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"Foster, David William"
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Argentine, Mexican, and Guatemalan Photography
One of the important cultural responses to political and sociohistorical events in Latin America is a resurgence of urban photography, which typically blends high art and social documentary. But unlike other forms of cultural production in Latin America, photography has received relatively little sustained critical analysis. This pioneering book offers one of the first in-depth investigations of the complex and extensive history of gendered perspectives in Latin American photography through studies of works from Argentina, Mexico, and Guatemala.David William Foster examines the work of photographers ranging from the internationally acclaimed artists Graciela Iturbide, Pedro Meyer, and Marcos López to significant photographers whose work is largely unknown to English-speaking audiences. He grounds his essays in four interlocking areas of research: the experience of human life in urban environments, the feminist matrix and gendered cultural production, Jewish cultural production, and the ideological principles of cultural works and the connections between the works and the sociopolitical and historical contexts in which they were created. Foster reveals how gender-marked photography has contributed to the discourse surrounding the project of redemocratization in Argentina and Guatemala, as well as how it has illuminated human rights abuses in both countries. He also traces photography's contributions to the evolution away from the masculinist-dominated post–1910 Revolution ideology in Mexico. This research convincingly demonstrates that Latin American photography merits the high level of respect that is routinely accorded to more canonical forms of cultural production.
eBook
El Eternauta, Daytripper, and Beyond
El Eternauta, Daytripper, and Beyond examines the graphic narrative tradition in the two South American countries that have produced the medium’s most significant and copious output. Argentine graphic narrative emerged in the 1980s, awakened by Héctor Oesterheld’s groundbreaking 1950s serial El Eternauta. After Oesterheld was “disappeared\" under the military dictatorship, El Eternauta became one of the most important cultural texts of turbulent mid-twentieth-century Argentina. Today its story, set in motion by an extraterrestrial invasion of Buenos Aires, is read as a parable foretelling the “invasion\" of Argentine society by a murderous tyranny. Because of El Eternauta, graphic narrative became a major platform for the country’s cultural redemocratization. In contrast, Brazil, which returned to democracy in 1985 after decades of dictatorship, produced considerably less analysis of the period of repression in its graphic narratives. In Brazil, serious graphic narratives such as Fábio Moon and Gabriel Bá’s Daytripper, which explores issues of modernity, globalization, and cross-cultural identity, developed only in recent decades, reflecting Brazilian society’s current and ongoing challenges. Besides discussing El Eternauta and Daytripper, David William Foster utilizes case studies of influential works—such as Alberto Breccia and Juan Sasturain’s Perramus series, Angélica Freitas and Odyr Bernardi’s Guadalupe, and others—to compare the role of graphic narratives in the cultures of both countries, highlighting the importance of Argentina and Brazil as anchors of the production of world-class graphic narrative.
eBook
Handbook of Latin American Literature (Routledge Revivals)
First published in 1987 (this second edition in 1992), the Handbook of Latin American Literature offers readers the opportunity to explore this literary history in the English Language and constitutes an ideological approach to Latin American Literature. It provides both concise information concerning particular authors, works, and literary traditions of Latin America as well as comprehensive material about the various national literatures of the area. This book will therefore be of interest to Hispanic scholars, as well as more general readers and non-Hispanists.
eBook
Queer Issues in Contemporary Latin American Cinema
Viewing contemporary Latin American films through the lens of queer studies reveals that many filmmakers are exploring issues of gender identity and sexual difference, as well as the homophobia that attempts to defeat any challenge to the heterosexual norms of patriarchal culture. In this study of queer issues in Latin American cinema, David William Foster offers highly perceptive queer readings of fourteen key films to demonstrate how these cultural products promote the principles of an antiheterosexist stance while they simultaneously disclose how homophobia enforces the norms of heterosexuality.
Foster examines each film in terms of the ideology of its narrative discourse, whether homoerotic desire or a critique of patriarchal heterosexism and its implications for Latin American social life and human rights. His analyses underscore the difficulties involved in constructing a coherent and convincing treatment of the complex issues involved in critiquing the patriarchy from perspectives associated with queer studies. The book will be essential reading for everyone working in queer studies and film studies.
The films discussed in this book are:
De eso no se habla(I Don't Want to Talk about It)El lugar sin límites(The Place without Limits)Aqueles dois(Those Two)Convivencia(Living Together)Conducta impropia(Improper Conduct)The Disappearance of García Lorca
La Virgen de los Sicarios(Our Lady of the Assassins)Doña Herlinda y su hijo(Doña Herlinda and Her Son)No se lo digas a nadie(Don't Tell Anyone)En el paraíso no existe el dolor(There Is No Suffering in Paradise)A intrusa(The Interloper)Plata quemada(Burnt Money)Afrodita(Aphrodite)Fresa y chocolate(Strawberry and Chocolate)
eBook
Memories That Lie a Little
Memories that Lie a Little analyzes how Jewish life developed under Argentina's last military dictatorship (1976-1983), as well as the ways in which key players of the Jewish community remembered that experience in the years after the transition to democracy.
eBook
Plan B
Berger's film is predicated on the presumed prevailing gay-friendly environment of contemporary Buenos Aires (if not all of Argentina) and the way in which the private can , with considerable ease, be public in the post-1983 democracy, grounded as it is on an overt defense of human rights. Bruno and Pablo do some experimental kissing, and they do sleep together on occasion in fraternal \"I was too drunk last night to make it to my own bed\" fashion, and they do get naked (at the gym) and semi-naked together (at Pablo's), but this business is all executed in terms of boys just being boys, messing around as boys will want to do. The matter of how two paradigmatic machoes will negotiate their bodies in terms of homoerotic lovemaking is not devoid of interest, but it is not the point of the film, and it is significant that he does not detract from the main line of his narrative, the psychological purposes by which the two men can fall into each other's arms without any evidence of psychological trauma (this in Freudian Buenos Aires!), is to the director's considerable credit.
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