This book examines recent cinematic representations of the traumatic legacies of national and international events and processes. Whilst not ignoring European and Hollywood cinema, it includes studies of films about countries which have been less well-represented in cinematic trauma studies, including Australia, Rwanda, Chile and Iran. Each essay establishes national and international contexts that are relevant to the films considered. All essays also deal with form, whether this means the use of specific techniques to represent certain aspects of trauma or challenges to certain genre conventions to make them more adaptable to the traumatic legacies addressed by directors. The editors argue that the healing processes associated with such legacies can helpfully be studied through the idiom of 'scar-formation' rather than event-centred 'wound-creation'.

Each contribution to this book discusses key issues arising from the portrayal of men and the formation of masculine identities in a range of representative and landmark texts, fictional and non-fictional, drawn from different historical periods and from various countries in the Hispanophone Americas. There is an emphasis on the ways in which writers from Argentina (Manuel Puig), Chile (the Spaniard Alonso de Ercilla y Zuniga and the Chilean Nicolas Palacios), Mexico (Gustavo Sainz and Angeles Mastretta) and the Hispanic USA (Jennifer Harbury and Francisco Goldman) have explored the themes of love, friendship and trust and their transformative power for gender relations in situations and contexts where deception, exploitation and oppression are often disturbingly present. There is also a discussion of the applications, insights and limitations of different theoretical frameworks and concepts relevant to the task of producing gendered readings, including Connell's 'world gender order' and 'hegemonic masculinity', as well as 'the cult of virility' as characterised by Still and Worton, Chela Sandoval's 'decolonial love' and 'methodology of the oppressed' and Beasley-Murray's 'posthegemony'. This book was originally published as a special issue of Iberian and Latin American Studies.

Each contribution to this book discusses key issues arising from the portrayal of men and the formation of masculine identities in a range of representative and landmark texts, fictional and non-fictional, drawn from different historical periods and from various countries in the Hispanophone Americas. There is an emphasis on the ways in which writers from Argentina (Manuel Puig), Chile (the Spaniard Alonso de Ercilla y Zuniga and the Chilean Nicolas Palacios), Mexico (Gustavo Sainz and Angeles Mastretta) and the Hispanic USA (Jennifer Harbury and Francisco Goldman) have explored the themes of love, friendship and trust and their transformative power for gender relations in situations and contexts where deception, exploitation and oppression are often disturbingly present. There is also a discussion of the applications, insights and limitations of different theoretical frameworks and concepts relevant to the task of producing gendered readings, including Connell's 'world gender order' and 'hegemonic masculinity', as well as 'the cult of virility' as characterised by Still and Worton, Chela Sandoval's 'decolonial love' and 'methodology of the oppressed' and Beasley-Murray's 'posthegemony'. This book was originally published as a special issue of Iberian and Latin American Studies.

This book examines recent cinematic representations of the traumatic legacies of national and international events and processes. Whilst not ignoring European and Hollywood cinema, it includes studies of films about countries which have been less well-represented in cinematic trauma studies, including Australia, Rwanda, Chile and Iran. Each essay establishes national and international contexts that are relevant to the films considered. All essays also deal with form, whether this means the use of specific techniques to represent certain aspects of trauma or challenges to certain genre conventions to make them more adaptable to the traumatic legacies addressed by directors. The editors argue that the healing processes associated with such legacies can helpfully be studied through the idiom of 'scar-formation' rather than event-centred 'wound-creation'.

This is the first extended, English-language study to focus exclusively on the fiction of Juan Rulfo in over twenty years, analyzing a selection of short stories from Rulfo's collection and also two of the main characters of hismasterpiece, Pedro Paramo. This is the first extended, English-language study to focus exclusively on the fiction of Juan Rulfo in over twenty years. It contains innovative analyses of a selection of short stories from Rulfo's collection, El llano en llamas (1953). It also examines in great depth two of the main characters of Pedro Paramo (1955), Rulfo's masterpiece and only novel. The book shows how Rulfo's works can be read as exercises in irony directed againstthe rhetoric of post-Revolutionary Mexican governments. It also demonstrates the relevance of certain legacies of colony in Rulfo's use of irony. Successive Mexican governments promoted a vision of post-Revolutionary society founded on specific notions of ethnicity, family, nation, education, religion and rural politics. The author combines examination of the speeches, images and newspaper articles which disseminated this vision with incisive literary analyses of Rulfo's work. These analyses are informed both by his original theory of irony, based on "internal" and "external" referents, and by existing postcolonial theories, particularly those of Homi K. Bhabha. Amit Thakkar is a Lecturer in Hispanic Studies at Lancaster University.