The Politics of Violence in Contemporary Latin American Cinema

full name / name of organization: 
Monica Filimon and Henry Tarco-Carrera/NEMLA 2013
contact email: 
henrytar@buffalo.edu/mefilimon@yahoo.com

This panel will examine the social, moral, and aesthetic implications of violence as it has been conceptualized in post-2000 Latin American cinema. What role does violence play in today's communities? How and why does violence cross national borders? Is violence always transgressive or can it be legitimated? What are the moral connotations of the consumption of violent films? Please send 300-500 word abstracts and brief biographical statements to Henry Tarco-Carrera at henrytar@buffalo.edu and Monica Filimon at mefilimon@yahoo.com. Deadline: September 30, 2012

In 1982, Gabriel García Márquez defined the “solitude of Latin America” as a perpetual cohabitation with violence so unimaginable that artists had to struggle to reflect reality plausibly. In the past ten years, however, violence has become central to the modern individual’s experience everywhere. In the late 1960s, Hannah Arendt defined violence as instrumental, a “tool” used to achieve a specific end; it could be “justifiable,” but never “legitimate.” More recently, Slavoj Žižek has described violence as a threefold concept: the “systemic,” mostly economic and political, violence, dominates all relationships and becomes publicly visible only in its "symbolic" and/or "subjective" manifestations. In his latest book, Rob Nixon discusses the notion of “slow violence,” which describes the environmental threats and ongoing disasters whose victims are the poor. Films such as *Cronicamente inviável*(2000), *Amores Perros* (2000), *Bolivia*(2001), *Amar te duele* (2002), *Cidade de deus*(2002), *Machuca* (2004), *La mujer sin cabeza*(2008), *Rabia* (2009), *La teta asustada*(2009), *Prometeo deportado* (2009), or *La nana* (2009) explore the political and economic facets of violence in Latin America in response to globalization, increased international tension, and domestic strife. This session will examine the social, moral, and aesthetic implications of violence as it has been conceptualized in post-2000 Latin American cinema. The panel aims to start a discussion about the role of new Latin American cinemas in reflecting and confronting the widespread violence in the region. What role does violence play in today’s communities? How is it transmitted from one generation to another? How does violence infiltrate and reshape the relationship between the sexes, races, ethnic groups, and social classes? What types of violence dominate? How and why does violence cross national borders? Is violence always transgressive or can it be legitimated? What are the moral connotations of the consumption of violent films?

The 2013 NeMLA convention continues the Association's tradition of sharing innovative scholarship in an engaging and generative location. The 44th annual event will be held in historic Boston, Massachusetts, a city known for its national and maritime history, academic facilities and collections, vibrant art, theatre, and food scenes, and blend of architecture. The Convention, located centrally near Boston Commons and the Theatre District at the Hyatt Regency, will include keynote and guest speakers, literary readings, film screenings, tours and workshops.

Interested participants may submit abstracts to more than one NeMLA session; however, panelists can only present one paper (panel or seminar). Convention participants may present a paper at a panel and also present at a creative session or participate in a roundtable. http://www.nemla.org/convention/2013/cfp.html

cfp categories: 
cultural_studies_and_historical_approaches
ethnicity_and_national_identity
film_and_television
gender_studies_and_sexuality
general_announcements
interdisciplinary
popular_culture
twentieth_century_and_beyond