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As one of the first countries to implement a neoliberal state apparatus, Mexico serves as a prime example of the effects of neoliberal structural economic reform on our sensibility. Irgmard Emmelhainz argues that, in addition to functioning as a form of politico-economic organization, neoliberalism creates particular ways of seeing and inhabiting the world. It reconfigures common sense, justifying destruction and dispossession in the name of development and promising to solve economic precarity with self-help and permanent education. Pragmatism reigns, yet in always aiming to maximize individual benefit and profit, such common sense fuels a culture of violence and erodes the distinction betw...
This book offers an examination of the political dimensions of a number of Jean-Luc Godard’s films from the 1960s to the present. The author seeks to dispel the myth that Godard’s work abandoned political questions after the 1970s and was limited to merely formal ones. The book includes a discussion of militant filmmaking and Godard’s little-known films from the Dziga Vertov Group period, which were made in collaboration with Jean-Pierre Gorin. The chapters present a thorough account of Godard’s investigations on the issue of aesthetic-political representation, including his controversial juxtaposition of the Shoah and the Nakba. Emmelhainz argues that the French director’s oeuvre highlights contradictions between aesthetics and politics in a quest for a dialectical image. By positing all of Godard’s work as experiments in dialectical materialist filmmaking, from Le Petit soldat (1963) to Adieu au langage (2014), the author brings attention to Godard’s ongoing inquiry on the role filmmakers can have in progressive political engagement.
One of Mexico's most celebrated young critics takes up the historical and contemporary questions that have shaped a century of feminism
A Mexican feminist observer's reflections on living in the Occupied Territories (West Bank), Palestine, translated into English for the first time
One of Mexico's most celebrated young critics takes up the historical and contemporary questions that have shaped a century of feminism
This collection explores global dystopic, grotesque and retold narratives of degeneration, ecological and economic ruin, dystopia, and inequality in contemporary fictions set in the urban space. Divided into three sections—Identities and Histories, Ruin and Residue, and Global Gothic—The New Urban Gothic explores our anxieties and preoccupation with social inequalities, precarity and the peripheral that are found in so many new fictions across various media. Focusing on non-canonical Gothic global cities, this distinctive collection discusses urban centres in England’s Black Country, Moscow, Detroit, Seoul, Hong Kong, Bangkok, Singapore, Dehli, Srinigar, Shanghai and Barcelona as well as cities of the imaginary, the digital and the animated. This book will appeal to anyone interested in the intersections of time, place, space and media in contemporary Gothic Studies. The New Urban Gothic casts reflections and shadows on the age of the Anthropocene.
Mexican Literature in Theory is the first book in any language to engage post-independence Mexican literature from the perspective of current debates in literary and cultural theory. It brings together scholars whose work is defined both by their innovations in the study of Mexican literature and by the theoretical sophistication of their scholarship. Mexican Literature in Theory provides the reader with two contributions. First, it is one of the most complete accounts of Mexican literature available, covering both canonical texts as well as the most important works in contemporary production. Second, each one of the essays is in itself an important contribution to the elucidation of specific texts. Scholars and students in fields such as Latin American studies, comparative literature and literary theory will find in this book compelling readings of literature from a theoretical perspective, methodological suggestions as to how to use current theory in the study of literature, and important debates and revisions of major theoretical works through the lens of Mexican literary works.
Iconic images of machismo in Mexico's classic cinema affirm the national film industry's historical alignment with the patriarchal ideology intrinsic to the post-revolutionary state's political culture. Filmmakers gradually turned away from the cultural nationalism of mexicanidad, but has the underlying gender paradigm been similarly abandoned? Films made in the past two decades clearly reflect transformations instituted by a neoliberal regime of cultural politics, yet significant elements of macho mythology continue to be rearticulated. Mexico Unmanned examines these structural continuities in recent commercial and auteur films directed by Alfonso Cuarón, Carlos Cuarón, Carlos Reygadas, Amat Escalante, and Julio Hernández Cordón, among others. Informed by cinema's role in Mexico's modern/colonial gender system, Samanta Ordóñez draws out recurrent patterns of signification that reproduce racialized categories of masculinity and bolster a larger network of social hierarchies. In so doing, Ordóñez dialogues with current intersectional gender theory, fresh scholarship on violence in the neoliberal state, and the latest research on Mexican cinema.
Arter initiated a new publication series, ARTER BACKGROUND, in 2019 to accompany exhibitions drawn from its collection, which holds around 1,400 works of art. This third book in the series accompanies the collection-based group exhibition On Celestial Bodies, opened at Arter in September 2020. In the book, excerpts of texts selected around the ideas active in the curatorial process put in practice by Kevser Güler are complemented by new essays written specifically for this context. While the exhibition deals with the ways that beings come together and disperse, the manners through which they build relations, and their ways of distancing and converging with each other, the accompanying publi...
This book advances that history by exploring stories, images and discourses across a worldwide range of geographical, cultural and confessional contexts. Its twelve authors not only enrich our understanding of the significance of the contextual method, but also produce a new range of original ways of doing theology in contemporary situations. The authors discuss some prioritised thematic perspectives with an emphasis on liberating paths, and expand the ongoing discussion on the methodology of theology into new areas. Themes such as interreligious plurality, global capitalism, ecumenical liberation theology, eco-anxiety and the anthropocene, postcolonialism, gender, neo-pentecostalism, world ...