Indigeneity in Latin American Cinema explores how contemporary films (2000-2020) participate in the evolution and circulation of images and sounds that in many ways define how indigenous communities are imagined, at a local, regional and global scale. The volume reviews the diversity of portrayals from a chronological, geopolitical, linguistic, epistemic-ontological, transnational and intersectional, paradigm-changing and self-representational perspective, allocating one chapter to each theme. The corpus of this study consists of 68 fictional features directed by non-indigenous filmmakers, 31 cinematic works produced by indigenous directors/communities, and 22 Cine Regional (Regional Cinema) films. The book also draws upon a significant number of engravings, drawings, paintings, photographs and films, produced between 1493 and 2000, as primary sources for the historical review of the visual representations of indigeneity. Through content and close (textual) analysis, interviews with audiences, surveys and social media posts analysis, the author looks at the contexts in which Latin American films circulate in international festivals and the paradigm shifts introduced by self-representational cinema and Roma (Mexico, 2018). Conclusively, the author provides the foundations of histrionic indigeneity, a theory that explains how overtly histrionic proclivities play a significant role in depictions of an imagined indigenous Other in recent films.

Indigeneity in Latin American Cinema explores how contemporary films (2000-2020) participate in the evolution and circulation of images and sounds that in many ways define how indigenous communities are imagined, at a local, regional and global scale. The volume reviews the diversity of portrayals from a chronological, geopolitical, linguistic, epistemic-ontological, transnational and intersectional, paradigm-changing and self-representational perspective, allocating one chapter to each theme. The corpus of this study consists of 68 fictional features directed by non-indigenous filmmakers, 31 cinematic works produced by indigenous directors/communities, and 22 Cine Regional (Regional Cinema) films. The book also draws upon a significant number of engravings, drawings, paintings, photographs and films, produced between 1493 and 2000, as primary sources for the historical review of the visual representations of indigeneity. Through content and close (textual) analysis, interviews with audiences, surveys and social media posts analysis, the author looks at the contexts in which Latin American films circulate in international festivals and the paradigm shifts introduced by self-representational cinema and Roma (Mexico, 2018). Conclusively, the author provides the foundations of histrionic indigeneity, a theory that explains how overtly histrionic proclivities play a significant role in depictions of an imagined indigenous Other in recent films.

In Ontologies and Natures: Knowledge about Health in Visual Culture, Fernando Gonzalez Rodriguez argues that visual culture offers insights into how societies perceive the role of nature in their own and others' pursuits to cure and care for the human body. By using a set of visual surfaces and artefacts as entry points-such as vlogs, toys, cosmetics, psychotropics, stamps, posters, and animation, among others-the book sheds light on the evolution, circulation, and rootedness of ideas about nature as a healing source. The first part of the book considers how visual culture operates as a vehicle to diffuse, transmit, mediate, and communicate health-related knowledge and imaginaries about the role of nature in medicinal therapies (e.g., a dictionary). The second part explores the process by which nature becomes a consumable, encapsulated in objects defined by their visual and material traits. The author focuses on items such as labels on packages of herbal cosmetics and infographics about superfoods. In the third part, Gonzalez Rodriguez examines the situatedness of health within two physical contexts: geographical and mental. Methodologically, the book is informed by historical sources, visual-virtual ethnography, content analysis, and semiotic-linguistic analysis of objects from all corners of the globe, paying particular attention to Indigenous traditional knowledge(s).