City of Fear: Reimagining Buenos Aires in Contemporary Argentine Cinema

Argentine cinema has experienced a rebirth since the late 1990s, despite the country’s economic crisis. Buenos Aires, long a key setting for the nation’s films, has not escaped the negative impact of the crisis, yet filmmaking in the capital has thrived. This article explores the radically different presentation of the city since the first explosion of film in Argentina after the end of the military dictatorship of 1976–1983. It takes Luis Puenzo’s controversial La historia oficial as a starting point for a reflection on the current presentation of Buenos Aires as a city plagued by fear in productions from the late 1990s to the early twenty‐first century.     

The Echo of Tlatelolco in Contemporary Mexican Protest Poetry

The shooting of a student demonstration in La Plaza de las Tres Culturas in the Tlatelolco district of Mexico City on 2 October 1968 has been the subject of many literary works, among which the Tlatelolco poetry addresses not only the event itself but also the aftermath of the massacre. Both approaches examine the relationship between the 'yo'/'nosotros' and 'ellos' constructs, focusing on the 'nosotros' construct as the result of this interaction. The following analysis of this process is based on the theory of self and Other, especially René Girard's theory of the mimetics of violence and the process of scapegoating as a basis for the relationship between the individual and society within the context of a violent conflict.     

Another Textual Frontier: Contemporary Fiction on the Northern Mexican Border

This article approaches fiction writing from the northern Mexican frontier from the perspective of the border. It perceives the border between Mexico and the United States as a multispace that permeates fictional texts from the area. In clear contrast with most Chicano and Border Studies perspectives, the border is viewed here as a physical rather that metaphorical space whose dynamics formulates textual discourses and aesthetics. The fiction works of Luis Humberto Crosthwaite and Jesús Gardea are analysed from this perspective.     

Indigenous Peasant ‘Otherness’: Rural Identities and Political Processes in Bolivia

Since Morales's election, rural movements have become the new protagonists of Bolivian politics. Previous analyses have emphasised their active role in shaping national politics, often focusing on those organisations as a compact block. However, their relationship is marked by both cooperation and fragmentation. This article provides a narrative of Bolivian socio‐political history over the last 60 years, establishing four main phases of identitarian articulations/disarticulations. It demonstrates the high degree of interdependence and fluidity of ethnic and class identities, as well as their interconnections with the broader socio‐political context and the national legal and institutional changes.     

Tomás Gutiérrez Alea and the Art of Revolutionary Cinema

Tomás Gutiérrez Alea has been widely acclaimed for his cinematic production and for his role as a key figure in the elaboration of a distinctively Cuban aesthetic. Drawing on notions such as Martín-Barbero's mediations, Billig's banal nationalism, and Gutiérrez Alea's own viewer's dialectic, consideration is given here to the mutual influences of the Revolution's cultural policies on cinema, and of cinema on the Revolution. Analysis will focus on the films Memorias del subdesarrollo (1968), Hasta cierto punto (1983), Fresa y chocolate (1993) and Guantanamera (1995), which will allow for discussion of some of the director's key themes, including gender issues, the place and role of intellectuals and artists in relation to the Revolution, and the defence of a critical space in which to explore such issues.     

Working-Class Identities in Europe, 1850s–1930s

This paper notes that the emergence of class-based politics preceded the advent of factory manufacture and that artisans or skilled workers continued to dominate the labour movement before 1914. It recognises that industrialisation alone does not explain the emergence of socialist politics and that working-class responses to the process have often been fragmented rather than characterised by solidarity. It first explains this in terms of the uneven nature of industrial growth between nations and within nations, and between and within industrial sectors. Hierarchies of pay and other employer strategies to divide the labour force made it even more unlikely that collective action and belief could result simply from common economic problems. Even where a repressive state, intransigent employers, as well as residential and cultural factors, did produce a large socialist movement, as in the German case, that movement did not monopolise working-class identity, which was fractured by issues of skill, gender, generation, religious confession and ethnicity. However, this does not mean that gender, generation, religious and ethnic identities necessarily obliterated the issue and awareness of class. Indeed these multiple identities often enjoyed a simultaneous existence.     

Identities: Engaging self and other in Modern Sudanese Narrative Discourse

Contrary to the prevalent tendencies of ‘state-centrism' and legal formalism in the literature, this article studies the Ottoman Land Code of 1858 not as an initiator of trends but as a product of social change. The Code recognized private property on land, enlarged liberties of landholders, and pushed inheritance rules further towards gender equality. Deeply influenced by the uneven development of the capitalist relations of production, agrarian conflict, and the complex matrix of the interests of ruling groups, Ottoman land law in the nineteenth century unmistakably evolved in the direction of modern law based on the abstract individual and full commodification of land.     

Defining Folklore: Mestizo and Indigenous Identities on the Move

This article analyses how the performance of folkloric music and dance defines and redefines ethnic/racial distinctions and identities in the Andes. It focuses on the promotional activities of urban-based institutions in Cusco called instituciones culturales, particularly how these activities have shaped folkloric performance. The article calls attention to the continuing importance of race as a central category of social differentiation, showing how folkloric performances embody ethnic/racial identities.     

Australian Cinema Studies: How the Subject Is Taught in Australian Universities

Since the mid-1970s, the subject Australian Cinema, and its various synonyms and neologisms, has been studied in humanities, social sciences and the arts in Australian higher education, and research in the field has played an important role in informing the critical approaches underpinning curriculum. Yet to date there is limited insight into the types of subjects offered, approaches to curriculum and syllabus, and their alignment with research. This article maps Australian cinema studies in higher education at an undergraduate level, and provides insight into common curriculum and syllabus models. Findings are drawn from an online survey of university course handbooks, content and thematic analysis of study guides and weekly syllabus, and correspondence with coordinators. Twenty-seven universities offered subjects with a dominant Australian cinema focus. Australian cinema studies is firmly embedded in national cinema curriculum, and three common curriculum models include the following: (1) a historical chronology of Australian cinema, (2) a text-dominant approach organised around the weekly study of a key film and (3) an approach predominately structured around Australian cinema discourses and critical theory. Despite the increasing importance of transnational approaches to Australian screen in research, transnationalism rarely functions as a dominant organising logic for curriculum in its own right.