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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Transnational Orientalisms in Contemporary Spanish and Latin American Cinema

Transnational Orientalisms in Contemporary Spanish and Latin American Cinema

Gonçalves, Michele C. Dávila

Hardcover

Film Studies

Currently unavailable to order

ISBN10: 144388541X
ISBN13: 9781443885416
Publisher: Cambridge Scholars Publishing
Pages: 150
Language: English
In recent decades in Spain and Latin America, transnational voices, typically stereotyped, alienated or co-opted in the Western world, have been gaining increasing presence in cultural texts. The transnational representation of the Oriental subject, namely Arabs and Jews, Chinese and other ethnic groups that have migrated to Spain and Latin America either voluntarily or forcefully, is now being seen anew in both literature and cinema. This book explores Orientalism beyond literature, in which it has already garnered attention, to examine the new ways of seeing and interpreting both the Middle East and the East in contemporary films, in which many of the immigrants traditionally omitted from the dominant narratives are able to present the trauma, memories and violence of their exile and migration. As such, this volume explores the representation of those single and doubly marginalized groups in contemporary Spanish and Latin American cinema, analysing how films from Spain, Mexico, Chile, Brazil and Argentina portray transnational subjects from a wide spectrum of the Orient world, including Maghrebs from North Africa, and Palestinian, Jewish, Chinese, and Korean peoples. Once vulnerable to the dominant culture of their adopted homes, facing ostracism and marginalisation, these groups are now entering into the popular imagination and revised history of their new countries. This volume explores the following questions as starting points for its analysis: Are these manifestations the new orientalist normative, or are there other characterizations? Are new cinematic scopes and understandings being created? The old stereotypical orientalist ways of seeing these vulnerable groups are beginning to change to a more authentic representation, although, in some cases, they still reside in the subtext of the film.

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