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Reviewing the colony/revising the na...

Gordon, Richard Allen, Jr.

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Reviewing the colony/revising the nation: Mexican and Brazilian cinematic dialogues with colonial texts.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Reviewing the colony/revising the nation: Mexican and Brazilian cinematic dialogues with colonial texts./
作者:	Gordon, Richard Allen, Jr.
面頁冊數:	213 p.
附註:	Adviser: Stephanie Merrim.
Contained By:	Dissertation Abstracts International63-04A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3050891
ISBN:	0493654860

Reviewing the colony/revising the nation: Mexican and Brazilian cinematic dialogues with colonial texts.
Gordon, Richard Allen, Jr.

Reviewing the colony/revising the nation: Mexican and Brazilian cinematic dialogues with colonial texts. - 213 p.

Adviser: Stephanie Merrim.

Thesis (Ph.D.)--Brown University, 2002.

The last decade of the twentieth century witnessed an explosion of rewritings and cinematic renditions of texts and figures from colonial Latin America, prompted by the quincentenaries, in 1992 and 2000, of the arrival of the Spanish and the Portuguese to America. However, critical and aesthetic negotiations with the colonial past are not simply a recent phenomenon in Latin America but have been present throughout the twentieth century. This dissertation studies five cinematic adaptations of colonial texts that exemplify the ongoing interest, among Mexican and Brazilian directors especially, in dialoguing with the colonial past, and examines how such dialogues comment on the present. It explores the political and ideological implications of the adaptations and evaluates how each conjunction of text and film contributes to the continuing redefinition of Mexico and Brazil.

ISBN: 0493654860Subjects--Topical Terms:

854529
Cinema.

Reviewing the colony/revising the nation: Mexican and Brazilian cinematic dialogues with colonial texts.
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245 1 0 $a Reviewing the colony/revising the nation: Mexican and Brazilian cinematic dialogues with colonial texts.
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520 $a The last decade of the twentieth century witnessed an explosion of rewritings and cinematic renditions of texts and figures from colonial Latin America, prompted by the quincentenaries, in 1992 and 2000, of the arrival of the Spanish and the Portuguese to America. However, critical and aesthetic negotiations with the colonial past are not simply a recent phenomenon in Latin America but have been present throughout the twentieth century. This dissertation studies five cinematic adaptations of colonial texts that exemplify the ongoing interest, among Mexican and Brazilian directors especially, in dialoguing with the colonial past, and examines how such dialogues comment on the present. It explores the political and ideological implications of the adaptations and evaluates how each conjunction of text and film contributes to the continuing redefinition of Mexico and Brazil.
520 $a The study begins with Humberto Mauro's <italic>Descobrimento do Brasil </italic> (1937), which is explicitly based on the 1500 letter of discovery of Pero Vaz de Caminha, a founding text of Luso-Brazilian literature that depicts the initial encounter between the indigenous population of Brazil and the Portuguese. <italic>La monja alférez</italic> (1944) is Emilio Gómez Muriel's adaptation of the alleged autobiography of Catalina de Erauso, who served as a “male” lieutenant in Chile and Peru, and eventually retired in New Spain. Nelson Pereira dos Santos's <italic> Como era gostoso o meu francês</italic> (1971) transforms Hans Staden's 1557 narrative of his captivity among the Tupinambá tribe of Brazil. Nicolás Echevarría adapts with <italic>Cabeza de Vaca</italic> (1991) the well-known story of migration and captivity related by Alvar Núñez Cabeza de Vaca in his <italic>Naufragios</italic> (1555). In <italic>Ave María </italic> (1998), Eduardo Rossoff draws on seventeenth-century New Spain and resurrects a mestiza Sor Juana. Each chapter of the dissertation places special emphasis on the distinctive reading strategies and adaptational tactics that the filmmakers employ in order to mine the symbolic potential of these emblematic texts and “rewrite” the role played by indigenous peoples in conceptions of national identity.
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