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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).
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