Seeing in Spanish From Don Quixote to Daddy Yankee 22 Essays on Hispanic Visual Cultures 1st Edition by Ryan Prout,Tilmann Altenberg ISBN 1443829358 978-1443829359

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Product details:

ISBN 10: 1443829358 

ISBN 13: 978-1443829359

Author: Ryan Prout, Tilmann Altenberg

Seeing in Spanish brings together 22 chapters which share a focus on aspects of visual cultures from the Spanish speaking world. Together these chapters address film, photography, cover art, body art, posters, television, architecture, ekphrasis, biography, murals, graffiti, and digital photo-montage. Between Don Quixote and Daddy Yankee, the essays move from the seventeenth century to the present and traverse Europe, the Americas, and cyberspace. The book is divided into five sections. The first of these, on Spain, includes chapters on the representation of women on LP covers in Spain in the 60s and 70s; portrayals in Spanish cinema of Saint Teresa; Luis Buñuel’s adaptation of Tristana; urban and rural space in recent Spanish documentary film; Catalan television; fine art in Don Quixote; and visions of adoption in three narratives by Spanish writers and filmmakers. The second section, on Mexico and Peru, includes chapters on the fragmentary body in images of Mexico; the art of Abraham Ángel; Jesús Ruiz Durand’s agrarian reform posters; Diego Rivera’s murals; and the role of artistic production in staging the 2006 Oaxaca conflict. The third section, on Cuba, looks at the portrayal of women and of children in recent cinema from the island. It also examines Nancy Morejón’s celebration of the life and art of exiled Cuban artist Ana Mendieta. Section four includes chapters on Chile and Argentina. It addresses street art and graffiti; new forms of publishing; Chilean cinema after Pinochet; and Violeta Parra’s appliqué and collage works. Section five embraces Colombia, Bolivia, and virtual spaces. The contributions to this last section of the book examine childhood in Colombian cinema; the online creativity of pro- and anti-fans of reggaeton; and the photographic diaries of T. Ifor Rees, the UK’s first ambassador to Bolivia. In addition to the geo-political structure which underpins the book’s five sections, the introduction suggests pathways through the contributions focussed on public art and graffiti, women, children, cyberspace and diplomacy, and reconstruction and disintegration. Seeing in Spanish includes 50 illustrations—stills from films, photographs, reproductions of paintings, and screen grabs from the internet—which complement the chapters’ analyses of aspects of Hispanic visual cultures. To aid accessibility, footnotes throughout the book provide English translations of all references from texts in other languages. Taken together, the book’s 22 chapters make a valuable contribution to the existing literature on figures like Don Quixote and Saint Teresa. They also break new ground in approaches to novel areas of scholarship such as sleeve design, artisanal book production, and digital image manipulation. The book will appeal to students and scholars of Spain and Latin America as well as to a general readership with an interest in the visual cultures of the Spanish speaking world. 

Table of contents:

 

Part I: Spain

• Chapter One: Ana Belén and the Construction of a New Visual Persona: Femininity and Aesthetics in the Political Singing of the Transition – Esther Pérez-Villalba
• Chapter Two: A Woman for All Seasons: Teresa of Ávila on Spanish Screens – Celia Martín-Pérez
• Chapter Three: Subjugation, Rebellion, and Power: The Metonymy of the Slippers in Buñuel’s Tristana – M. Graziella Kirtland Grech
• Chapter Four: En construcción and El cielo gira: The Representation of Space in Contemporary Spanish Cinema – Antonio Sánchez
• Chapter Five: Visual Nation: Constructing a National Identity on Catalan Television – Silvia Grassi
• Chapter Six: Classical Confusion: Myths, Paintings, and Other Windows into Don Quixote’s Erotic Life – Keith Budner
• Chapter Seven: River, Rain, Pool: Envisioning Adoptive Identity in Three Women’s Narratives from Contemporary Spain – Ryan Prout

Part II: Mexico and Peru

• Chapter Eight: Body Broken: Fragmented Bodies in Images of Mexico – Nasheli Jiménez del Val
• Chapter Nine: Subtle Canvases of Mexico and its Revolution: Apprenticeship, Androgyny, and National Identity in Abraham Ángel’s Art – Alejandro Latinez
• Chapter Ten: From Pop to Populism: Jesús Ruiz Durand’s Agrarian Reform Posters – Talía Dajes
• Chapter Eleven: Local and Global Dreamworlds in Diego Rivera’s Murals at the Secretaría de Educación Pública – Mauricio Castillo
• Chapter Twelve: Political Participation Through Art: The Films of Carlos Saura, and the 2006 Oaxaca Conflict – Jaime Porras Ferreyra

Part III: Cuba

• Chapter Thirteen: Performing the Nation and the Body in Ana Mendieta and Nancy Morejón – Dolores Alcaide Ramírez
• Chapter Fourteen: The Fractured Female Subject in Cuban Cinema at the Threshold of Change: The Case of Mujer transparente – Guy Baron
• Chapter Fifteen: The Screening of Cuban Identity: Madrigal (2007) and Viva Cuba (2005) – Jill Ingham

Part IV: Chile and Argentina

• Chapter Sixteen: Diffraction and Profanation: New Forms of Publishing in Argentinian Literature – Soledad Pereyra
• Chapter Seventeen: Visual Dialogues: Street Art and Graffiti in Argentina and Chile – Gudrun Rath
• Chapter Eighteen: Recobrando la identidad: Chilean Cinema after Pinochet – Verena Schmöller
• Chapter Nineteen: The Political Dialectic of Violeta Parra’s Art – Lorna Dillon

Part V: Colombia, Bolivia, and Virtual Spaces

• Chapter Twenty: Childhood and its Representational Uses: Cinematic Experience and Agency in Víctor Gaviria’s La vendedora de rosas – Deborah Martin
• Chapter Twenty-One: The Online Anti-Reggaeton Movement: A Visual Exploration – Michelle M. Rivera
• Chapter Twenty-Two: T. Ifor Rees: A Welsh Diplomat in Latin America – Diana Luft

Picture Credits
Notes on Contributors
Index

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