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In the last quarter of the twentieth century a considerable number of Spanish films were involved in the task of essaying the nation, that is, of attempting to make it or make it over, of trying to reshape a national identity inexorably dictated by General Francisco Franco up to his death. The book explores four major issues in this regard: 1) the filmic negotiations of the borders of the nation, focusing particularly on the debated and controversial development of Basque cinema vis- -vis the films produced in the rest of Spain; 2) the persistence of the old obsession with violence, thought of as an inescapable native trait, in a large amount of post-dictatorial films; 3) the newfound insatiable appetite for cinematic travelling, for going out and coming in through all possible variations of the road and travel movie genres; 4) and the vindication of the mother qua a benign emblem of the land and its people, of the nation. There is a narrative in Spanish cinema, taken as a collective discourse, which ties together these four cinematic topoi and proposes a nation whose specificity must be precisely its impurity-difference within as essence-a hybrid nation located in temporal and spatial rendezvous of past and present, tradition and novelty, centre and margin, inside and outside, on and beyond.
This collection presents a rich, multidisciplinary inquiry into the role of religion in the Mexican American community. Breaking new ground by analyzing the influence of religion on Mexican American literature, art, activism, and popular culture, it makes the case for the establishment of Mexican American religious studies as a distinct, recognized field of scholarly inquiry. Scholars of religion, Latin American, and Chicano/a studies as well as of sociology, anthropology, and literary and performance studies, address several broad themes. Taking on questions of history and interpretation, they examine the origins of Mexican American religious studies and Mario Barrera’s theory of internal colonialism. In discussions of the utopian community founded by the preacher and activist Reies López Tijerina, César Chávez’s faith-based activism, and the Los Angeles-based Católicos Por La Raza movement of the late 1960s, other contributors focus on mystics and prophets. Still others illuminate popular Catholicism by looking at Our Lady of Guadalupe, home altars, and Los Pastores dramas (nativity plays) as vehicles for personal, social, and political empowerment. Turning to literature, contributors consider Gloria Anzaldúa’s view of the borderlands as a mystic vision and the ways that Chicana writers invoke religious symbols and rhetoric to articulate a moral vision highlighting social injustice. They investigate the role of healing, looking at it in relation to both the Latino Pentecostal movement and the practice of the curanderismo tradition in East Los Angeles. Delving into to popular culture, they reflect on Luis Valdez’s video drama La Pastorela: “The Shepherds’ Play,” the spirituality of Chicana art, and the religious overtones of the reverence for the slain Tejana music star Selena. This volume signals the vibrancy and diversity of the practices, arts, traditions, and spiritualities that reflect and inform Mexican American religion. Contributors: Rudy V. Busto, Davíd Carrasco, Socorro Castañeda-Liles, Gastón Espinosa, Richard R. Flores, Mario T. García, María Herrera-Sobek, Luís D. León, Ellen McCracken, Stephen R. Lloyd-Moffett, Laura E. Pérez, Roberto Lint Saragena, Anthony M. Stevens-Arroyo, Kay Turner
Latina/o popular culture has experienced major growth and change with the expanding demographic of Latina/os in mainstream media. In The Routledge Companion to Latina/o Pop Culture, contributors pay serious critical attention to all facets of Latina/o popular culture including TV, films, performance art, food, lowrider culture, theatre, photography, dance, pulp fiction, music, comic books, video games, news, web, and digital media, healing rituals, quinceñeras, and much more. Features include: consideration of differences between pop culture made by and about Latina/os; comprehensive and critical analyses of various pop cultural forms; concrete and detailed treatments of major primary works from children’s television to representations of dia de los muertos; new perspectives on the political, social, and historical dynamic of Latina/o pop culture; Chapters select, summarize, explain, contextualize and assess key critical interpretations, perspectives, developments and debates in Latina/o popular cultural studies. A vitally engaging and informative volume, this compliation of wide-ranging case studies in Latina/o pop culture phenomena encourages scholars and students to view Latina/o pop culture within the broader study of global popular culture. Contributors: Stacey Alex, Cecilia Aragon, Mary Beltrán, William A. Calvo-Quirós, Melissa Castillo-Garsow, Nicholas Centino, Ben Chappell, Fabio Chee, Osvaldo Cleger, David A. Colón, Marivel T. Danielson, Laura Fernández, Camilla Fojas, Kathryn M. Frank, Enrique García, Christopher González, Rachel González-Martin, Matthew David Goodwin, Ellie D. Hernandez, Jorge Iber, Guisela Latorre, Stephanie Lewthwaite, Richard Alexander Lou, Stacy I. Macías, Desirée Martin, Paloma Martínez-Cruz, Pancho McFarland, Cruz Medina, Isabel Millán, Amelia María de la Luz Montes, William Anthony Nericcio, William Orchard, Rocío Isabel Prado, Ryan Rashotte, Cristina Rivera, Gabriella Sanchez, Ilan Stavans Frederick Luis Aldama is Arts and Humanities Distinguished Professor of English and University Distinguished Scholar at the Ohio State University where he is also founder and director of LASER and the Humanities & Cognitive Sciences High School Summer Institute. He is author, co-author, and editor of over 24 books, including the Routledge Concise History of Latino/a Literature and Latino/a Literature in the Classroom.
A survey of one of the most controversial epochs art history, the Modern Movement, this text combines a critical eye with a historian's insight into wider trends. It reflects the changes that have swept across the art world since 1960, challenging the old assumptions and certainties.