Seeks to redress the lack of critical and comprehensive studies of postmodern Spanish American women novelists who produce lucid, experimental, deconstructive, and self-reflexive texts. This work traces a tradition of three decades of experimental women writers. It sheds light on a largely ignored contemporary tradition of female experimentalism.
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erotic projection, moving through melodrama to the conventions of the Western, into the 1960s focus on decolonization, superseded by allegorical renditions and the promise of self-expression in late twentieth-century documentaries.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 timesand remains in denial of their existence in the present. Cynthia Margarita Tompkinss book is the most comprehensive analysis of the cinematic representations of Argentinean Indigenous peoples ever written. Her writing is lucid, insightful, grounded in a thorough familiarity with the films, and aware of the most current theoretical debates in film/theory and cultural studies. The book will surely become a breakthrough in its field. Santiago Juan-Navarro, author of Archival Reflections: Postmodern Fiction of the Americas (Self-Reflexivity, Historical Revisionism, Utopia)
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 timesand remains in denial of their existence in the present. Cynthia Margarita Tompkinss book is the most comprehensive analysis of the cinematic representations of Argentinean Indigenous peoples ever written. Her writing is lucid, insightful, grounded in a thorough familiarity with the films, and aware of the most current theoretical debates in film/theory and cultural studies. The book will surely become a breakthrough in its field. Santiago Juan-Navarro, author of Archival Reflections: Postmodern Fiction of the Americas (Self-Reflexivity, Historical Revisionism, Utopia)
While there are numerous film studies that focus on one particular grouping of films—by nationality, by era, or by technique—here is the first single volume that incorporates all of the above, offering a broad overview of experimental Latin American film produced over the last twenty years. Analyzing seventeen recent films by eleven different filmmakers from Argentina, Brazil, Cuba, Mexico, Paraguay, and Peru, Cynthia Tompkins uses a comparative approach that finds commonalities among the disparate works in terms of their influences, aesthetics, and techniques. Tompkins introduces each film first in its sociohistorical context before summarizing it and then subverting its canonical interpretation. Pivotal to her close readings of the films and their convergences as a collective cinema is Tompkins’s application of Deleuzian film theory and the concept of the time-image as it pertains to the treatment of time and repetition. Tompkins also explores such topics as the theme of decolonization, the consistent use of montage, paratactically structured narratives, and the fusion of documentary conventions and neorealism with drama. An invaluable contribution to any dialogue on the avant-garde in general and to filmmaking both in and out of Latin America, Experimental Latin American Cinema is also a welcome and insightful addition to Latin American studies as a whole.
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