Abstract: <p>By Richard A. Gordon</p>
One of the prominent features of Cafundó’s website is the synopsis, which appears on the initial page. To appreciate how this particular version of the narrative potentially guides spectator interpretations of the film by underscoring, tweaking, and elucidating certain elements of the plot, I start with a summary of the film’s plot that seeks to avoid placing undue emphasis on any particular aspects of the film. (Nonetheless, I acknowledge the impossibility of an entirely neutral synopsis.) Afterward, I examine distinct synopses of the film that appear in different areas of the website, as well as that which appears on the back of the DVD, to highlight one aspect of the interconnectedness of the film’s marketing ... <a href="http://muse.jhu.edu/journals/studies_in_latin_american_popular_culture/v031/31.gordon.html">Read More</a> Keywords: Betti, Paulo, 1952- PubDate: 2013-05-09T00:00:00-05:00
Abstract: <p>By Robert W. Smith, Michael A. Morris, Juan Pablo Riveros</p>
The quantification of values poses problems for the humanities and social sciences. Generally speaking, the humanities are loath to attempt to quantify subjective matters such as values and symbols, and the social sciences are tempted to carry measurement to the extreme by treating subjective variables as objective ones, which they are not. Reconciliation of humanities and social science perspectives is complicated still more when subjective variables are expressed in popular culture, thereby making measurement appear as an even more artificial exercise. Moreover, political symbols and values expressed in the public arena reflect relationships of power, thus making objective measurement appear elusive. The ... <a href="http://muse.jhu.edu/journals/studies_in_latin_american_popular_culture/v031/31.smith.html">Read More</a> Keywords: College students PubDate: 2013-05-09T00:00:00-05:00
Abstract: <p>By Annie McNeill Gibson</p>
For a time, while I lived in Brazil, I stopped writing. I learned to dance. I also learned to pray and to fight—two things I had never felt called upon to do. I did them with my body. I began to think with my body. That is possible and, in the case of Brazilian dance, necessary. As scholar Barbara Browning found herself immersed in the cultural landscape of Brazil, the way that she physically responded to her surroundings began to change. She found a necessary sense of bodily bilingualism by moving through a new cultural context in dance. The movements of samba, Brazil’s national dance par excellence, have come to inhabit descriptions of the way that Brazilians are supposed to work, play, and, of course ... <a href="http://muse.jhu.edu/journals/studies_in_latin_american_popular_culture/v031/31.gibson.html">Read More</a> Keywords: Brazilian Americans PubDate: 2013-05-09T00:00:00-05:00
Abstract: <p>By Susan Wiebe Drake</p>
The difficult and dangerous journey of immigrants across the border between Mexico and the United States has captured the attention and imagination of artists, authors, and filmmakers. Latino filmmakers, frequently descendants of immigrants themselves, have particularly invested in the journey of immigrants, often expressing a desire to show the human side of the immigrant experience and provide alternatives to Hollywood stereotypes (Maciel and García-Acevedo 185). El Norte (The North, Gregory Nava 1983) and La misma luna (Under the Same Moon, Patricia Riggen 2007), both films from Latino directors, present the story of families who, in desperate times, decide to travel north to the United States. This journey ... <a href="http://muse.jhu.edu/journals/studies_in_latin_american_popular_culture/v031/31.drake.html">Read More</a> Keywords: Nava, Gregory PubDate: 2013-05-09T00:00:00-05:00
Abstract: <p>By Rafael Arreaza-Scrocchi</p>
It is quite interesting to analyze the importance of the image of the South American Liberator, Simón Bolívar (1783–1830), who has always been represented as an iconoclastic figure. Bolívar emerged from Caracas, Venezuela, and from the Latin American emancipation he organized during the years of the Venezuelan War of Independence against the Spaniards. As a result of his confrontation with the Spanish crown during the years of the emancipation, Bolívar’s image has always been regarded from a multicultural point of view under different categories, including “Liberator,” “president of Gran Colombia,” “dictator,” “dreamer,” and even “lunatic.” But most important, Bolívar has been observed, well known, and recalled by ... <a href="http://muse.jhu.edu/journals/studies_in_latin_american_popular_culture/v031/31.arreaza-scrocchi.html">Read More</a> Keywords: Bolívar, Simón, 1783-1830 PubDate: 2013-05-09T00:00:00-05:00
Abstract: <p>By John Tytell</p>
Who disappeared into the volcanoes of Mexico leaving behind nothing but the shadows of dungarees and the ash and lava of poetry. In the immediate aftermath of World War II, there were a few young people with literary ambitions and full of a bottled eagerness to tell their stories who would later be identified as “beat”—that is, politically unaffiliated; suspicious of institutional ties, organizational structures, and establishment values; vaguely bohemian; and animated by youthful, nonconforming impulses. Simultaneously, some of the members of this small group suffered from an existential, psychic exhaustion, a sense of being beaten down spiritually by what seemed to them the regimented and oppressive ... <a href="http://muse.jhu.edu/journals/studies_in_latin_american_popular_culture/v031/31.tytell.html">Read More</a> Keywords: Kerouac, Jack, 1922-1969 PubDate: 2013-05-09T00:00:00-05:00
Abstract: <p>By Paul Sneed</p>
Tudo de bom que acontece na Rocinha é fruto do desejo de ajudar e de se sentir ajudado por uma comunidade cheia de solidariedade. In the favela, or squatter town, of Rocinha, in Rio de Janeiro, Brazil, people use popular performances as means to create refuges that distance them from the desolation they face in the poverty, violence, and injustice of their lives, repositioning themselves in spaces of abundance, peace, and community. As an illustration of this, I present in this article an ethno-graphic vignette taking place in Rocinha that juxtaposes two popular performances: the first comes about as residents commiserate in an improvised huddle formed around a young gang member dying of a gunshot ... <a href="http://muse.jhu.edu/journals/studies_in_latin_american_popular_culture/v031/31.sneed.html">Read More</a> Keywords: Performance PubDate: 2013-05-09T00:00:00-05:00
Abstract: <p>By Kerry T. Hegarty</p>
There are people who think that wrestling is an ignoble sport. Wrestling is not sport, it is a spectacle, and it is no more ignoble to attend a wrestled performance of suffering than a performance of the sorrows of Arnolphe or Andromaque. During the course of his long career as a fighter for justice, the Mexican wrestler El Santo battled ancient mummies, mad scientists, and international espionage rings; escorted glamorous women around Mexico City in his Bentley convertible, and saved the earth from a nuclear holocaust— all while donning his trademark silver mask. A sort of Mexican James Bond, El Santo’s suave manner and unmatched crime-fighting skills made him a central player in the arena of ... <a href="http://muse.jhu.edu/journals/studies_in_latin_american_popular_culture/v031/31.hegarty.html">Read More</a> Keywords: Heroes PubDate: 2013-05-09T00:00:00-05:00
Abstract: <p>By Melissa A. Fitch</p>
I am delighted to present volume 31 of Studies in Latin American Popular Culture. As usual, we have exciting studies to share with you. This issue features three essays related to Brazil: one on Brazilianness as depicted on the Internet site for the film Cafundó (2005), a topic explored by Richard Gordon, and another on the lived experience of samba culture found in New Orleans, written by Annie McNeill Gibson. Brazil is also featured in an essay on performance and community within Favela culture by Paul Sneed. Mexico is highlighted in volume 31 with a discussion of that country’s own “beat” generation by John Tytell, as well as in an essay on the Mexican masked wrestler El Santo’s lucha libre series ... <a href="http://muse.jhu.edu/journals/studies_in_latin_american_popular_culture/v031/31.fitch.html">Read More</a> PubDate: 2013-05-09T00:00:00-05:00
Abstract: <p>By César Jesús Burgos Dávila</p>
El narcotráfico como fenómeno social en México y la música como elemento cultural se han asociado para dar forma a baladas que son vinculadas directamente al narcotráfico. El narcotráfico, la inseguridad y la violencia en México se han convertido en problemas de emergencia nacional. Los estragos de esta problemática se encuentran relatados, entonados y acompañados musicalmente en los narcocorridos. El prefijo narco refiere a relatos que tratan aspectos relacionados con la droga, concretamente sobre el tráfico de la misma. En estas baladas se describen actividades propias del tráfico de drogas. En ocasiones son reales, otras veces son ficticias. Su valor no reside en la veracidad sino en su funcionalidad social. ... <a href="http://muse.jhu.edu/journals/studies_in_latin_american_popular_culture/v031/31.davila.html">Read More</a> Keywords: Corridos PubDate: 2013-05-09T00:00:00-05:00
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