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List of contents
Acknowledgements
List of Diagrams
List of Figures
List of Tables
Basis: Introduction
Indigeneity: Conceptualization, Perception and Representation
Syntonic versus Histrionic Indigeneity
1. Mimesis: Circulation of Ideas and Images
Figment, Art and Fabrication
Cinema and Indigeneity
2. Metropolis: Production of Audiovisual Cultural Artefacts
Mexico and Central America
South America
3. Lexis: Portrayals of Linguistic Topologies
Accented Inclusion and Vocative Framing
(In)discernible Sounds and Authenticity
4. Emphasis: Embodiment of Indigeneity
Nature-Technology Nexus as an Ontological Genre
Ethnicity, Senses and Knowledge
5. Axis: Identities and Global Imaginaries
Intersectional Paradigms
Arrayed Figures
6. Catalysis: Paradigms and Disruption
(In)visibility and Representation
(Re)drawn Blueprint
7. Wääjx äp: Epistemic and Ontological Repositioning
The Cybernetics of Self-Representation
Screen(ed)/(ing) Intimacy and Clusivity
Synopsis / Conclusion
References
Bibliography
Filmography
Index
About the author
Milton Fernando Gonzalez Rodriguez is a Marie Sklodowska Curie Fellow at the Faculty of Arts, KU Leuven, Belgium, and author of Ontologies and Natures: Knowledge about Health in Visual Culture (2022). The focus of his research lies on the historical evolution, circulation and materialization of representations, artefacts and ideas from a visual, linguistic and epistemic perspective. His previous and current affiliations include the University of Iceland and University of Amsterdam, the Netherlands.
Summary
Indigeneity in Latin American Cinema explores how contemporary films (2000-2020) participate in the evolution and circulation of images and sounds that in many ways define how indigenous communities are imagined, at a local, regional and global scale. The volume reviews the diversity of portrayals from a chronological, geopolitical, linguistic, epistemic-ontological, transnational and intersectional, paradigm-changing and self-representational perspective, allocating one chapter to each theme. The corpus of this study consists of 68 fictional features directed by non-indigenous filmmakers, 31 cinematic works produced by indigenous directors/communities, and 22 Cine Regional (Regional Cinema) films. The book also draws upon a significant number of engravings, drawings, paintings, photographs and films, produced between 1493 and 2000, as primary sources for the historical review of the visual representations of indigeneity. Through content and close (textual) analysis, interviews with audiences, surveys and social media posts analysis, the author looks at the contexts in which Latin American films circulate in international festivals and the paradigm shifts introduced by self-representational cinema and Roma (Mexico, 2018). Conclusively, the author provides the foundations of histrionic indigeneity, a theory that explains how overtly histrionic proclivities play a significant role in depictions of an imagined indigenous Other in recent films.
Foreword
The book critically reviews the portrayal of indigenous characters in Latin American films produced after the turn of the century (2000-2018).
Additional text
This book succeeds in going beyond the traditional approach in studying the Amerindian in global northern visual culture. In fact, anyone interested in the colonial heritage of the Americas should take careful note of the author’s conclusions.
