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Frames of Resistance offers a comprehensive overview of the origins, trends, and regional differences of Indigenous cinema in Latin America. It builds upon Indigenous principles of organization and reciprocal ways of being with proposals for teaching practices, circulating these films, and ensuring long-term access to this important body of work.
List of contents
- Introduction
- Chapter 1: For a Cinema of Abya Yala
- Chapter 2: From the Four Directions: The Rise of "Indigenous Video" in Abya Yala
- Chapter 3: The Puma and the Jaguar: Indigenous Imaginaries across Abya Yala
- Chapter 4: The Eagle and the Condor: Indigenous Cinema and Its Spaces of Performance
- Chapter 5: Following the Path of the Serpent: CLACPI Methodologies
- Chapter 6: An Invisible Archive
- Chapter 7: Toward a Global Indigenous Cinema
About the author
Amalia I. Córdova Hidalgo is a Supervisory Museum Curator at the Smithsonian Institution's Center for Folklife and Cultural Heritage, where she co-directs the Mother Tongue Film Festival. She was a Latin American program specialist for the Film + Video Center of the Smithsonian Institution's National Museum of the American Indian, served as Assistant Director of New York University's Center for Latin American and Caribbean Studies, and taught at New York University's Gallatin School of Individualized Study.
Summary
Frames of Resistance offers a comprehensive overview of the origins, trends, and regional differences of Indigenous cinema in Latin America. It builds upon Indigenous principles of organization and reciprocal ways of being with proposals for teaching practices, circulating these films, and ensuring long-term access to this important body of work.
