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Riven with unresolved traumas and appropriated by successive
governments, the past haunts spaces in Mexican film and visual
culture. These events, without consensus or a singular/unifying
narrative, act like spectres haunting the present. To comprehend
how they manifest, Legacies of the Past considers how filmmakers
and visual artists have found ways of understanding these haunted
spaces. With case studies of films like El atentado (2010), Flor en
Otomi (2012) and the photography of Dulce Pinzon, this collection
analyses the audio-visual representations of several heightened
events in Mexican history. The conbtributors' explorations,
imaginings and counter-imaginings bring the past to the foreground,
creating new narratives and proposing new histories in order to
show the significance of storytelling and narrative for a shared
understanding of ourselves.
Riven with unresolved traumas and appropriated by successive
governments, the past haunts spaces in Mexican film and visual
culture. These events, without consensus or a singular/unifying
narrative, act like spectres haunting the present. To comprehend
how they manifest, Legacies of the Past considers how filmmakers
and visual artists have found ways of understanding these haunted
spaces. With case studies of films like El atentado (2010), Flor en
Otomi (2012) and the photography of Dulce Pinzon, this collection
analyses the audio-visual representations of several heightened
events in Mexican history. The contributors' explorations,
imaginings and counter-imaginings bring the past to the foreground,
creating new narratives and proposing new histories in order to
show the significance of storytelling and narrative for a shared
understanding of ourselves.
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