My research specializes in contemporary Iberian cultural production with particular interest in the child as biopolitical figure, gynocentric filmic representations of and by women, and the uses of comedy and social satire. My broader areas of inquiry span time, place, discipline, and media from 17th century Spain to contemporary Latin American and transnational screen arts, intercultural pedagogy, and videographic criticism.
Nuestro propósito en el presente artículo es llevar a cabo una metarreflexión crítica sobre nuest... more Nuestro propósito en el presente artículo es llevar a cabo una metarreflexión crítica sobre nuestras aportaciones al proyecto de humanidades digitales The Gynocine Project. El punto de partida y eje que articula nuestro análisis es un corpus de seis entrevistas que realizamos a mujeres cineastas emergentes de la etapa posCIMA junto a lecturas cruzadas de investigaciones recientes enfocadas en este ámbito de estudio. En nuestro análisis, que coincide con el quince aniversario del compromiso de CIMA por la igualdad de género en la industria audiovisual española, iluminamos el estado de la cuestión, identificando las luces y sombras del acceso de las mujeres a la creación audiovisual y su representación dentro de ella, además de proyecciones de futuro.
Gynocine: A History of Spanish Women's Cinema, Ed. Barbara Zecchi , 2019
Co-authored with María G... more Gynocine: A History of Spanish Women's Cinema, Ed. Barbara Zecchi , 2019 Co-authored with María García Puente
Gynocine: A History of Spanish Women's Cinema, Ed. Barbara Zecchi , 2019
Co-authored with María G... more Gynocine: A History of Spanish Women's Cinema, Ed. Barbara Zecchi , 2019 Co-authored with María García Puente
In the spirit of poetic license from Be Kind Rewind (2008), this article argues that Michel Gondr... more In the spirit of poetic license from Be Kind Rewind (2008), this article argues that Michel Gondry's film " swedes, " its playful neologism for ersatz remaking of Hollywood and classic films, Miguel de Cervantes's Don Quixote. The feature follows the Sanchification of Jerry (Jack Black), Gondry's Don Quixote, and Quixotification of Mike (Mos Def), Gondry's Sancho, as they nostalgically wrong cinematic rights through sweding and try to save their working-class neighbourhood from condemnation and gentrification through community filmmaking. Gondry swedes the Quixote through his engagement with major themes and operations in Cervantes's classic, including nostalgia, story-telling, conflicts between reality and fantasy, authorship, the grotesque and carnivalesque, (anti-)heroes, race and gender-bending, genre, and addressees turned addressers. This article discusses Be Kind Rewind's relationship to Hollywoodian and Cervantine classics through the theoretical frameworks of Julio García Espinosa's imperfect cinema and Foucauldian semiotics, respectively. Be Kind Rewind uses and abuses Hollywood stereotypes to re-purpose them for a critique of discriminatory practices. Where casting is concerned and where Michel's characters diverge from Miguel's, Be Kind Rewind advances that skin colour is not an arbitrary sign and that race has historical and contemporary meaning in intercultural interactions.
Negative or positive evaluations of the street smarts of children mark a before and after in Arge... more Negative or positive evaluations of the street smarts of children mark a before and after in Argentine cinema. In order to best appreciate the originality of Leonardo Favio’s famous neorealist-style feature, Crónica de un niño solo (1965), archival research is necessary to examine its precursors, the lesser-known popular pictures from Juan Perón’s first presidency. The films of child prodigies Toscanito (Andrés Poggio 1934-) and Adrianita (Adriana Bianco 1941-) distinguish themselves from Crónica de un niño solo in their aesthetic, genre, and, our focus, in their evaluation of street smarts regarding work, criminality, and language. The lessons of El hijo de la calle (Torres Ríos 1948), Pantalones cortos (Torres Ríos 1949), and La niña del gato (Viñoly Barreto 1953) consist of the religious redemption of delinquents. If according to the Peronist slogan “los únicos privilegiados son los niños,” the treatment of the knowledge of pibes prodigio exhibits the contrary: their know-how is not privileged but rather subjugated to the Peronist agenda. From a Foucauldian theoretical framework, I argue that street smarts in Peronist cinema are a “subjugated knowledge.” These child protagonists are subjected to a political and religious double censorship. A decade later, Leonardo Favio, product of the Peronist child welfare system, arrives to vindicate the street smarts of his debut film’s protagonist. Favio teaches that, instead of harming the boy, his know-how saves him.
Isabel Coixet’s film, The Secret Life of Words (Spain 2005), primarily set on an oilrig off the c... more Isabel Coixet’s film, The Secret Life of Words (Spain 2005), primarily set on an oilrig off the coast of Britain, dramatises the struggle of its hearing impaired protagonist Hanna (Sarah Polley) to overcome the trauma of the Balkan wars (1990s). The chapter situates Hanna’s trauma-induced silence within the context of the politics of truth commissions. This analysis is primarily vococentric (Chion 1999) since Coixet explores Hanna’s suffering through her voice rather than her image. The traumatic past of experiences in the Balkans echoes in the disembodied voice of Hanna’s pain. As well as the haunting acousmatic voice of Hanna’s trauma, we have the voice of her American burn victim patient Josef (Tim Robbins). As discussed in several feminist readings, the director disables the male lead’s gaze by virtue of his temporary blindness so that he may learn how to listen to Hanna’s voiced experiences. I posit that Hanna and Josef begin to practise what Lisbeth Lipari has called ‘listening otherwise’, or allowing oneself to be transformed by listening to the other. I argue further that listening otherwise in the film supports an ethics of healing that runs counter to the shock value of images of war and torture that Susan Sontag discusses in Regarding the Pain of Others (2003).
Nuestro propósito en el presente artículo es llevar a cabo una metarreflexión crítica sobre nuest... more Nuestro propósito en el presente artículo es llevar a cabo una metarreflexión crítica sobre nuestras aportaciones al proyecto de humanidades digitales The Gynocine Project. El punto de partida y eje que articula nuestro análisis es un corpus de seis entrevistas que realizamos a mujeres cineastas emergentes de la etapa posCIMA junto a lecturas cruzadas de investigaciones recientes enfocadas en este ámbito de estudio. En nuestro análisis, que coincide con el quince aniversario del compromiso de CIMA por la igualdad de género en la industria audiovisual española, iluminamos el estado de la cuestión, identificando las luces y sombras del acceso de las mujeres a la creación audiovisual y su representación dentro de ella, además de proyecciones de futuro.
Gynocine: A History of Spanish Women's Cinema, Ed. Barbara Zecchi , 2019
Co-authored with María G... more Gynocine: A History of Spanish Women's Cinema, Ed. Barbara Zecchi , 2019 Co-authored with María García Puente
Gynocine: A History of Spanish Women's Cinema, Ed. Barbara Zecchi , 2019
Co-authored with María G... more Gynocine: A History of Spanish Women's Cinema, Ed. Barbara Zecchi , 2019 Co-authored with María García Puente
In the spirit of poetic license from Be Kind Rewind (2008), this article argues that Michel Gondr... more In the spirit of poetic license from Be Kind Rewind (2008), this article argues that Michel Gondry's film " swedes, " its playful neologism for ersatz remaking of Hollywood and classic films, Miguel de Cervantes's Don Quixote. The feature follows the Sanchification of Jerry (Jack Black), Gondry's Don Quixote, and Quixotification of Mike (Mos Def), Gondry's Sancho, as they nostalgically wrong cinematic rights through sweding and try to save their working-class neighbourhood from condemnation and gentrification through community filmmaking. Gondry swedes the Quixote through his engagement with major themes and operations in Cervantes's classic, including nostalgia, story-telling, conflicts between reality and fantasy, authorship, the grotesque and carnivalesque, (anti-)heroes, race and gender-bending, genre, and addressees turned addressers. This article discusses Be Kind Rewind's relationship to Hollywoodian and Cervantine classics through the theoretical frameworks of Julio García Espinosa's imperfect cinema and Foucauldian semiotics, respectively. Be Kind Rewind uses and abuses Hollywood stereotypes to re-purpose them for a critique of discriminatory practices. Where casting is concerned and where Michel's characters diverge from Miguel's, Be Kind Rewind advances that skin colour is not an arbitrary sign and that race has historical and contemporary meaning in intercultural interactions.
Negative or positive evaluations of the street smarts of children mark a before and after in Arge... more Negative or positive evaluations of the street smarts of children mark a before and after in Argentine cinema. In order to best appreciate the originality of Leonardo Favio’s famous neorealist-style feature, Crónica de un niño solo (1965), archival research is necessary to examine its precursors, the lesser-known popular pictures from Juan Perón’s first presidency. The films of child prodigies Toscanito (Andrés Poggio 1934-) and Adrianita (Adriana Bianco 1941-) distinguish themselves from Crónica de un niño solo in their aesthetic, genre, and, our focus, in their evaluation of street smarts regarding work, criminality, and language. The lessons of El hijo de la calle (Torres Ríos 1948), Pantalones cortos (Torres Ríos 1949), and La niña del gato (Viñoly Barreto 1953) consist of the religious redemption of delinquents. If according to the Peronist slogan “los únicos privilegiados son los niños,” the treatment of the knowledge of pibes prodigio exhibits the contrary: their know-how is not privileged but rather subjugated to the Peronist agenda. From a Foucauldian theoretical framework, I argue that street smarts in Peronist cinema are a “subjugated knowledge.” These child protagonists are subjected to a political and religious double censorship. A decade later, Leonardo Favio, product of the Peronist child welfare system, arrives to vindicate the street smarts of his debut film’s protagonist. Favio teaches that, instead of harming the boy, his know-how saves him.
Isabel Coixet’s film, The Secret Life of Words (Spain 2005), primarily set on an oilrig off the c... more Isabel Coixet’s film, The Secret Life of Words (Spain 2005), primarily set on an oilrig off the coast of Britain, dramatises the struggle of its hearing impaired protagonist Hanna (Sarah Polley) to overcome the trauma of the Balkan wars (1990s). The chapter situates Hanna’s trauma-induced silence within the context of the politics of truth commissions. This analysis is primarily vococentric (Chion 1999) since Coixet explores Hanna’s suffering through her voice rather than her image. The traumatic past of experiences in the Balkans echoes in the disembodied voice of Hanna’s pain. As well as the haunting acousmatic voice of Hanna’s trauma, we have the voice of her American burn victim patient Josef (Tim Robbins). As discussed in several feminist readings, the director disables the male lead’s gaze by virtue of his temporary blindness so that he may learn how to listen to Hanna’s voiced experiences. I posit that Hanna and Josef begin to practise what Lisbeth Lipari has called ‘listening otherwise’, or allowing oneself to be transformed by listening to the other. I argue further that listening otherwise in the film supports an ethics of healing that runs counter to the shock value of images of war and torture that Susan Sontag discusses in Regarding the Pain of Others (2003).
¿Quién no se ha sentido alguna vez atraído, casi impulsado a contemplar una imagen que al mismo t... more ¿Quién no se ha sentido alguna vez atraído, casi impulsado a contemplar una imagen que al mismo tiempo que le abominaba le producía una fascinación difícil de explicar?
La conferencia FOLCLORE, HORROR Y GÓTICO: ENTORNOS Y PRESENCIAS SOBRENATURALES EN EUROPA Y LAS AMÉRICAS se celebrará de forma presencial en la Universidad de León (España) los días 5, 6 y 7 de julio de 2023.
The Department of Modern Languages, Linguistics and Intercultural Communication at the University... more The Department of Modern Languages, Linguistics and Intercultural Communication at the University of Maryland, Baltimore County invites applications for a tenure track Assistant Professor position in Korean, beginning August 2023. We seek candidates with a teaching and research concentration in Korean cultural studies, Korean linguistics, Applied Linguistics or Second Language Acquisition (with a focus on Korean). Candidates must have completed a Ph.D. in Korean studies, Korean linguistics or Applied linguistics with a Korean focus by August 2023. The annual teaching load is five courses. Applicants should submit these materials by November 18, 2022: (1) a 2 page cover letter; (2) a 2 page statement addressing how the candidate’s commitment to diversity and inclusiveness informs their teaching philosophy, research agenda, and service; (3) a CV including courses taught; (4) one sample publication; and (5) three letters of recommendation addressing the impact of the candidate’s research, teaching, and service and/or potential. Candidates may choose to submit up to three syllabi relevant to the position. Questions may be addressed to Dr. Erin Hogan, Search Chair, MLLI, ekhogan@umbc.edu, with the subject line “MLLI-Korean Search.” A complete version of this advertisement, required application materials, and submission instructions can be found at http://apply.interfolio.com/116045.
Spanish Society Must Be Defended?: Revisiting Foucault, Biopolitics, and Sovereignty Today
... more Spanish Society Must Be Defended?: Revisiting Foucault, Biopolitics, and Sovereignty Today
This proposed seminar revisits Michel Foucault’s “Society Must Be Defended” lecture on March 17, 1976 in light of recent events (2011-). Foucault discussed Franco’s death as a watershed moment in the birth of biopower: “that man who had exercised the absolute power of life and death over hundreds of thousands of people fell under the influence of a power that managed life so well, that took so little heed of death, and he didn’t even realize that he was dead and was being kept alive after his death.” Who are sovereign and homo sacer today? Is power still the right to make live? How is life regularized amidst a pandemic? Which current events or cultural texts best reflect the mechanisms of biopower and what do they indicate? In dialogue with necropolitics, necro-economics, ecocriticism, non-human studies and other contemporary theorizations, this seminar considers the biopolitical workings of Spain today and their impact on quality of life. Participants may choose to grapple with: austerity and the Indignados protests; royal corruption and departure; failed abortion reform; Gag Law and demonstrations; Manada rulings; bid for Catalonian independence; rise of Vox; Franco’s exhumation; monument (Francoist, Columbus) removal; COVID-19 pandemic and economic aftermath. Comparative biopolitical readings with other regions are welcomed. Please submit your paper proposal (200-250 words) to ACLA’s online portal by Oct. 31st. For further information contact ekhogan@umbc.edu
Número Monográfico REGS Vol. 47.1. (2021)
El género ilimitado: márgenes, rupturas y transgresione... more Número Monográfico REGS Vol. 47.1. (2021) El género ilimitado: márgenes, rupturas y transgresiones en el cine luso-hispánico Llamado a Propuestas de Ensayos Call for Essay Proposals Plazo/Deadline: 15 de febrero de 2020
Dear Colleagues,
We would like to invite you and your students to contribute to a new platform f... more Dear Colleagues,
We would like to invite you and your students to contribute to a new platform for the study and teaching of Hispanic cinema and culture, CineMaestro.
CineMaestro is an open-access collaborative digital project designed to promote audiovisual literacy and intercultural competencies for informed global citizens and professionals through the study and teaching of the cinemas of Spain, Latin America, and Latinx.
You’re invited to participate in our pilot program and to grow with us!
This proposed panel is concerned with satirical responses to corruption, injustice, disenfranchis... more This proposed panel is concerned with satirical responses to corruption, injustice, disenfranchisement and economic crisis from across Hispanic cultural production. Papers may analyze dark comedy in film, comics and cartoons, narrative, theater, visual arts, social media, and so on from Spain, Latin America, and Latinx America and from any time period. The aim of this proposed panel is to explore the tragicomic sensibility in Hispanic cultural production with a focus on social critique and, where possible, to trace genealogies and compare/contrast satirical representations across the Spanish-speaking world. We ask: How do our proposed texts relate to the terms: dark comedy, grotesque, esperpento, farce, tragicomedy, humorism, wit? How do the grotesque and tragicomedy address social ills? What are their ethical dimensions? What do farce and humoristic approaches to social justice offer? What are their strengths and weaknesses? What is their impact? How do dark comedies compare or contrast across the time and space of the Spanish-speaking world? Contributions on works from the Lusophone world may also be considered.
Thank you in advance for submitting your paper to this session! Paper proposals (300 words) , titles (100 characters), and presenter bio.s may be submitted between June 15th and September 30th through NeMLA’s online system (https://www.cfplist.com/nemla). Decision e-mails will be sent by October 15th. NeMLA asks that accepted and confirmed panelists pay their membership/registration fees by December 1, 2017 in order to present at the 2018 convention in Pittsburgh (April 12-15).
Call for Papers: The Child in the Gothic Mode of Hispanic Cinema
North East Modern Language Assoc... more Call for Papers: The Child in the Gothic Mode of Hispanic Cinema North East Modern Language Association (NeMLA) in Baltimore, MD – March 23-26, 2017
The aim of this proposed paper panel session is to explore new interpretations of the Gothic mode’s child characters in the cinema of Spain and Latin America by departing from the theoretical “haunts” in existing criticism. Readings that engage with the paradigms of Derridean hauntology, pioneered by Jo Labanyi, and historical memory have prevailed in the examination of films depicting the Spanish Civil War and Francisco Franco’s dictatorship. This session would like to showcase papers that open up films in the Gothic mode with child or adolescent characters, if not protagonists, to new readings. In an edited volume from 2016, Ann Davies theorizes a “hidden” and transnational Gothic mode in Spanish cinema and advocates for the analysis of this sensibility in its own right (2016: 118). For Davies, tell-tale indications of the mode include: decayed or ruined buildings, patriarchal or domineering figures who wield power over innocents, shadowy labyrinths and enclosed spaces, a past that haunts the present, and dark secret to be discovered (2016: 117).
How do films with Gothic undercurrents such as these engage with theoretical frameworks besides those of hauntology and historical memory? Which works partake in the Gothic mode but have not been discussed in these terms? What is the role of the Gothic child? The proposed session is not limited to a specific time period and will consider submissions on child and adolescent characters in the cinematic and televisual production of Spain and Latin America.
Thank you in advance for submitting your paper to this session! Paper proposals (300 words) may be submitted between June 25th and September 30th through NEMLA’s online system (http://www.buffalo.edu/nemla/convention/submit.htmlhttps://www.cfplist.com/nemla/Home/S/16136). Decision e-mails will be sent by October 15th. NEMLA asks that accepted and confirmed panelists pay their membership/registration fees by December 1, 2016 in order to present at the 2017 convention.
The Two cines con niño is the first genre study of child-starred cinemas from Spain. It illuminat... more The Two cines con niño is the first genre study of child-starred cinemas from Spain. It illuminates continuities in the political use of the child protagonist in over fifty years of Spanish cinema and how the child-starred genres deploy the concept of childhood to retrospectively define the nation and its future. From Francoist popular to oppositional auteur films, and including Latin American cinema, this monograph examines commonalities in aesthetics, narratives, and genre functions. It demonstrates the impact of these narratives within Spanish film history and Francoist biopolitics, as well as providing a broader transatlantic perspective on the genre in select productions from Chile and Argentina. https://edinburghuniversitypress.com/book-the-two-cines-con-ni-o-hb.html
Please to encourage any talented students in your program to consider pursuing a graduate degree ... more Please to encourage any talented students in your program to consider pursuing a graduate degree at the University of Maryland Baltimore County (UMBC). The MA program in Intercultural Communication prepares students with concrete intercultural skills in education, digital media, policy and training as well as advanced study in a modern language in which intercultural sensitivity and competency are crucial components. For more information about our program, please visit: http://mlli.umbc.edu/graduate/ The application deadline is January 31, 2019, and application materials are available at http://mlli.umbc.edu/admissions-applications/. We encourage you to share information about our program, including profiles of our current students and alumni with potential applicants. Please visit: http://mlli.umbc.edu/graduate/. If you have any questions, please contact the director of the program Nicoleta Bazgan at nbazgan@umbc.edu.
The MA program in Intercultural Communication prepares students with concrete intercultural skill... more The MA program in Intercultural Communication prepares students with concrete intercultural skills in education, digital media, policy and training as well as advanced study in a modern language in which intercultural sensitivity and competency are crucial components. For more information about our program, please visit: http://mlli.umbc.edu/graduate/ In addition to the students from the U.S., we attract many international students who enter an advanced U.S. Culture track. We pride ourselves on a program in which students and faculty members from various countries learn from each other, and we actively promote each student's development. Admission is competitive and we have a small number of Graduate Teaching Assistantships to offer to the strongest candidates. We also have an excellent record of placing our graduate students in other assistantship opportunities in related offices across campus to fund their studies. The application deadline is January 31, 2019, and application materials are available at http://mlli.umbc.edu/admissions-applications/. We encourage you to share information about our program, including profiles of our current students and alumni with potential applicants.
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Co-authored with María García Puente
Co-authored with María García Puente
vococentric (Chion 1999) since Coixet explores Hanna’s suffering through her voice rather than her image. The traumatic past of experiences in the Balkans echoes in the disembodied voice of Hanna’s pain. As well as the haunting acousmatic voice of Hanna’s trauma, we have the voice of her American burn victim patient Josef (Tim Robbins). As discussed in several feminist readings,
the director disables the male lead’s gaze by virtue of his temporary blindness so that he may learn how to listen to Hanna’s voiced experiences. I posit that
Hanna and Josef begin to practise what Lisbeth Lipari has called ‘listening otherwise’, or allowing oneself to be transformed by listening to the other. I
argue further that listening otherwise in the film supports an ethics of healing that runs counter to the shock value of images of war and torture that Susan
Sontag discusses in Regarding the Pain of Others (2003).
Co-authored with María García Puente
Co-authored with María García Puente
vococentric (Chion 1999) since Coixet explores Hanna’s suffering through her voice rather than her image. The traumatic past of experiences in the Balkans echoes in the disembodied voice of Hanna’s pain. As well as the haunting acousmatic voice of Hanna’s trauma, we have the voice of her American burn victim patient Josef (Tim Robbins). As discussed in several feminist readings,
the director disables the male lead’s gaze by virtue of his temporary blindness so that he may learn how to listen to Hanna’s voiced experiences. I posit that
Hanna and Josef begin to practise what Lisbeth Lipari has called ‘listening otherwise’, or allowing oneself to be transformed by listening to the other. I
argue further that listening otherwise in the film supports an ethics of healing that runs counter to the shock value of images of war and torture that Susan
Sontag discusses in Regarding the Pain of Others (2003).
La conferencia FOLCLORE, HORROR Y GÓTICO: ENTORNOS Y PRESENCIAS SOBRENATURALES EN EUROPA Y LAS AMÉRICAS se celebrará de forma presencial en la Universidad de León (España) los días 5, 6 y 7 de julio de 2023.
Applicants should submit these materials by November 18, 2022: (1) a 2 page cover letter; (2) a 2 page statement addressing how the candidate’s commitment to diversity and inclusiveness informs their teaching philosophy, research agenda, and service; (3) a CV including courses taught; (4) one sample publication; and (5) three letters of recommendation addressing the impact of the candidate’s research, teaching, and service and/or potential. Candidates may choose to submit up to three syllabi relevant to the position. Questions may be addressed to Dr. Erin Hogan, Search Chair, MLLI, ekhogan@umbc.edu, with the subject line “MLLI-Korean Search.” A complete version of this advertisement, required application materials, and submission instructions can be found at http://apply.interfolio.com/116045.
This proposed seminar revisits Michel Foucault’s “Society Must Be Defended” lecture on March 17, 1976 in light of recent events (2011-). Foucault discussed Franco’s death as a watershed moment in the birth of biopower: “that man who had exercised the absolute power of life and death over hundreds of thousands of people fell under the influence of a power that managed life so well, that took so little heed of death, and he didn’t even realize that he was dead and was being kept alive after his death.” Who are sovereign and homo sacer today? Is power still the right to make live? How is life regularized amidst a pandemic? Which current events or cultural texts best reflect the mechanisms of biopower and what do they indicate? In dialogue with necropolitics, necro-economics, ecocriticism, non-human studies and other contemporary theorizations, this seminar considers the biopolitical workings of Spain today and their impact on quality of life. Participants may choose to grapple with: austerity and the Indignados protests; royal corruption and departure; failed abortion reform; Gag Law and demonstrations; Manada rulings; bid for Catalonian independence; rise of Vox; Franco’s exhumation; monument (Francoist, Columbus) removal; COVID-19 pandemic and economic aftermath. Comparative biopolitical readings with other regions are welcomed. Please submit your paper proposal (200-250 words) to ACLA’s online portal by Oct. 31st. For further information contact ekhogan@umbc.edu
General information: https://www.acla.org/annual-meeting?fbclid=IwAR0VBN3k-IkhQ_iK81f2EeR6b0MgTEvRmBBDATmYQxMwLbea4GMCZxvZEwA
Link to post on portal: https://acla.secure-platform.com/a/solicitations/2/sessiongallery?searchParams=%7B%22pageIndex%22%3A0%2C%22sortMode%22%3A%22SessionName%22%2C%22sortDirection%22%3A%22Ascending%22%2C%22sortByFieldId%22%3Anull%2C%22displayMode%22%3A%22List%22%2C%22filterByFieldValues%22%3A%5B%5D%2C%22filterByTextValue%22%3A%22biopolitics%22%2C%22filterByFavorites%22%3Afalse%2C%22filterByScheduleRoomIds%22%3A%5B%5D%2C%22filterBySessionTypeIds%22%3A%5B%5D%2C%22filterByScheduleDayIds%22%3A%5B%5D%2C%22filterByScheduleTimeSlotIds%22%3A%5B%5D%2C%22isScheduleOtherEventSearchAllowed%22%3Atrue%7D
El género ilimitado: márgenes, rupturas y transgresiones en el cine luso-hispánico
Llamado a Propuestas de Ensayos Call for Essay Proposals Plazo/Deadline: 15 de febrero de 2020
We would like to invite you and your students to contribute to a new platform for the study and teaching of Hispanic cinema and culture, CineMaestro.
CineMaestro is an open-access collaborative digital project designed to promote audiovisual literacy and intercultural competencies for informed global citizens and professionals through the study and teaching of the cinemas of Spain, Latin America, and Latinx.
You’re invited to participate in our pilot program and to grow with us!
Would you please check it out at: https://sites.google.com/umbc.edu/cinemaestro
Please circulate widely.
Best wishes for the academic year!
María García-Puente (CSUSB) and Erin K. Hogan (UMBC)
cinemaestros@gmail.com
Thank you in advance for submitting your paper to this session! Paper proposals (300 words) , titles (100 characters), and presenter bio.s may be submitted between June 15th and September 30th through NeMLA’s online system (https://www.cfplist.com/nemla). Decision e-mails will be sent by October 15th. NeMLA asks that accepted and confirmed panelists pay their membership/registration fees by December 1, 2017 in order to present at the 2018 convention in Pittsburgh (April 12-15).
https://commons.mla.org/groups/cinemas-of-spain-latin-america/
North East Modern Language Association (NeMLA) in Baltimore, MD – March 23-26, 2017
The aim of this proposed paper panel session is to explore new interpretations of the Gothic mode’s child characters in the cinema of Spain and Latin America by departing from the theoretical “haunts” in existing criticism. Readings that engage with the paradigms of Derridean hauntology, pioneered by Jo Labanyi, and historical memory have prevailed in the examination of films depicting the Spanish Civil War and Francisco Franco’s dictatorship. This session would like to showcase papers that open up films in the Gothic mode with child or adolescent characters, if not protagonists, to new readings. In an edited volume from 2016, Ann Davies theorizes a “hidden” and transnational Gothic mode in Spanish cinema and advocates for the analysis of this sensibility in its own right (2016: 118). For Davies, tell-tale indications of the mode include: decayed or ruined buildings, patriarchal or domineering figures who wield power over innocents, shadowy labyrinths and enclosed spaces, a past that haunts the present, and dark secret to be discovered (2016: 117).
How do films with Gothic undercurrents such as these engage with theoretical frameworks besides those of hauntology and historical memory? Which works partake in the Gothic mode but have not been discussed in these terms? What is the role of the Gothic child? The proposed session is not limited to a specific time period and will consider submissions on child and adolescent characters in the cinematic and televisual production of Spain and Latin America.
Thank you in advance for submitting your paper to this session! Paper proposals (300 words) may be submitted between June 25th and September 30th through NEMLA’s online system (http://www.buffalo.edu/nemla/convention/submit.html https://www.cfplist.com/nemla/Home/S/16136). Decision e-mails will be sent by October 15th. NEMLA asks that accepted and confirmed panelists pay their membership/registration fees by December 1, 2016 in order to present at the 2017 convention.
https://edinburghuniversitypress.com/book-the-two-cines-con-ni-o-hb.html
The application deadline is January 31, 2019, and application materials are available at http://mlli.umbc.edu/admissions-applications/. We encourage you to share information about our program, including profiles of our current students and alumni with potential applicants. Please visit: http://mlli.umbc.edu/graduate/.
If you have any questions, please contact the director of the program Nicoleta Bazgan at nbazgan@umbc.edu.
The application deadline is January 31, 2019, and application materials are available at http://mlli.umbc.edu/admissions-applications/.
We encourage you to share information about our program, including profiles of our current students and alumni with potential applicants.