00 A.M.

FRIDAY, FEB. 7, 2014 UNM SUB: BALLROOM A

OPENING REMARKS

Susan Tiano, Director, Latin American & Iberian Institute,

University of New Mexico

9:00 - 10:00 A.M.

KEYNOTE II: BEYOND THE RETOMADA: CONTEMPORARY WOMEN FILMMAKERS IN BRAZIL

Ana López, Cuban & Caribbean Studies Institute,

Tulane University

10:00 - 10:15 A.M. COFFEE BREAK 10:15 - 12:00 P.M. PANEL III: NEOLIBERAL AND NECROPOLITICAL

EMBODIED AESTHETICS IN MEXICAN FILM

Moderator: Miguel López, Department of Spanish &

Portuguese, University of New Mexico

María Socorro Tabuenca, Center for Inter-American &

Border Studies, University of Texas at El Paso

Ignacio Sánchez Prado, Department of Romance

Languages & Literatures, Washington University in

St. Louis

12:00 - 1:00 P.M.

LUNCH BREAK (on your own)

1:00 - 2:45 P.M.

PANEL IV: MATRICES OF DOMINATION: GENDER, RACE AND POLITICS IN CONTEMPORARY BRAZILIAN FILM

Moderator: Jeremy Lehnen, Department of Spanish &

Portuguese, University of New Mexico

Rebecca Atencio, Department of Spanish & Portuguese

Tulane University

Emanuelle K. F. Oliveira-Monte, Department of Spanish &

Portuguese, Vanderbilt University

2:45 - 3:00 P.M. COFFEE BREAK

3:00 - 4:00 P.M. CLOSING REMARKS & INTERDISCIPLINARY DIALOGUE

Miguel López, Department of Spanish & Portuguese,

University of New Mexico

Jeremy Lehnen, Department of Spanish & Portuguese,

University of New Mexico

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PRESENTATION ABSTRACTS »»

KEYNOTE I: EL CINE MEXICANO SE IMPONE: FOREIGNERS, GENDER, SOCIAL HIERARCHIES IN MEXICAN GOLDEN AGE CINEMA ›› Robert Irwin

»»

PANEL I: THE EVOLUTION OF MEXICAN FILM IN THE 20TH CENTURY ›› Robert Irwin ›› Sergio de la Mora ›› Carl Mora

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PANEL II: HOLLYWOOD, EXOTICISM, AND NATIONALISM: WOMEN AND STARDOM ACROSS BORDERS ›› Linda Hall ›› Laura Isabel Serna ›› Kathryn Sánchez

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KEYNOTE II: BEYOND THE RETOMADA: CONTEMPORARY WOMEN FILMMAKERS IN BRAZIL ›› Ana López

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PANEL III: NEOLIBERAL AND NECROPOLITICAL EMBODIED AESTHETICS IN MEXICAN FILM ›› Miguel López ›› Ignacio Sánchez Prado ›› María Socorro Tabuenca

»»

PANEL IV: MATRICES OF DOMINATION: GENDER, RACE AND POLITICS IN CONTEMPORARY BRAZILIAN FILM ›› Jeremy Lehnen ›› Rebecca Atencio ›› Emanuelle Oliveira-Monte

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KEYNOTE I EL CINE MEXICANO SE IMPONE: FOREIGNERS, GENDER, SOCIAL HIERARCHIES IN MEXICAN GOLDEN AGE CINEMA Robert Irwin This paper summarizes several patterns of representation of foreigners in Mexican Golden Age cinema: the “savage” rumbera and the “crazy” Argentine seen from the gaze of rational Mexican masculinity. These characters were produced and reproduced at a moment in which the most widely disseminated images of Cuba worldwide came from Mexican cinema: “la piña madura,” the untamable mulatta, “la bien pagada,” while the greatest star of Argentine cinema abandoned her homeland at the very time that this industry definitively lost its battle for continental dominance to its Mexican competition, which absorbed Libertad Lamarque, redefining her image: no longer America’s girlfriend but an abject figure: “la loca,” “la marquesa del barrio.” With its “imposition” in the 1940s, Mexican cinema assumed astonishing control of the images of other Latin American countries whose resources were insufficient to manage their own representation to the world.

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ARTURO DE CÓRDOVA, HOMOSEXUALITY AND MEXICAN FILM NOIR Sergio de la Mora This paper examines the representation of male homosexuality in the Mexican film noir films of actor Arturo de Córdova, most notably in El hombre sin rostro (Juan Bustillo Oro, 1950). Mora will analyze how this film, famous for its iconic expressionist dream sequences, engages in a dialogue with popular understandings of psychoanalysis regarding anxieties about masculinity and homosexuality. This paper interprets the film’s musings on mental health as allegories regarding Arturo de Córdova’s very much closeted homosexuality. While de Córdova is one of the major figures of the Golden Age star system—with an international career spanning Mexico, Hollywood, Spain, Argentina, Brazil, Venezuela and a filmography of close to one hundred films across four decades—his career is remarkably understudied. This queer analysis of his star persona, like this year’s tribute to de Córdova at the Morelia International Film Festival, hopes to address this gap in the existing scholarship on this remarkable actor.

FROM ‘GOLDEN AGE’ TO Y TU MAMÁ TAMBIÉN AND BEYOND: SOME OBSERVATIONS ON THE EVOLUTION OF MEXICAN CINEMA Carl Mora Mexican cinema, from 1896 to the present, has undergone dramatic changes reflecting the volatility of its society and the world beyond it. Mora will attempt to touch on selected highlights with some personal connections and observations, beginning with how in the 1940s he became acquainted with Mexican films both in Mexico City and 10

THE EVOLUTION OF MEXICAN FILM IN THE 20TH CENTURY

PANEL I

New York City. Proceeding into the late 1940s and 1950s, he regularly attended screenings of Mexican (and occasionally Argentine and Spanish) movies at various Spanishlanguage theaters in New York. This was the “golden age” when production averaged 100 full-length features annually and the films of Emilio “El indio” Fernández (María Candelaria [1943], Enamorada [1946]) and Alejandro Galindo (Campeón sin corona [1945], Espaldas mojadas [1953]) and others brought international recognition and prestige to Mexican cinema, although at the time he was largely unaware of this. Mora’s exposure to Mexican films was then infrequent until he began scholarly studies in the 1970s. The years from 1971 to 1976, under the administration of Luis Echeverría, saw a radical restructuring of the industry resulting in the entrance of new directors like Arturo Ripstein (El lugar sin límites [1978]), Alfonso Arau (Calzonzín inspector [1973] and later Como agua para chocolate [1992]) and Felipe Cazals (Canoa [1975]) who provided originality, honesty, and new energy to Mexican filmmaking. The 1980s saw a retrenchment when the government of José López Portillo favored commercialism instead of social commentary. The governments of the “época de oro” (1940s through early 1960s, roughly) had encouraged nationalism and idealized folklore to help heal the political and regional fissures of the 1910-1920 Revolution. The 1970s had ushered in a more critical approach to Mexican history, politics, and social issues. This trend was resumed in the 1990s, culminating in the international success of Alejandro González Iñárritu’s Amores perros (2000), Alfonso Cuarón’s Y tu mamá también (2001), and Carlos Carrera’s El crimen del padre Amaro (2002). And since then, the “Beyond” in the title refers to such achievements as Mexico’s record-setting 99 commercial releases in 2013, Amat Escalante winning the best director award at the Cannes Film Festival for his drug war drama Heli, and in 2012 Carlos Reygadas winning the same award for his film Post Tenebras Lux. These and many other recent accomplishments attest to the continuing vitality and exciting future of Mexican cinema.

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DOLORES DEL RÍO: BEAUTY IN LIGHT AND SHADE Linda Hall Dolores del Río arrived in Hollywood in 1925 and immediately became an acceptable romantic heroine playing opposite white men, despite her Mexican nationality and dark complexion. This acceptance came easily, despite significant prejudice during the era against Mexicans as indigenous.

Her presentation over four years by director Edwin Carewe, himself an Oklahoman of Chickasaw descent, involved careful publicity and a procession of roles in the direction of her enormous hit Ramona. In this film, long thought lost but recently recovered, she played a half-indigenous, halfEuropean descent woman. Carewe’s vigilant handling kept questions of race from impeding her stardom and further made her into a visual advocate for Native American rights.

MARKETING MIRANDA: FAME, FANS AND FASHION IN HOLLYWOOD OF THE 1940S Kathryn Sánchez This presentation will focus on Hollywood’s promotion of Carmen Miranda as a Latin American celebrity whose formulae are predictable from film to film, and whose star persona projects a stylized image of performativity and a “spectacle of difference” (Ella Shohat). Through a discussion of press releases, trade magazines and fanzines, Sánchez examines how Hollywood manipulated Miranda’s particular and idiosyncratic celebrity sign as an exotic commodity as circulated by the press from her initial specialty act in Down Argentine Way (1940) to her last film at Twentieth-Century Fox, If I’m Lucky (1946). The presentation discusses how, on the one hand, Miranda’s foreign, stereotypically female and often burlesqued image was used to 12

HOLLYWOOD, EXOTICISM, AND NATIONALISM: WOMEN AND STARDOM ACROSS BORDERS

PANEL II

merchandize her stardom and films, and, on the other hand, how Hollywood exploited Miranda’s unique fashion style as spectacle couched in a framework of star popularity.

Sánchez is interested in the discourse surrounding Miranda as corresponding to the popularization of ethnic stereotypes and foreignness as artifice in order to examine the promotion of Miranda’s image as desirable, imitable, and highly profitable. The presentation draws from Bourdieu’s theorizing of taste to discuss how Miranda’s popularity maximized established vogues of Hollywood latinidad and channeled propensities to provide profitable strategies of consumption and exotic distinction.

‘LA ESTRELLA DEL SUR’: SILENT FILM STARDOM AND THE NEW WOMAN IN MEXICO Laura Isabel Serna In the Mexican popular press of the 1920s fantasies of migration to the United States, represented in this presentation by the young-girl-goes-to-Hollywood story, were portrayed as imported desires that needed to be stopped altogether or carefully managed in order to minimize their negative effects on the nation state. Serna analyzes the narratives constructed about women’s dreams of stardom in the popular press in the context of anxieties over migration and its impact on Mexican post-revolutionary nation building. A close reading of these narratives shows the ways in which women used their encounters with mass culture to both resist and support modern Mexican nationalism and how the intelligentsia (here represented by the state and various gatekeepers of print culture) found ways to use these encounters as a means of shoring up the nation state as stardom gained cross-border currency. The contradictory public discourse around the Mexico-to-Hollywood itinerary of these would-be adventureras, Serna argues, draws attention to the ways in which national concerns shaped the relationship between gender, mass culture, and immigration in the early twentieth century Americas.

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KEYNOTE II BEYOND THE RETOMADA: CONTEMPORARY WOMEN FILMMAKERS IN BRAZIL Ana López After the 1990 dismantling of state support for filmmaking in Brazil, the vacuum created in the national cinema ended up an unexpected fertile ground for the emergence of a new generation of women filmmakers and for the continued activities of filmmakers from the 1980s who were able to take advantage of new federal and state initiatives (post 1992-95) in support of cultural production. This presentation will explore this body of films and their place in contemporary Brazilian cinema and society. It is framed by the following questions: • What difference does it make when a Brazilian woman wields the camera?

• How do woman filmmakers theorize about their experiences in the world and their practice?

• What are the relationships among questions of gender, race, and class in Brazilian film?

• Can feminist theory make a contribution to film practice in Brazil?

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BAJO LA SAL AND THE BRIDGE: FEMICIDE AND TRANSBORDER POPULAR CULTURE Miguel López The 2008 Mexican film Bajo la sal opens with the discovery of a female corpse in a salt mine in a fictitious northern Mexico town named Santa Rosa de la Sal. As the action continues, there unravels a series of events leading to a macabre conspiracy to hide the patriarchal misogynistic culture that permeates the town. In similar fashion, the first episode of Fox’s bilingual TV series The Bridge begins with a female corpse found on the bridge between El Paso and Ciudad Juárez. Symbolically, it turns out to be not only the one body but halves of two women—one gringa and one Mexican. Under the shadow of the real femicides in Ciudad Juárez, Bajo la sal and The Bridge combine popular genres from both sides of the border such as the film thriller, the gothic novel, and detective fiction to examine the meaning of city, region, and nation in the new millennium.

These ways of seeing are juxtaposed against the blinding whiteness of the desert which blurs our vision of what lies beneath the sand and the salt, highlighting the invisibility of lower class migrant Latina workers. This presentation will focus on the representation of the U.S.-Mexico border under NAFTA, the setting for exploring the rapid transborder exchange of technologies, goods and persons.

NEOLIBERAL AND NECROPOLITICAL EMBODIED AESTHETICS IN MEXICAN FILM

PANEL III

ESCAPING OR PERPETUATING STEREOTYPES: CONTEMPORARY MEXICAN WOMEN ACTORS IN HOLLYWOOD FILMS María Socorro Tabuenca Emilio García Riera’s México visto por el cine extranjero tracks the first large-scale representation of Mexico in film.

García Riera describes how the unique U.S. Southwest 15

landscape led to the production of Westerns and how, as a consequence, Mexicans, Mexican-Americans, and Native Americans were portrayed as bandits, rangers, cowboys, and uncivilized people. These representations, plus the ones registered by writers, historians, travelers and Border Patrol agents, originated and established a significant concept of “otherness.” “In such strangely familiar context, U.S. filmmakers began to construct what would become the most prevalent stereotypes of Mexicans: the dangerous ‘greaser’ and the innocent señorita” (Borge, 49). Unfortunately, these images from the beginning of the twentieth century have not changed considerably, although gender roles and Latina women representations have suffered an interesting transformation and a shift in the stereotype. The objective of this paper is to observe how Mexican actresses such as Kate del Castillo, Salma Hayek, Ana de la Reguera, Martha Higareda, Maya Zapata, Ana Claudia Talancón, and Diana García perpetuate or escape Hollywood’s ethnic and sexual stereotypes once they have been in one or more Hollywood films.

THE ELITE’S BODY POLITIC: THE AESTHETICS OF PIGMENTOCRACY IN MEXICAN NEOLIBERAL CINEMA Ignacio Sánchez Prado This presentation will study the ways in which Mexican cinema of the past 20 years developed a gendered aesthetic of the elite based in the consecration of femininities tied to the neoliberal fantasy of the ‘creative class’. Sánchez will particularly study the way in which the bodies of four iconic actresses –Martha Higareda, Ana Claudia Talancón, Ana Serradilla and Ana de la Reguera– function in constructing an economy of pigmentocracy (i.e. the elevation of lighter skin color to the highest part of the social hierarchy).

He will also discuss how certain iconic commercial films of the neoliberal era deploy the body of these actresses as allegories of an elite body politic that trumps the mestizo aesthetic of the nationalist era.

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MASCULINE SURPLUS AND SEWAGE IN O CHEIRO DO RALO Jeremy Lehnen The Brazilian film, O Cheiro do ralo (Heitor Dhalia, 2006) narrates the story of Lourenço, a pawnshop owner who deals in material commodities and human misery. His customers are men and women who, facing financial difficulties, expose themselves to Lourenço’s sadistic rituals of humiliation. Lourenço’s business and modus operandi signal towards the production of waste—human and material—that accompanies late-capitalist modernity (Bauman, 2003). Late capitalism has resulted in a turn away from traditional identity markers constructed around historicoterritorial symbols to ones that are increasingly premised upon consumption and the overall commoditization of life as primary axes of identity formation (García-Canclinim, 1995). This shift has augmented the perception of the individual subject and of his/her body as commodities. In this talk, Lehnen will consider how the Brazilian film O cheiro do ralo interrogates the symbolic power of consumer culture through the questioning of masculine subjectivity.

BODY OF EVIDENCE: GENDERING TRANSITIONAL JUSTICE IN TATA AMARAL’S HOJE Rebecca Atencio Since its premiere at the Brasília film festival in September 2011, Tata Amaral’s film Hoje, which dramatizes a middleaged woman’s life in the wake of receiving a reparation for the political disappearance of her husband, has become closely linked with the question of transitional justice in Brazil. Government officials involved in reckoning with the dictatorship have championed the film, for example, when the National Truth Commission co-sponsored screenings

MATRICES OF DOMINATION: GENDER, RACE AND POLITICS IN CONTEMPORARY BRAZILIAN FILM

PANEL IV

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followed by public debates. Human rights activists have likewise embraced the film as a vehicle of protest, projecting it on the wall of the Clube Militar (a stronghold of dictatorship apologists) in a “guerrilla” screening. Yet despite the film’s adaptability to various forms of memory work in Brazil, it also raises hitherto marginalized questions about the gendering of transitional justice. As an emerging group of feminist scholars of transitional justice point out, definitions of who is a victim entitled to recompense are often gendered and as such have profound implications for women (Rubio-Marin, Campbell, Bell). In Hoje, the female protagonist Vera is compensated for the disappearance of her husband, but not for the suffering she endured as a victim of physical, psychological, and sexual torture. This paper proposes to analyze how Amaral genders transitional justice in Hoje through techniques that focus the viewer’s attention on the female protagonist’s body as a locus of memory and unresolved trauma.

JUSTIÇA AND JUÍZO: RACE, VIOLENCE AND HUMAN RIGHTS IN BRAZILIAN SOCIETY Emanuelle Oliveira-Monte According to the Mapa da Violência Brasil 2013, for every three people killed by gun violence in Brazil, two are young males ranging from 15 to 29 years old. Still, violence is not only gender-marked, but also race-marked: homicide rates among the black male population in Brazil are 88.4 percent greater than the white male population. According to sociologist Julio Jacobo Waiselfisz, the main coordinator of the research, this “culture of violence” is responsible for the genocide of black youth in Brazil, as “the profile of the most affected by violence are low income young blacks.”

The study shows that the Brazilian state and society are negligent of the problem, since most of the violence happens in urban marginal spaces such as the favelas and periferias. The problem of violence among black youth is only addressed when violence erupts in mainstream society, provoking extreme reactions that frequently demand more 18

social repression policies. Police violence and an inefficient judicial system seal the fate of black youth in Brazil: in a society that emphasizes punishment over rehabilitation, Afro-Brazilians find little or no hope for a brighter future.

This presentation examines two important documentaries, Maria Augusta Ramos’ Justiça and Juízo, which show the problems of a judicial system that is inadequate to dealing with the problem of social—and racial—inequalities in Brazilian society. Through the documentaries, Oliveira-Monte examines how this system helps to perpetuate disparities and criminalize Afro-Brazilians. In a country that has always celebrated the myth of racial democracy, this illuminates how race works a social handicap, revealing a society that is markedly racist. This paper places the issue of race at the core of human rights in Brazil.

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PRESENTER BIOGRAPHIES »»

REBECCA ATENCIO

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LINDA HALL

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ROBERT IRWIN

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JEREMY LEHNEN

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ANA LÓPEZ

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MIGUEL LÓPEZ

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CARL MORA

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SERGIO DE LA MORA

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EMANUELLE OLIVEIRA-MONTE

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KATHRYN SÁNCHEZ

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IGNACIO SÁNCHEZ PRADO

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LAURA ISABEL SERNA

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MARÍA SOCORRO TABUENCA

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REBECCA ATENCIO

Atencio’s book, Memory’s Turn: Reckoning with Dictatorship in Brazil¸ is forthcoming from the University of Wisconsin Press this spring. In addition to articles published or forthcoming in the Luso-Brazilian Review, Latin American Theater Review, Latin American Perspectives, and other journals, Atencio is the founder of the blog Transitional Justice in Brazil¸ which monitors breaking developments related to memory of the Brazilian military dictatorship. Her current book project tells the story of Brazil’s National Truth Commission with a focus on the role that anxieties and revenge play in Brazilian memory politics.

DEPARTMENT OF SPANISH AND PORTUGUESE TULANE UNIVERSITY

Dr. Rebecca Atencio earned a B.A. in Latin American Studies at Johns Hopkins University (2000), and an M.A. (2003) and Ph.D. (2006) in Portuguese at the University of WisconsinMadison. Currently, she is Assistant Professor of Luso-Brazilian Literary and Cultural Studies in the Department of Spanish and Portuguese at Tulane University, where she teaches courses such as “Social Problems in Brazilian Literature and Cultural Production: Transitional Justice,” “Jogo Bonito: Soccer in Brazil,” and “Narrativas de Viagem/ Travel Narratives.”

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LINDA HALL

Hall has published numerous articles and books.

Traditionally, her work has focused on the Mexican Revolution and the U.S.-Mexican border.

She has authored Álvaro Obregón: Power and Revolution in Mexico (1981) and Oils, Banks, and Politics: the United States and Mexico, 1917-1924 (1995). Hall also co-authored Revolution on the Border: the United States and Mexico, 1910-1920 (1988) and Tangled Destinies: Latin America and the United States (1999). Most recently, Hall published Dolores del Río: Icon of Beauty in Light and Shade (2013).

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DEPARTMENT OF HISTORY UNIVERSITY OF NEW MEXICO

Dr. Linda Hall received a B.A. in Government and International Studies from the University of Texas at Austin (1960), an M.A. in Ibero-American Studies from Southern Methodist University (1970), and an M.Phil. (1975) and Ph.D. (1976) in Latin American History from Columbia University.

Currently, she is a Distinguished Professor of Latin American History in the Department of History at the University of New Mexico, where she teaches courses such as “Beauty, Body, and Power,” “Latin American Film,” and “Women in Modern Latin America.”

ROBERT IRWIN

Irwin has written numerous journal articles and book chapters, in addition to various book publications. He has authored Mexican Masculinities (2003) and Bandits, Captives, Heroines, and Saints: Cultural Icons of Mexico’s Northwest Borderlands (2007); co-authored alongside Maricruz Castro Ricalde El cine mexicano “se impone”: Mercados internacionales y penetración cultural en la época dorada (2011) and Global Mexican Cinema: Its Golden Age (2013); and co-edited Hispanisms and Homosexualities (1998), The Famous 41: Sexuality and Social Control in Mexico, 1901 (2003), Diccionario de estudios culturales mexicanos (2009; English version 2012); and edited Eduardo Castrejón (pseud.)’s Los 41: novela crítico-social (2010). He is most recently involved, alongside Maricruz Castro Ricalde of the Instituto Tecnológia de Estudios Superiores de Monterrey, Toluca, in a book project focused on the reception and impact of Mexican Golden Age cinema in international markets.

DEPARTMENT OF SPANISH UNIVERSITY OF CALIFORNIA, DAVIS

Dr. Robert Irwin received a B.A. from the University of Pennsylvania (1984), and an M.A. (1995) and Ph.D. (1999) in Comparative Literature from New York University. Currently, he is Chair of the Graduate Group in Cultural Studies and Professor in the Department of Spanish and Portuguese at the University of California, Davis, where he teaches courses such as “Mexican Cultural Studies,” “Cinema and Latin American Culture,” and “Histories of Cultural Studies.”

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JEREMY LEHNEN

Lehnen has written numerous journal articles and book chapters. He has authored “Constructing the Man, Constructing the Narratives of Fear: ‘O homen do ano” (2009), “Disjunctive Urbanisms: Walls, Violence, and Marginality in Rodrigo Plá’s La zona (2007)” (2012), and “Failure and the Queer Spaces that Embrace it: ‘Keres cojer? = guan tu fak’” (forthcoming). Currently, Lehnen is writing Down These Manly Streets: Masculinity and Crime Assaulting the Big Screen (forthcoming 2015), a work that inquiries into the linkages between Brazil’s authoritarian legacy, the construction of both hegemonic and marginal masculinity, and the portrayal of crime in recent Brazilian cinematic works.

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DEPARTMENT OF SPANISH & PORTUGUESE UNIVERSITY OF NEW MEXICO

Dr. Jeremy Lehnen received a B.A. in Spanish from Gonzaga University (1996), an M.A. in Spanish from Vanderbilt University (1998), and a Ph.D. in Latin American Studies from the University of New Mexico (2010). Currently, he is Assistant Professor of Spanish and Portuguese in the Department of Spanish and Portuguese at the University of New Mexico, where he teaches courses such as “Human Rights in Latin American Film,” “Brazilian Cinema,” and “Jogo Bonito: Futebol and Brazil.”

ANA LÓPEZ

López has written extensively on Latin American film, media, television, and popular culture. She has also worked extensively with Latino cultural production in the U.S. Her work has been widely published in film and Latin American studies journals and she is the co-editor of the volumes Mediating Two Worlds (1993), The Ethnic Eye: Latino Media Arts (1996), and the three-volume Encyclopedia of Latin American Culture (2000).

As director of the Cuban and Caribbean Studies Institute, López oversees the Summer in Cuba program, the Summer in the Dominican Republic program, and academic and cultural programming aimed at promoting a true Cuban and Caribbean presence on Tulane’s campus.

CUBAN AND CARIBBEAN STUDIES INSTITUTE TULANE UNIVERSITY

Dr. Ana López received a B.A. in Accounting from Queens College in 1978, and an M.A. (1982) in Communication and Theater Arts and Ph.D. (1986) in Communication Studies from the University of Iowa. She is currently Director of the Cuban and Caribbean Studies Institute, Associate Professor of Communication, and Associate Provost in the Office of Academic Affairs, at Tulane University. She has taught courses on topics such as “Latin American Cinema,” “Cuban Culture and Society,” and “Culture and Society in the Dominic Republic.”

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MIGUEL LÓPEZ Dr. Miguel López received a B.A. (1990) and M.A. (1992) in Spanish from San Francisco State University, and a Ph.D. in Hispanic Languages and Literatures from the University of California, Berkeley (1998). He is currently Associate Professor of Mexican and Chicano Literature in the Department of Spanish and Portuguese at the University of New Mexico.

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DEPARTMENT OF SPANISH & PORTUGUESE UNIVERSITY OF NEW MEXICO

López’s areas of specialization include Mexican and Chicano literature, 20th- and 21st-centuries Latin American literature, and Border Studies. His articles have appeared on both sides of the U.S.Mexico border in journals such as Revista Casa de las Américas, Chasqui: Revistas de Literatura Latinoamericana, and Temas y Variaciones de Literatura. He is the author of Utopian Dreams, Apocalyptic Nightmares: Globalization in Recent Mexican and Chicano Narrative (2008). His current research focuses on globalization and the relation of Mexico, the United States, and Central America through the language of violence and historical trauma.

CARL MORA

Mora is the author of Mexican Cinema: Reflections of a Society, 1896-2004 (University of California Press, 2005, third edition), the most widely-used English-language reference book on Mexican film. He has written numerous articles on Mexican, Spanish, and other national and genre cinemas, with publications appearing in journals such as The Journal of Popular Culture and Latin American Popular Culture. Since 1991 he has served on the editorial board for Film Historia (Center for Cinematic Research, University of Barcelona).

DEPARTMENT OF CINEMATIC ARTS UNIVERSITY OF NEW MEXICO

Dr. Carl J. Mora received his Ph.D. from the University of Alabama, Tuscaloosa. He is currently Professor Emeritus in the Department of Cinematic Arts at the University of New Mexico, where his research and teaching interests include Mexican, Spanish, and other national and genre cinemas, and where he has designed and refurbished courses in the department’s Cine Latino Series, including “Contemporary Spanish Cinema,” “Films of Pedro Almodóvar,” and “Classic Italian Cinema.”

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SERGIO DE LA MORA

De la Mora’s book, Cinemachismo: Masculinities and Sexuality in Mexican Film (2006), was a finalist for the LAMBDA Literary Award in the category of Art and Culture. His current book project, La Tequilera: Lucha Reyes, Ranchera Music and Modernity in Mexico, is a study about Lucha Reyes, the pioneer vernacular music performer from the 1920s-40s. In addition to varied journal articles, he has written chapters in Latsploitation, Latin America, and Exploitation Cinema (2009), Left in the Dark: Portraits of San Francisco Movie Theaters (2010), and, in press, Construcciones de la nación en el cine mexicano de la Época de Oro al presente: formas históricas y procedimientos cinematográficos. Most recently, his research has focused on Mexican masculinities in Mexican film vís-a-vís Matilde Landeta’s La negra Angustias (1949) and a queer reading of actor Arturo de Córdova in the Mexican film noir El hombre sin rostro (1950). A promoter of Latina/o and Latin American cinema, he is a programmer for Cine+mas San Francisco Latino Film Festival.

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DEPARTMENT OF CHICAN/O STUDIES UUNIVERSITY OF CALIFORNIA, DAVIS

Dr. Sergio de la Mora received a B.A. in Spanish from San Francisco State University (1991) and a Ph.D. in Latin American and Chicano Literature and Film from the University of California, Santa Cruz (1999). Currently, he is an Associate Professor of Chicana/o Studies at the University of California, Davis, where his research and teaching interests include Latin American and Chicano/ Latino film, video, digital media and literature, third cinema, Queer of Color Critique, and cultural studies, focusing primarily on racialized and sexualized cultural identities and representation in Mexican and Chicana/o and Latina/o popular culture.

EMANUELLE OLIVEIRA-MONTE

Oliveira’s first book, Writing Identity: The Politics of Contemporary Afro-Brazilian Literature (2007) examines the connection between literature and political action. She is at work on a second book, The Color of Crime: Representations of Race and Delinquency in Contemporary Brazilian Literature and Cinema, which will examine the representations of Afro-Brazilians in literature and cinema.

She has also authored numerous journal articles and book chapters. Oliveira serves on the editorial boards for the Afro-Hispanic Review, Chasqui, and Transmodernity: Journal of Peripheral Cultural Production of the Luso-Hispanic World.

DEPARTMENT OF SPANISH & PORTUGUESE VANDERBILT UNIVERSITY

Dr. Emmanuelle Oliveira-Monte received a B.A. in History from the Universidad do Estado do Rio de Janeiro (1989), and an M.A. (1994) in Portuguese and Ph.D. (1994) in Hispanic Languages and Literatures from the University of California, Los Angeles. She is currently Associate Professor of Luso-Brazilian Literature in the Department of Spanish and Portuguese at Vanderbilt University, where her research and teaching interests include Afro-Brazilian literature, race relations, race in comparative perspective, the Afro-Diasporic experience, the relationship between politics and literature, literature of human rights, Brazilian cinema, and popular culture.

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KATHRYN SÁNCHEZ Dr. Kathryn Sánchez received her Ph.D. at the University of California, Santa Barbara. She is currently Professor in the Department of Spanish and Portuguese at the University of WisconsinMadison, where her teaching and research interests include nineteenth and twentieth-century LusoBrazilian narrative, contemporary women writers, women and performativity, gender studies, and the cultural representation of race.

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DEPARTMENT OF SPANISH & PORTUGUESE UNIVERSITY OF WISCONSIN-MADISON

Sánchez’s first book, Utopias Desmascaradas: Utopias Desmascaradas: O Mito do Bom Selvagem e a Procura do Homem Natural na Obra de Almeida Garrett was published with the Portuguese National Press in 2008, and her second book, Visual Impact: Race, Camp, and Gender in the Making of Carmen Miranda¸ is forthcoming from Vanderbilt University Press. She was the guest editor and organizer for volume 12 of Portuguese Literary & Cultural Studies, “The Other 19th Century,” and is co-editor with Severino Albuquerque of a collection of essays Performing Brazil: Essays on Culture, Identity and the Performing Arts (forthcoming 2015). Sánchez was recently invited to join the Coimbra-based research group of the Critical Edition of Eça de Queirós and is preparing a bilingual French/Portuguese edition of the play Philidor (1866) that will be published by the Portuguese National Press, Lisbon (2015). Her current research focuses on the performance of women on the casino stage in Latin America, 1918-1946; and Brazil and the cultural representation of race abroad.

IGNACIO SÁNCHEZ PRADO

Sánchez Prado’s areas of research are Mexican literary, film, and cultural studies; the genealogies of Latin American humanism; and the uses of canon theory and world literature theory in Latin American studies. He is the author of El canon y sus formas: La reinvención de Harold Bloom y sus lecturas hispanoamericanas (2002), Poesía para nada (2005), Naciones intelectuales. Las fundaciones de la modernidad literaria mexicana (1917-1959) (2009) and Intermitencias americanistas. Estudios y ensayos escogidos (2004-2010) (2012). His next book, Screening Neoliberalism.

Transforming Mexican Cinema, 1988-2012, will be published by Vanderbilt University Press in 2014. His work has appeared in many journals, including Journal of Latin American Cultural Studies, Revista de Crítica Literaria Latinoamericana, Revista Canadiense de Estudios Hispánicos, Colorado Review of Hispanic Studies, Comparative Literature, and Casa de las Américas, amongst others. He also contributes regularly to Mexican literary magazines and media.

DEPARTMENT OF ROMANCE LANGUAGES & LITERATURES WASHINGTON UNIVERSITY IN ST. LOUIS

Dr. Ignacio Sánchez Prado received a B.A. in Literature from the Universidad de las Américas-Puebla, and an M.A. (2002) and Ph.D. (2006) in Hispanic Languages and Literatures from the University of Pittsburgh. He is currently Associate Professor of Spanish and International and Area Studies in the Department of Romance Languages and Literatures at Washington University in St. Louis, where he teaches courses such as “Survey of Latin American Cultures” and “Seminar on Urban Cultures in Latin America.” Much of his teaching is focused on 20th- and 21st-century Mexican literature, film, and culture, as well as Latin American critical thought and literary theory.

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LAURA ISABEL SERNA

Trained as a cultural historian, Serna’s primary research interests are the cultural history of cinema during the silent period (especially historical reception studies), Chicana/o and Latina/o media and culture, silent cinema in Mexico, and nationalism and the formation of film cultures. She is the author of Making Cinelandia: American Films and Mexican Film Culture before the Golden Age, which is forthcoming in 2014 from Duke University Press. She has published essays on Mexican film culture during the silent era in Aztlán and The Americas: A Quarterly Review of Inter-American Cultural History and the edited volumes Land of Necessity: Consumer Culture in the U.S. Mexico Borderlands (2009) and Convergence Media History (2009). She has also published essays on Latino stardom and the commercial practices that enabled early Hollywood to reach global audiences. Her current book project, The Photoplay Made Mexican, examines early Hollywood’s techniques for producing Mexico and Mexicans on screen in an attempt to theorize cinematic brownface.

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SCHOOL OF CINEMATIC ARTS UNIVERSITY OF SOUTHERN CALIFORNIA

Dr. Laura Isabel Serna received a B.A. in Religious Studies from the University of California, Berkeley (1992), an MTS in Christianity and Culture from Harvard Divinity School (1997), and a Ph.D. in American Studies from Harvard University (2006).

She is currently Assistant Professor of Critical Studies in the School of Cinematic Arts at the University of Southern California, where she teaches courses on international silent cinema, Latina/o media, Mexican cinema, and film history.

MARÍA SOCORRO TABUENCA

Tabuenca’s areas of research include Mexican women writers, borders’ theory, U.S.-Mexico border’s representation in film, and representations of femicide in Ciudad Juárez. She is the author of Mujeres fronteras: Una perspectiva de género (1998); co-author of Lo que el viento a Júarez: Testimonios de una ciudad que obstina (2000) and Writing From La Frontera (2002); and co-editor of Gobernabilidad e ingobernabilidad en la región Paso del Norte (2004) and Bordeando la violencia contra las mujeres en la frontera norte de México (2007). In addition, she has published numerous book chapters and articles in journals such as Comparative American Studies, Entorno, and Revista de literature Mexicana contemporanea.

CENTER FOR INTER-AMERICAN & BORDER STUDIES UNIVERSITY OF TEXAS AT EL PASO

Dr. María Socorro Tabuenca received a B.A. (1976) in Foreign Languages and an M.A. (1979) in Spanish Literature from the University of Texas at El Paso, and a Ph.D. in Hispanic Literature from the State University of New York, Stony Brook.

She is currently Professor in and Acting Chair of the Department of Language and Linguistics at the University of Texas at El Paso, where she has developed and taught multidisciplinary courses such as “La Chicana and the Border Image in Mexican Film,” “Narrativas de la frontera,” and “La imagen de la frontera en el cine mexicano.”

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FILM SCREENINGS This symposium serves as an academic fulcrum for a range of Latin American film screenings scheduled for Spring 2014. Organized by campus and community partners, with support from the LAII, these screenings are all free and open to the community.

Two of the most notable upcoming opportunities include:

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SIN FRONTERAS FILM FESTIVAL

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LA REVOLUCIÓN MEXICANA

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SIN FRONTERAS: ABOUT The Sin Fronteras Film Festival is a student-organized event devoted to films about Latin America and by Latin American filmmakers. Each year the festival is organized by a group of students from various departments who are members of the Student Organization for Latin American Studies (SOLAS).

In 2014, the festival has been generously funded by a variety of UNM groups and academic departments. Thanks to the time and money donated by various students, staff, faculty, and community members, the festival is a COMPLETELY FREE event open to the UNM and greater Albuquerque community. All screenings will be held at the Guild Cinema.

Space is limited, so everyone is encouraged to arrive early.

Please see the following pages for this year’s schedule and a brief description of each film. If you have any questions please write to SOLAS@unm.edu.

For more information, visit the SOLAS website:

WWW.SOLASUNM.ORG/SIN-FRONTERAS

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SIN FRONTERAS: SCREENINGS FRIDAY, FEBRUARY 21, 2014 7:00 P.M.

GRANITO: HOW TO NAIL A DICTATOR

*special screening and discussion with director Pamela Yates and producor Paco de Onis Sometimes a film makes history; it doesn’t just document it. So it is with “Granito: How to Nail a Dictator”, the astonishing film by Pamela Yates. Part political thriller, part memoir, Yates transports us back in time through a riveting, haunting tale of genocide and returns to the present with a cast of characters joined by destiny and the quest to bring a malevolent dictator to justice.

SATURDAY, FEBRUARY 22, 2014 11:00 A.M. DON CA

(COLOMBIA) Don Ca is the portrait of a character so rich and complex, a man that is not easy to classify under one label. Heir to the best and worst of Colombian society, he decided to change his life in a libertarian fashion where true happiness means to desire little in order to possess everything.

But the world does not forgive, conflict lurks and paradises are lost. Almost forty years after choosing a surprising path through life, Don Ca wonders whether he should give up his universe, one that is located in the Colombian Pacific that smells of jungle and rivers, but also of tension, pain and danger.

1:30 P.M.

MÁS ALLÁ DEL MALL (ECUADOR)

Is there an audience for Latin American movies? These are some of the questions posed by an Ecuadorian filmmaker whose latest movie was a commercial flop. He embarks on a 36

SIN FRONTERAS: SCREENINGS query to find answers to his questions and relief for his despair. His research leads him to a giant contraband market in the port city of Guayaquil, where pirated movies from all over the world are sold for one dollar each. Here, he discovers a number of Ecuadorian low budget movies produced by amateurs, with titles he had never heard of before: from action packed productions to evangelical melodramas.

3:00 P.M.

REVOLUTIONARY MEDICINE (HONDURAS)

Since their expulsion from the island of Saint Vincent 215 years ago, the Garifuna have struggled against exclusion, racism, and dispossession of their land and territory. Today, their very first hospital serves as a bastion of self-determination. Revolutionary Medicine: A Story of the First Garifuna Hospital tells the story of how the hospital’s alternative health model is transforming communities on Honduras’ Northern Coast and standing as an alternative to the increasingly privatized national health system. Could a remote hospital that runs on solar panels in a community without paved roads or electricity provide a new global model for health care? The film is co-directed by Beth Geglia and Jesse Freeston. Media makers who have been working in solidarity with Honduran communities since the 2009 military coup.

4:30 P.M.

WE WOMEN WARRIORS (COLOMBIA)

In Colombia’s war-torn indigenous villages, three brave women from distinct tribes use nonviolent resistance to defend their peoples’ survival. Decades of warfare between the guerrillas, and paramilitary groups working with the armed forces imperils Colombia’s 102 aboriginal groups, dozens of which face extinction because of the violence. Despite being trapped in a protracted predicament financed by the drug trade, indigenous women in Colombia are resourcefully leading and creating transformation imbued with hope.

We Women Warriors (Tejiendo Sabiduría) bears witness to neglected human rights catastrophes and interweaves 37

SIN FRONTERAS: SCREENINGS character-driven stories about female empowerment, unshakable courage, and faith in the endurance of indigenous cultures.should give up his universe, one that is located in the Colombian Pacific that smells of jungle and rivers, but also of tension, pain and danger.

7:00 P.M.

A FLORESA DE JONATHAS (BRAZIL)

Jonathas lives with his parents and his brother, Juliano, in a cottage in a rural area of the Amazon. The family harvests and sells local products at a roadside fruit stand, a place of contact with new friends and novelties from the rest of the world. They meet Milly, a visitor from Ukraine, and the native Kedassere. The group decides to spend the weekend at a campground in the jungle. Against his father’s wishes, Jonathas will embark on this adventure. Seduced by Milly and the forest, he undertakes his most transforming journey

9:00 P.M.

MATANDO CABOS (MEXICO)

In this movie by Aljendro Lozano, Jaque is on the fringe of losing his office job and his girlfriend before a kidnapping mix- up leads him to a crazy night in Mexico City.

Hilarity and action ensue as Jaque crosses paths with evil bosses, a retired wrestler, a crazed bus driver, a cannibal, and a parrot. Full of action and dark humor this is a must see for any Pulp Fiction fan. Actors Tony Dalton, Pedro Armandáriz Jr, and Joaquin Cosío deliver an unforgettable ride as they try to fix an ever increasing messed up situation.

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LA REVOLUCIÓN: ABOUT From January 30 through March 31, 2014, the National Hispanic Cultural Center (NHCC) will host an exhibition titled “Testimonios de una guerra. Photographs of the Mexican Revolution.” Organized by the Instituto Cervantes of Albuquerque and the Mexican Consulate of Albuquerque, with support from the LAII and the National Hispanic Cultural Center, this exhibition features almost 60 photographs, many never before published, and an authoritative text that delves into the motivations and aesthetics of the photographers who took them, this this exhibit represents the most ambitious and historically accurate visual record of the Mexican Revolution.

Several film screenings focused on the Mexican Revolution are offered periodically throughout the duration of the exhibit. Admission to the screenings is FREE and all films have English subtitles.

Showtime is 7:00 p.m. in the Bank of America Theater at the NHCC.

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LA REVOLUCIÓN: SCREENINGS FEBRUARY 6, 2014 | ENAMORADA

In Mexican Revolutionary times, a guerrilla general (Armendáriz) and his troops occupy the conservative town of Cholula, near Mexico City. As the revolutionaries take advantage of the town’s riches, Armendáriz falls for beautiful and wild Beatriz Peñafiel (María Félix), the daughter of one of the town’s richest men.

FEBRUARY 20, 2014 | EL COMPADRE MENDOZA

During the Mexican Revolution, Rosalio Mendoza (Del Diestro) survives by making and winning favors from the governmental forces and Zapata’s Army. His hacienda welcomes everybody, and Mendoza is considered a good friend of his guests. Eventually, the situation becomes unsustainable, and he has to take sides. Betrayal and deception overcome him, and Mendoza’s dark side surfaces.

MARCH 6, 2014 | DE TODOS MODOS JUAN TE LLAMAS

This movie deals with the family conflicts of a very macho governmental general, which are in turn paired with the fight of the “cristeros” who, besides being religious fanatics, are peasants who fight for their rights.

MARCH 20, 2014 | ORA SÍ ¡TENEMOS QUE GANAR!

The abuses of authority and a business man of a mining town make the workers organize clandestinely and fight against the American owner of the mine, which refuses to rescue a group of workers trapped by a landfill. Now, we have to win! (1978) is a Mexican film produced by the Universidad Autónoma de México and directed by Raul Kamffer. In 1982 it won the Ariel prize for best film.

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ENGAGE WITH THE LAII The LAII welcomes engagement with its community, both within and beyond UNM.

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VISIT THE LAII ONLINE (http://laii.unm.edu).

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SUBSCRIBE TO THE LAII LISTSERV and receive timely

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VIEW UPCOMING EVENTS online through http://laii.unm.

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NETWORK WITH LINKEDIN to stay in touch with peers and

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PERUSE OUR FLICKR POOL to see photos of community

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LISTEN TO PODCASTS of engaging lecture presentations,

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STUDENT ORGANIZATION FOR LATIN AMERICAN STUDIES (SOLAS) also offers ample ways to become involved.

announcements about relevant events and resources. edu/events and become part of a community of active and inquisitive scholars. updates, as well as Latin American happenings on UNM’s campus and in the broader Albuquerque area. fellow alumni. gatherings, field research, and international trips. including recordings for this event and past years’ symposia.

SOLAS is an independent organization composed of both undergraduate and graduate students at UNM who have an interest in Latin America.

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University of New Mexico Latin American and Iberian Institute 801 Yale Blvd NE Albuquerque, New Mexico, 87131 (505) 277-2961 http://laii.unm.edu

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