Special Issue of "Film & History: An Interdisciplinary Journal of Film and TV Studies"

LATIN AMERICA ON FILM

Throughout its history Latin America has witnessed a conflict of ideologies. Concordantly, the challenges of treating Latin American history on film has incited dialogue and debate among scholars from divergent disciplines.

How can and should filmmakers treat aspects of Latin America on film? Who has an “authentic voice” in such treatments and through which sorts of aesthetics? What levels of political identification are created by the spectatorship of such films? Does Latin America begin and end with the borders between the United States and Mexico and include Central and South America, or are such traditional and state-mandated geographic representations culturally and socially delimiting? And in what ways do particular films help give shape to the history of Latin America?

The interdisciplinary journal "Film & History" seeks submissions for two special issues focused on discussions of filmic treatments of Latin America. The topic will be approached broadly, with submissions welcomed on non-fiction, avant-garde, and feature film and television, as well as historical or comparative discussions of filmic representations of and identifications with Latin America.

Essays might discuss documentary films, such as “The Brickmakers” (1968), “Senorita Extraviada” (2001), Cuban revolutionary films and television documentaries. Relevant dramatizations include “Like Water for Chocolate” (1992), “El Norte” (1983), “The Courage of the People” (1971), “Camila” (1984), and other pertinent features. Films such as “The Hour of the Furnaces” (1968), “Recuerdos de los Flores Muertes” (1982), “La Ofrenda: Day of the Dead” (1989), among others suggest the possibility that Latin American cinema transcends and/or melds traditional genres and incorporates new technologies into new conceptions of film narrative-making.

Examples of possible synthetic essays might include the filmic treatment of Latin America in specific historical periods (e.g., 1960s, 1980s), in specific countries (e.g., Argentina, Brazil, Mexico), by specific filmmakers (e.g., Alfonso Arau, Tomas Gutierrez Alea, Glauber Rocha). Essays may make reference to specific aesthetic and theoretical issues, including but not limited to interpretations of an “Aesthetics of Hunger” (1965, Rocha), a “Third Cinema” (1968, Solonas and Gettino), and an “Imperfect Cinema” (1987, Espinosa). Historical analyses also might focus on the use of visual evidence for historical understanding and accuracy, whereas media analyses might discuss the verification of such visual evidence and the techniques of presentation.

"Film & History" has been published since the establishment of the Historians Film Committee by John E. O'Conner and Martin A. Jackson in 1970. This affiliated committee of the American Historical Association encourages the use of film sources in teaching and research through the publication of this journal and related scholarly activities. Peter Rollins of Oklahoma State University has edited the journal since 1994. More information on this semi-annual journal and its related activities can be found at the website.

Questions about this special issue may be directed to the Special Issues’ Editors (below) or to the General Editor Peter Rollins (RollinsPC@aol.com). Please format manuscripts in Chicago Manual of Style with endnotes or MLA format with Works Cited.

DEADLINE FOR SUBMISSIONS IS DECEMBER 1, 2003 FOR BOTH ISSUES.