A Contracorriente: una revista de estudios latinoamericanos https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente <p>Founded in 2003,&nbsp;&nbsp;<em>A Contracorriente</em>&nbsp;is a refereed journal that is dedicated to fostering intellectual debate about politics, sociology, history, literature, film, art, and education in Latin America and pushing back against the relativism present in postructuralism and postmodernism,&nbsp; from a critical, left-wing point of view.</p> Editorial A Contracorriente | Partially sponsored by the Department of Foreign Languages and Literatures at NC State University en-US A Contracorriente: una revista de estudios latinoamericanos 1548-7083 <p>1. Author hereby grants, transfers, and assigns to <em>A Contracorriente</em>:</p> <p>(a) the exclusive first serial rights in the Work for publication and distribution throughout the world, as <em>A Contracorriente</em> sees fit, in all languages and formats, by print or any electronic means, including, without limitation, the internet, other public and/or private proprietary intranets and computer networks and on CD-ROMs, DVDs and other discs, before the Work shall appear in any other publication (whether print or electronic), in any manner, format or language, or in any other medium now known or hereafter devised. The first serial rights granted to <em>A Contracorriente</em> by this Paragraph 1(a) shall be exclusive to <em>A Contracorriente</em> until one year following the date of the first serial publication of the Work by<em> A Contracorriente</em>; in addition, this grant of rights shall include the non-exclusive right in perpetuity to include the Work in any collection, or compilation produced or authorized by<em> A Contracorriente</em>, and containing at least 75% material that has appeared in <em>A Contracorriente</em>, for distribution throughout the world, in all languages and formats, by print or any electronic means, including, without limitation, the internet and other public and proprietary intranets and computer networks and on CDROMs, DVDs and other discs;</p> <p>(b) further, the non-exclusive right to authorize, reproduce and distribute reprints of the Work throughout the world, in all languages and formats, by print or any electronic means, after the Work appears in a publication produced or authorized by<em> A Contracorriente</em>; the right to permit subscribers and other users of the services and publications in which the Work may appear electronically to download, reproduce, and otherwise utilize the Work for their personal, non-commercial use throughout the universe; and the non-exclusive perpetual right, throughout the world, to use the Work, in whole or in part, and Author’s name, likeness, or biography in promoting, advertising, and/or publicizing any publication in which the Work is authorized to appear consistent with this Agreement.</p> <p>2. <em>A Contracorriente</em> reserves the right to publish the Work with illustrations and other graphic materials. Nothing contained herein shall obligate <em>A Contracorriente</em> to exploit any of the rights granted to <em>A Contracorriente</em> hereunder. All rights not granted to <em>A Contracorriente</em> are reserved to Author for Author’s own use and/or transfer, assignment, or disposition.</p> <p>3. Author represents and warrants: the Work is original to Author, has not been copied in whole or in part, and does not infringe upon the copyright or any other rights of any person or entity; Author has the right to grant the rights granted to<em> A Contracorriente</em> under this Agreement free of any and all claims and encumbrances; Author has not granted or transferred any rights in or to the Work to any third party; and Author has not done and will not do anything that has impaired, might impair or will impair in any way any of the rights granted to<em> A Contracorriente</em> hereunder.</p> <p>4. Author shall defend, indemnify, and hold harmless the NC State and its employees, agents, affiliates, successors, licensees, and assigns from and against all claims, damages, liabilities, losses, costs, and expenses, including, without limitation, attorney’s fees and costs, arising out of any breach or alleged breach of any of Author’s representations, warranties, or agreements. Any remedies that Author may have against <em>A Contracorriente</em> for breach of this Agreement shall be limited to the right to recover damages, if any, in an action at law. Author hereby waives any right or remedy in equity, including any right to terminate this Agreement, to rescind<em> A Contracorriente</em>’s rights in the Work, or to enjoin, restrain, or otherwise impair in any manner the production or distribution of any publication that is authorized or produced by <em>A Contracorriente</em>.</p> <p>5. <em>A Contracorriente</em> shall have the right to assign this Agreement, either in whole or in part, to any entity affiliated with <em>A Contracorriente</em> or to any party that acquires all or substantially all of <em>A Contracorriente</em>'s assets. Author shall not have the right to further assign any of the rights conferred pursuant to this Agreement, either in whole or in part, or any of the rights granted to Author herein.</p> <p>6. This Agreement is intended by the parties hereto as the final expression of their understanding with respect to the subject matter herein, as a complete and exclusive statement of the terms herein, and supersedes any and all prior or contemporaneous negotiations, understandings, and agreements between the parties relating thereto.</p> <p>7. The Agreement may be modified only by a writing signed by both parties to the Agreement. The laws and courts of the State of North Carolina shall govern and control the resolution of any&nbsp;and all conflicts and disputes that may arise hereunder.</p> Memorializing in Movement https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1896 <p>We argue that the defense of the Museum of Human Rights speaks to the power of <em>memory as possibility</em>, as foundational to ways collectivities understand the genealogies of violence and injustice in order to imagine otherwise.&nbsp; Moreover, memorial site protagonists have successfully challenged and accessed state resources toward representation and education regarding the violence of the past and toward alternative ways of imagining justice and human rights in the present and future.</p> Katherine Hite Manuela Badilla Rajevic Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-10 2019-05-10 16 3 1 16 Los detectives salvajes, de Roberto Bolaño https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1895 <p>An article about the lettered city seen from the perspective of Roberto Bolaño's <em>Savage Detectives</em>.</p> Jaime Concha Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-10 2019-05-10 16 3 17 30 Presentación Dossier El cuerpo del trabajo https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1914 <p>Presentation</p> Alejandra Laera Fermín Rodríguez Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-08 2019-05-08 16 3 31 38 El cuerpo del trabajo https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1904 <p>En este texto propongo tres escenas-problemas donde el cuerpo se pone a trabajar de modo diverso, desplegando tres ideas-fuerza. La primera tiene que ver con las formas de servilización e infantilización con que se quiere explotar al trabajo de atención realizado por mujeres en una línea&nbsp;de ayuda telefónica por violencia de género. La segunda expone la reconfiguración del trabajo reproductivo cuando se&nbsp;desborda del confinamiento doméstico. En tercer lugar, me voy a detener en el manifiesto #DesendeudadasNosQueremos que escribimos desde el colectivo NiUnaMenos y su reinterpretación por una poeta en situación de encierro.&nbsp;El hilo rojo que vincula estas escenas es uno muy preciso: el paro feminista.&nbsp;Hipotetizo que no es casual que cada una de estas escenas se teja a partir de la pregunta que abre el paro feminista internacional que, en Argentina, ha logrado una dinámica de masas desde octubre de 2016. Propongo en este sentido el paro como una nueva forma de cartografía práctica del trabajo desde un punto de vista feminista porque permite problematizar la “desmesura” de las formas de producción y explotación de valor que se encuentran en la multiplicidad de tareas que hacen hoy al trabajo feminizado.</p> Verónica Gago Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-02 2019-05-02 16 3 39 60 La incompetente https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1903 <p>Macabéa –la protagonista del clásico&nbsp;<em>A hora da estrela</em>&nbsp;(1977) de Clarice Lispector—ha sido leída sistemáticamente en su tensión con las representaciones de la nordestina y el universo de lo popular en la cultura brasileña. El presente ensayo, sin embargo, apunta a reinscribir esas discusiones en el marco más vasto y más matizado de la&nbsp;<em>condición precaria</em>&nbsp;como terreno característico de los procesos de neoliberalización que transforman América Latina desde finales de los 70s. Leer a Macabéa y&nbsp;<em>A hora da estrela&nbsp;</em>como figuraciones tempranas de la “vida precaria” –tal la apuesta de lectura del presente ensayo—nos permite dos operaciones fundamentales: por un lado, leer la transformación de las retóricas de la “pobreza” como alteridad --propias de la herencia cultural del desarrollismo latinoamericano-- a la luz de una condición precaria expansiva, contagiosa, que desmarca antagonismos clásicos. Por otro, nos permite leer las transformaciones de las figuraciones culturales del trabajador y la trabajadora a partir de una Macabéa que se evidencia irreductible a ellas, marcando una dislocación decisiva de los modos en que “trabajo” y “subjetividad” se anudan en contextos de neoliberalización.&nbsp;<em>A hora da estrela</em>&nbsp;emerge así como un texto que anticipa gramáticas formales –a la vez estéticas y políticas—que recorren la sociedad neoliberal, señalando así, una vez más, la contemporaneidad urgente de la escritura de Lispector.&nbsp;</p> Gabriel Giorgi Copyright (c) 2019-05-02 2019-05-02 16 3 61 78 Sonidos del trabajo https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1908 <p>This article explores the rendition of industrial work and a worker´s assembly in <em>Taller de Línea “Claudio A. Camejo” y 18&nbsp;</em>(1971), one of the last experimental documentaries directed by Cuban filmmaker NIcolás Guillén Landrián before his expulsion from the Cuban Film Institute (ICAIC) in 1972.&nbsp;Particular attention is placed on the disruptive assemblage of sound in this short documentary whose sound-track was partially composed by Leo Brouwer´s Grupo de Experimentación Sonora at the ICAIC.</p> Julio Ramos Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-06 2019-05-06 16 3 79 98 Monstruos, galanes, sumisos https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1907 <p>Throughout the twentieth century, the figure of the worker was the object of a series of visual representations: monuments, plastic works, graphic media, performances, etc. In Argentina, these prescriptive imaginings consolidate an exemplary, idealized proletarian as a way of projecting a model of future citizenship. However, resistance was also part of that process. In this article I affirm that the very figure of the worker functioned as the surface on which many of the political and cultural tensions of this period were printed. In fact, the visual representation of the proletariat was articulated as a dispute. On the one hand, these experiments represent the proletariat as an anxiety of synthesis, an embodiment of the social heterogeneity of the new urban crowds. On the other, the proletariat exhibits an instability of meaning, a figure that cannot be concretized.</p> Marcos Del Cogliano Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-17 2019-05-17 16 3 99 120 Abierto las 24 horas https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1902 <p>&nbsp;</p> <p class="BodyA">Diamela Eltit’s novel<em>Mano de obra</em>(2002) is an inquiry from a biopolitical perspective into a new territorialization of desire and power rooted in the body and its affections. The novel explores from the point of view of the body of a post-Fordist worker a type of domination dissolved in the materiality of a world imagined as a 24-hour shopping center--a multisensory complex,predictable and regulated, where the capitalist ambitionto absorb living work is fulfilled beyond the limitsof physical resistance.&nbsp;As an affective factory of late capitalism, the supermarket of <em>Mano de obra </em>is a site of production of subjectivity not reducible to the docile, individualized and trained body of the great institutions of confinement. Immersed in a space saturated with microscopic power relations, the subjects of <em>Mano de obra </em>are the affective workers of contemporary capitalism, built biopolitically by a terrifying affective atmosphere that erodes their labor contours until it becomes unrecognizable.</p> <p>&nbsp;</p> Fermín Adrián Rodríguez Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-03 2019-05-03 16 3 121 138 Rotar en la precariedad o sobre el trabajo de los jóvenes https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1912 <p class="Body">The dismantling of this social horizon linked to the social welfare state and the disciplinary-Fordist work has revealed the emergence of a precarious way of life (Butler, 2010; Lorey, 2016; Standing, 2013) linked to a registry of the emotional and the affective that becomes world in the<em>neoliberal sensibility</em>. In the following we are going to consider the text of Chronicles <em>Alta Rotación</em>of the Argentine writer Laura Meradi in views of making an approach that follows the own dynamics of the narrative matrices, the tunings and displacements at the level of the <em>affective modulation</em>s. In effect, <em>Alta Rotación</em>deals with a displacement of figures, from the worker to the precarious, but also from sensitive and affective regimes, from effort and sacrifice towards dedication and enthusiasm as a new bodily vitality. Enthusiasm and optimism, vitality and predisposition, this particular affective register is not only an emotional demand of the labor universe, typical of human resources departments or contemporary entrepreneurship, but also is productive as a precept of widespread cruelty (Berlant , 2006).</p> <p>&nbsp;</p> Martín De Mauro Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-06 2019-05-06 16 3 139 160 Transmigraciones y desaparición del trabajo en dos novelas latinoamericanas recientes https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1905 <p class="gmail-m-1330218376892734258ydpa21346aayiv7554683385msonormal"><span lang="ES-TRAD">This essay questions two novels - <em>Leñador o las ruinas continentales</em> (2013) from the north American-Argentinian and Chilean writer Mike Wilson and <em>La transmigración de los cuerpos</em> (2013) from the Mexican Yuri Herrera – that explore border or almost erased areas of the work in the contemporary societies, what we could call its last occurrence grade (or fading),&nbsp; as well as the mutations those changes push on the social, economic and vital&nbsp; imagination field. On one hand, the work resources appear as a service, a paradigm of the new millennium in terms of production of immateriality/production of meanings. On the other hand, those narrations also tell about the handicraft work and the gaze as escape ways from the systematic colonization of the individual experience. Moreover, both novels reconsiders and tests the artistic work logics in current times.</span></p> <p>&nbsp;</p> Betina Keizman Copyright (c) 2019-05-06 2019-05-06 16 3 161 183 Escribir con todo el cuerpo https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1910 <p>This article aims to approach a comprehensive set of contemporary narratives by acknowledging the writer's activity in terms of 'work' and, consequently, focusing on the ways the writer's body exhibits such work. I intend to regain the concept of 'work' as a paramount frame of reference to think both literary productions and writers' views, so as to link different perspectives regarding the writers' activities (e.g., sociological, historical and culturalist approaches) with those theoretical inquiries concerning the connection between writing and the topic of the body (such as textualist, deconstructionist and Benjaminian approaches).</p> <p>To do so, I will examine a broad spectrum of works. From Ricardo Piglia's <em>Los diarios de Emilio Renzi</em>, Maria Moreno's <em>Black out</em>and Mario Levrero's <em>La novela luminosa</em>to Juan José Becerra's <em>El artista más grande del mundo</em>, Lina Meruane's <em>Sangre en el ojo</em>and Sergio Chejfec's <em>Últimas noticias de la esctritura</em>. There, I propose to highlight the relation between writers, work and body through these writers' imagination, either in terms of self-representation, fiction or documentalism.</p> <p>From this perspective, the article explores how specific uses and placements of a body in a writing situation could be thought or perceived, throughout its routine, as a 'working-body'; hence, as a body that is part of a productive process that entails, eventually, a monetary compensation. The former brings up to the question of whether the writer's body could be considered as a workforce. Also, if so: What types of representations do the writers mentioned above create concerning that matter? What notions of literature and views of their social role do they intend or imply in doing so?</p> Alejandra Laera Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-06 2019-05-06 16 3 184 205 Una investigación teatral y fílmica sobre el trabajo https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1911 <p>This paper is a reading of Gerardo Naumann’s plays and films shown as a theatrical and performative investigation into the world of labor (his plays <em>Los trabajos improductivos </em>and<em>Fábrica</em>,and his films <em>El trabajo industrial </em>and <em>Ricardo Bar</em>). Our approach is based on three hypotheses:&nbsp; 1) Naumann's nonproductive labors (stealing, acting) explore and exhibit virtuosity—i.e. the articulation between memory, repetition and the use of words--as a field of experimentation; 2) by displacing performers from their social location (their status of workers, indistrial or nonproductive workers), Nauman’s theatrical experimentation with the worker-performers’ voices is both a political experimentation as well as an inquiry into new forms of community and subjectivation; 3) Naumann's vital involvement in his own performances playing a worker establishes a frame of reference so that the exploration of the world of labor becomes the (ambivalent) register of the “bargaining” position of artists with non-actors, nonproductive workers, and worker actors.</p> Sandra Contreras Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-06 2019-05-06 16 3 206 220 Sex Work in the Cinema https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1906 <p>An uptick in films about sex work and other forms of immaterial labor in contemporary Latin America points to a crisis in our understanding of bodies at work. This crisisfinds a precedent in cinema of the 1970s, a moment in which sex work finds a particular protagonism on screen. During this period, artists and activists together posited a replacement of the prostitute as a metaphor of dehistoricized alienation with the metonymy of sex work aslabor. Grounded in a formal and material analysis of the Brazilian films and film networks grouped under the rubric <em>Boca do Lixo&nbsp;</em>(São Paulo, 1973-1982), I show how they<em>&nbsp;</em>queried, through sex work, what we imagine when we invoke the term&nbsp;<em>work</em>. Attentive to the sexual division of labor that structures these films, I also show how this relatively neglected and maligned moment in Brazilian film history offers&nbsp;a salient case study of how sex work in the cinema negotiates labor’s shifting fortunes, in and beyond Brazil, and into the present.&nbsp; As a limit case of what constitutes work in modernity, sex work in the cinema is uniquely poised to reveal its seismographic shifts.</p> Sarah Ann Wells Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-06 2019-05-06 16 3 221 247 Destreza pasajera: Julián Herbert y la literatura menor https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1925 <p>Introducción al Dossier:&nbsp; Julián Herbert.</p> Sergio Villalobos Rumniott Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-23 2019-05-23 16 3 248 253 Entrevista a Julián Herbert sobre su obra La casa del dolor ajeno https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1926 <p>Entrevista con Julián Herbert.</p> Ignacio López-Calvo Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-23 2019-05-23 16 3 254 260 La resistencia de Julián Herbert: el fin de la iluminación https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1927 <p>Artículo sobre La resistencia, de Julián Herbert.</p> Ignacio M Sánchez Prado Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-23 2019-05-23 16 3 261 280 Poetic Discipleship and Traición in Julián Herbert’s Álbum Iscariote https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1928 <p>Article about Álbum Iscariote, by Julián Herbert.</p> Madison Nicole Felman-Panagotacos Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-23 2019-05-23 16 3 281 301 China en América Latina o los límites del cosmopolitismo (liberal) https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1929 <p>Este artículo ensaya una lectura de&nbsp;<em>La casa del dolor ajeno</em>&nbsp;(2015) que, deliberadamente, se aparta de los abordajes en clave mexicanista. El eje argumentativo que se sigue sugiere que el libro de Julián Herbert, entendido como un trabajo de no-ficción de la misma manera que lo es el clásico&nbsp;<em>Operación masacre</em>&nbsp;(1956) y al examinar un episodio fallido de ensamblaje cultural, constituye una reflexión crítica que señala los límites del cosmopolitismo en el marco del capitalismo liberal e incluso progresista. Se concluye que el eventual pacto cosmopolita que vislumbra el texto de Herbert reclama, como condición, la fundación de una nueva gramática, una que se desmarque del régimen de competencia de la racionalidad capitalista.</p> Jorge Locane Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-23 2019-05-23 16 3 302 316 El puente del horror: imagen dialéctica y soberanía en La casa del dolor ajeno de Julián Herbert https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1930 <p><em>La casa del dolor ajeno</em> (2015) de Julián Herbert pone en escena imágenes dialécticas que desactivan las narrativas desarrollistas y sacrificiales de la historia. Por medio del choque entre tiempos históricos distantes, el libro de Herbert revela la matanza de chinos en Torreón a principios del siglo XX como un punto en una serie histórica de largo alcance que se sostiene en el nudo inextricable entre raza, soberanía y acumulación capitalista. La destrucción de cuerpos y territorios, el estado de excepción permanente y la constante acumulación primitiva se presentan como los ejes que han sobredeterminado el acontecer histórico en México y en el mundo. El relato de la matanza de chinos se convierte así en una reflexión sobre las continuidades -y también las transformaciones- de las violencias inherentes en el proceso de modernización a escala planetaria.</p> Jorge Quintana Navarrete Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-23 2019-05-23 16 3 317 331 Fotografía, literatura y muerte en La casa del dolor ajeno https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1931 <p><em>La casa del dolor ajeno</em> de Julián Herbert expone un oscuro episodio de la revolución mexicana: el genocidio de chinos en La Laguna en mayo de 1911. El siguiente artículo explora cómo la escritura sobre un olvidado evento del pasado interrumpe el relato historicista, considerando este episodio de violencia como un momento que destruye el monumento y la narrativa épica en torno al proceso revolucionario mexicano. Considerando principalmente las imágenes fotográficas que aparecen en la crónica de Herbert y refiriendo al concepto de historia benjaminiano, este artículo explora la irrupción de imágenes fotográficas como apertura a una comprensión del tiempo heterocrónica, que pone en cuestión el ideal del progreso y su fundamento en el ejercicio de la violencia. Así, este articulo analiza cómo imágenes fotográficas que tratan sobre la muerte, en sus conexiones con la literatura, ofrecen la posibilidad de problematizar la violencia, no solo como una violencia contenida en el pasado, sino también en su continuidad en el presente.</p> <p>&nbsp;</p> Juan Leal-Ugalde Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-23 2019-05-23 16 3 332 358 El cine de Quentin Tarantino en Julián Herbert: la estética del límite https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1932 <p>En “El cine de Quentin Tarantino en Julián Herbert: la estética del límite” analizo la escritura de Julián Herbert en <em>Un mundo infiel</em> y <em>Tráiganme la cabeza de Quentin Tarantino</em>, y propongo que el escritor entabla un diálogo con el cine de este último (específicamente con <em>Reservoir Dogs</em>, <em>Pulp Fiction</em>, <em>Kill Bill</em> y <em>Django Unchained</em>). Propongo esta comparación por la abundante cantidad de imágenes visuales que incorpora Herbert a su narrativa, así como por la estructura de corte cinematográfico que tienen sus textos. El vínculo es también temático: Herbert desde la narrativa y Tarantino desde el cine, se caracterizan por representar la violencia desde ángulos distintos y llevarla al límite de lo leíble o visible, respectivamente. Asimismo, ambos autores explotan la hibridez como parte del proceso artístico de construcción. Herbert, yuxtapone géneros literarios diversos como la crónica periodística, el discurso histórico, el género testimonial, las bitácoras policiales, etc. En Tarantino, la hibridez funciona de manera distinta. El cineasta parte de ciertos géneros cinematográficos—el “spaguetti western”, por ejemplo—o distintos tópicos cinematográficos —el asalto, la venganza, las traiciones en la mafia— y transforma o parodia el modelo o género original. En este ensayo muestro cómo tanto el director como el cineasta llevan la estética artística, cada quien a su manera, pero al límite de lo narrable.</p> Carolyn Wolfenzon Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-23 2019-05-23 16 3 359 374 Relatos nacionales y regionales en la creación de la colección latinoamericana del MoMA. https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1658 <p>Sobre el filo de la segunda guerra, el gobierno de Estados Unidos puso en marcha un programa de intercambios comerciales y culturales con Latinoamérica para proteger sus intereses en el hemisferio y contrabalancear la influencia ejercida por el Axis. La Oficina del Coordinador de Asuntos Interamericanos, agencia oficial de promoción de las relaciones interamericanas, contrató a intelectuales de Centro y Sudamérica como consejeros para colaborar en la batalla cultural contra los regímenes nazi-fascistas. Los museos de arte y otras organizaciones con experiencia en el campo del arte latinoamericano también respondieron activamente al llamado patriótico. Entre los diversos proyectos realizados en el área de las artes plásticas para fomentar los intercambios, surgieron las primeras colecciones “latinoamericanas” como parte de las agendas curatoriales. El artículo se detiene en el análisis de los vínculos entre dos figuras clave que participaron de la adquisición y selección de piezas de la colección latinoamericana del Museo de Arte Moderno de Nueva York –María Rosa Oliver y Lincoln Kirstein- focalizándose en la sección argentina, y lo relaciona con la política institucional del museo respecto de su misión educativa, el surgimiento de la categoría <em>arte latinoamericano</em> y las matrices canónicas de valoración estética.</p> Fabiana Serviddio Copyright (c) 2018 Editorial A Contracorriente 2018-11-07 2018-11-07 16 3 375 402 Redefining Piracy through Cuba’s Film and Internet Distribution Platform https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1685 <p>&nbsp;Despite the Cuban government’s resistance to recognize legal independent status for Cuban audiovisual artists, coupled with some of the lowest official Internet rates in the world, Cubans have made an effective alternative system of distribution known as the <em>paquete semanal</em>. The <em>paquete, </em>an offline, somewhat legal, weekly distribution platform providing one terabyte of diverse domestic and global films, television programming, and offline Internet content, has made international headlines as a “subversive” challenge to Cuba’s centralized control through piracy. While the <em>paquete</em> tests the Cuban state’s influence, in this article I analyze how the <em>paquete</em> actually continues with and expands upon the Cuban government’s on-going practice of piracy. Building on Ramon Lobato’s exploration of the “Six Faces of Piracy,” I examine the <em>paquete’s </em>role in redefining the Cuban government’s use of piracy as resistance to a contemporary platform leading to daily access and increased domestic production. As such I examine the changing role of the <em>paquete</em> from international content re-distributor to primary distributor of domestic material made specifically for the <em>paquete</em> as is the case with Cuba’s first alternative television channel, <em>MiHabanaTV</em>, founded in 2016. With a close reading of the made-for-<em>paquete</em> <em>MiHabanaTV </em>and their seventh episode interviewing one team of the behind-the-scenes<em> paquete</em> creators, I show that an exploration of the <em>paquete</em> reveals one of the many ways that Cuba is not as isolated as it may seem and the <em>paquete</em> is not as anti-revolutionary as it appears.</p> Michelle Leigh Farrell Copyright (c) 2018 Editorial A Contracorriente 2018-02-21 2018-02-21 16 3 403 426 Dark Rurality and Dark Ecology in Recent Argentine Cinema https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1706 This<strong> </strong>article proposes a reading of a melancholy or dark ecology in the cinematic aesthetics of films by Albertina Carri and Lisandro Alonso. I argue that these films are examples of a new ecological ethos that filmically imagines the indissolubility between non-human and human ecology as part of the rural, thus recasting traditional images of nature in the service of a new nationalism. The rural serves as the image bank for an inexhaustible mesh of ecological relations, tied by the darkness of infinitude. I show how these recent accounts of rural exhaustion and neoliberal control over the Argentine landscape simultaneously reimagine the rural as a source of density, vital, and ecological expression. I also argue that this reading represents a new modality for cognitive mapping that includes the filmic representation of the ecological sphere that goes beyond the mere description of neoliberalism. Carlos M. Amador Copyright (c) 2019 Editorial A Contracorriente 2019-02-11 2019-02-11 16 3 427 455 El compromiso internacionalista. El Ejército de Liberación Nacional. Los elenos chilenos. https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1916 <p>Reseña de&nbsp;Pedro Navarro Valdés,&nbsp;<em>El compromiso internacionalista. El Ejército de Liberación Nacional. Los elenos chilenos. 1966-1971. Formación e identidad </em>(Santiago de Chile:&nbsp; LOM, 2018.</p> Jaime Ortega Reyna Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-09 2019-05-09 16 3 456 458 Incidence of Travel. Recent Journeys in Ancient South America https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1917 <p>Reseña de&nbsp;Moore, Jerry. <em>Incidence of Travel</em><em>.</em> <em>Recent Journeys in Ancient South America</em>. Boulder:&nbsp; University Press of Colorado, 2017.</p> Henry Tantaleán Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-09 2019-05-09 16 3 459 463 Radio in Revolution / Isles of Noise https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1918 <p>Review of Justin Castro’s <em>Radio in Revolution: Wireless Technology and State Power in Mexico, 1897-1938</em>. Lincoln: University of Nebraska Press, 2016 and&nbsp;Alejandra Bronfman’s <em>Isles of Noise: Sonic Media in the Caribbean.</em> Chapel Hill: University of North Carolina Press, 2016.</p> Michael Krysko Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-09 2019-05-09 16 3 464 473 Politics and Emotions https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1920 <p>Reseña de&nbsp;Scribano, Adrián ed. (2018) <em>Politics and Emotions. </em>Houston: Studium Press, 2018.</p> Maximiliano E Korstanje Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-09 2019-05-09 16 3 474 478 Amos, siervos y revolucionarios: la literatura de las guerras de Cuba https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1921 <p>Reseña de&nbsp;Camacho, Jorge. <em>Amos, siervos y revolucionarios: la literatura de las guerras de Cuba (1868-1898). Una perspectiva transatlántica. </em>Madrid: Iberoamericana/Vervuert, 2018.</p> Francisco David Mesa Muñoz Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-09 2019-05-09 16 3 479 482 Authoritarianism, Cultural History, and Political Resistance in Latin America. Exposing Paraguay https://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/1919 <p>Reseña de&nbsp;Pous, Federico, Alejandro Quin y Marcelino Viera, eds.<em> Authoritarianism, Cultural History, and Political Resistance in Latin America. Exposing Paraguay. </em>Cham, Switzerland: Palgrave McMillan, 2018.</p> Daniel Noemi Voionmaa Copyright (c) 2019 (C) Editorial A Contracorriente 2019-05-10 2019-05-10 16 3 483 493