En este artículo se examinan dos polos del cine documental, tal como se manifiestan en los primeros veinte años (1961-1980) de trayectoria profesional del gran realizador cubano de documentales: el “dramático”, basado en la yuxtaposición, el sonido contrapuntístico y manipulaciones flagrantes que evidencian el papel del director; y el “directo”, basado en la toma larga, el sonido sincrónico y una mínima intervención manifiesta por parte del director. Siguiendo a Georg Lukács, se ligan las formas artísticas dramáticas a los periodos dinámicos de la historia, y las formas descriptivas a aquellos periodos en los que el impulso hacia el cambio se ve frustrado. Las obras clave de Santiago Álvarez (desde Ciclón, 1963, hasta Mi hermano Fidel, 1979) son ilustrativas de la dinámica histórica de la Revolución cubana. El análisis de estas películas y el desarrollo estilístico global de Álvarez se vinculan a los eventos nacionales e internacionales que han dado forma a la política y la ideología cubanas. Para el investigador, el periodo más creativo de Álvarez, que se caracteriza por la intensidad ideológica y la improvisación estilística, agresivos montajes musicales, efectos de sonido, imágenes e intertítulos, coincidió con la efervescencia sociopolítica del periodo de 1965-1970. Considera que el giro estilístico de Álvarez hacia formas más estáticas con posterioridad a 1970 es consistente con la reorientación de las prioridades políticas implícitas en la “institucionalización” de la Revolución.

El estudio de la cultura visual como campo interdisciplinar brinda diferentes marcos teóricos y metodológicos interpretativos de todas las realidades posibles. La fotografía y el cine en Latinoamérica, con un enfoque contemporáneo post 1945, ha resultado ser una potente herramienta para desencriptar los mecanismos comunicativos de la órbita hispanohablante: no solo como representaciones visuales, sino, más bien, como constituyentes significadores culturales, máxime hoy en día en el ámbito de las nuevas tecnologías.

This article explores the importance of photographic archives (fototecas) in preserving the sources with which to create a national visual history and identity. It charts the arc from imperial photography of Mexico, lodged in European and U.S. archives, to the development of Mexican institutions dedicated to the preservation of the photographic patrimony. Particular attention is paid to the photography of indigenous peoples by foreigners and Mexicans, and the location of the archives in which that imagery is held. Some of the archives mentioned are found in Mexico: Archivo General de la Nación, the Fototeca Nacional-Instituto Nacional de Antropología e Historia (INAH), the Museo Nacional, and the Instituto Nacional de los Pueblos Indígenas (INPI). Others are located elsewhere: the Smithsonian Institute, the Getty Museum, the Musée du Quai Branly-Jacques Chirac, American Museum of Natural History, and the Museum of Cultural History in Oslo. Among the photographers mentioned are: Desiré Charnay, León Diguet, Teoberto Maler, Frederick Starr, Carl Lumholtz, Julio de la Fuente, and Nacho López.

En este artículo se presenta un análisis de la fotografía de Sara Castrejón durante la Revolución Mexicana y dentro del desarrollo de fotógrafas mexicanas. Se examina desde la fotohistoria, una vertiente de la metodología histórica en la cual las fotografías sirven de fuentes primarias. Así, el proceso es el de historia, descubrir los documentos y analizarlos desde la perspectiva de otras fuentes primarias; entre ellas, entrevistas y, además, se incorporan fuentes secundarias para contextualizar el estudio. Se pregunta cómo vivía Castrejón como fotógrafa de estudio en medio de una guerra civil y cuál era su posición política, comparada con otros fotógrafos de estudio. Además, se incorpora una perspectiva feminista al inquirir sobre cuáles eran las oportunidades para las mujeres de ganarse la vida en este periodo y cómo las decisiones de Castrejón diferían del patrón tradicional. Asimismo, se analizan particularidades de la fotografía de Castrejón que muestran cómo su género se expresó en su imaginario. Las imágenes de Castrejón se consideran un ejemplo de fotografía “vernácula”, la producida fuera de los cánones del arte (Batchen, 2000). En ese sentido, se podría considerar el estudio como inspirado por la teoría fotográfica posmoderna al desplazar la fotografía de arte de su dominio discursivo.

Book Review| August 01 2021 Review: The Mexican Revolution on the World Stage: Intellectuals and Film in the Twentieth Century, by Adela Pineda Franco Adela Pineda Franco. The Mexican Revolution on the World Stage: Intellectuals and Film in the Twentieth Century. Albany: State University of New York Press, 2019. 253pp. John Mraz John Mraz Instituto de Ciencias Sociales y Humanidades, Benemérita Universidad Autónoma de Puebla Search for other works by this author on: This Site PubMed Google Scholar Mexican Studies/Estudios Mexicanos (2021) 37 (2): 318–321. https://doi.org/10.1525/msem.2021.37.2.318 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation John Mraz; Review: The Mexican Revolution on the World Stage: Intellectuals and Film in the Twentieth Century, by Adela Pineda Franco. Mexican Studies/Estudios Mexicanos 1 August 2021; 37 (2): 318–321. doi: https://doi.org/10.1525/msem.2021.37.2.318 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentMexican Studies/Estudios Mexicanos Search This extraordinary study returns the visual reverberations of the Mexican Revolution to the place they once occupied in the world’s arena. The first great successful social upheaval of the twentieth century, the revolution produced a cultural effervescence that made it a center of artistic expression. Unfortunately, the PRI’s (Partido Revolucionario Institucional) “perfect dictatorship” later turned Mexico into a neocolony, giving it the appearance of being an underdeveloped and slightly disreputable imitation of the United States. Hence, Adela Pineda Franco’s book is a historical corrective, leading us through a broad variety of filmic international collaborations inspired by the revolution. It is also timely because, frightened by the current anti-neoliberal discourse in Mexico, English-language publications consistently ningunean (minimize, ignore) the peaceful transformations that may eventually be as important as those achieved by the armed struggle of 1910–20. The first chapter introduces an overlooked documentary project, The Forgotten Village (1941), directed by... You do not currently have access to this content.

In this article an analysis is presented of Sara Castrejon's photography of the Mexican Revolution, with the development of Mexican women photographers. This is carried out through a photohistory that employs an historical methodology in which photographs serve as primary sources. Hence, the process is that of history, which is discovering primary sources, among them interviews and, moreover, incorporating secondary sources to contextualize the study. Inquiry is made into how Castrejon made a living in the midst of the civil war, and her political position as compared to that of other studio photographers. Moreover, a feminist perspective is incorporated by examining what opportunities existed for women in this period and how the choices Castrejon made differed from traditional patterns. The particularities of CastrejOn's photography that derived from her gender are examined. CastrejOn's imagery can be considered an example of "vernacular" photography, which is produced outside artistic canons (Batchen, 2000). In this sense, the study could be considered as being inspired by Postmodern photographic theory, which displaces art photography from its discursive dominance.

Some news images have the power to circulate in manifold forms, living on as icons of pivotal events and/or being appropriated for new situations. One that provides a complex demonstration of this process is Elsa Medina's 1991 photograph of Mexican President Carlos Salinas de Gortari, seated before a portrait of agrarian revolutionary Emiliano Zapata. The collaboration between Medina and Salinas resulted in an image of the president gesturing grotesquely in front of a painting that replicates Zapata's famed photographic icon. This tableau issued from a meeting at the presidential residence whose purpose was the termination of agrarian reform, a cornerstone of Zapata's political program that became a pillar of the 1917 Mexican Constitution. Photography is sometimes a dialectic between those who are being pictured and those who are doing the picturing. The photograph may represent a startlingly graphic depiction of Zapata's triumph.

***Análise de fotografias históricas: gêneros, funções e metodologias***O artigo opera com os conceitos de genero e função como contribuição no desenvolvimento de metodologias para analisar fotografias desde uma perspectiva histórica. Examina-se o gênero fotojornalismo considerando-se suas diferentes funções delimitadas por suas diversas dimensões, entre as quais: fotografia de imprensa, fotojornalismo propriamente, fotoensaios e documentarismo. Observa-se que os enganos gerados pelos praticantes desse gênero fotográfico são resultado da aplicação das regras de uma única função a todo o gênero. Assume-se a hipótese que a análise histórica pode facilitar o estabelecimento dos gêneros fotográficos e a distinção das diferentes funções dentro de um gênero.

Este artigo tenta redefinir a disciplina que utiliza as imagens tecnicas na Historia. Ela e conhecida como “Historia Grafica”, mas o autor argumenta que um termo mais adequado poderia ser o de “foto-fono-historia”, sobretudo nas aplicacoes particulares: foto-historia, cine-historia, e video-historia. Abstract. This article attempts to redefine the discipline that utilizes technical images in history. It has been known as “historia grafica,” but the author argues that a more useful term might be “fotofonohistoria,” above all in the particular applications: photohistory, cinehistory, and videohistory.

David William Foster, Argentine, Mexican, and Guatemalan Photography: Feminist, Queer, and Post-masculinist Perspectives (Austin, TX: University of Texas Press, 2014), pp. xviii + 197, £42.00, hb. - Volume 48 Issue 2