Abstract:This article examines the Iranian television channel HispanTV Nexo Latino, produced in Spanish for Spain and Latin American countries. Traditionally the Middle East has been understood as the source and/or recipient of media content from the West. However, the contemporary media scenario has changed radically after the rise of global television channels. Al-Jazeera news is one example that reverses the role of the Middle East by placing the region as producer of discourses in relation to hegemonic voices broadcast from the Middle East by Western channels like CNN and BBC. Scholars have studied this context without paying enough attention to the media relations based on a South–South perspective. During these years, HispanTV has participated in a difficult political scenario, claiming to have accurate and unbiased information for more than 300 million spectators spread across more than twenty countries who are mostly used to information controlled by dominant economic groups or families. Thus, this paper explores the discourse promoted by HispanTV in order to understand how an Iranian channel plays an active role in terms of the media economy by strengthening political links beyond the region and suggesting a new trans-national way to “be together” around dissent. At the end, it will be possible to understand how an Iranian television channel disrupts the political discourse in Spanish-speaking countries through a grid of programs consolidating a global and digital community.
{"title":"Breaking the Middle East Media Paradigm: HispanTV Streaming Politics in Spanish from Iran","authors":"Mauricio Duarte, Ángela M. González-Echeverry","doi":"10.7560/slapc3804","DOIUrl":"https://doi.org/10.7560/slapc3804","url":null,"abstract":"Abstract:This article examines the Iranian television channel HispanTV Nexo Latino, produced in Spanish for Spain and Latin American countries. Traditionally the Middle East has been understood as the source and/or recipient of media content from the West. However, the contemporary media scenario has changed radically after the rise of global television channels. Al-Jazeera news is one example that reverses the role of the Middle East by placing the region as producer of discourses in relation to hegemonic voices broadcast from the Middle East by Western channels like CNN and BBC. Scholars have studied this context without paying enough attention to the media relations based on a South–South perspective. During these years, HispanTV has participated in a difficult political scenario, claiming to have accurate and unbiased information for more than 300 million spectators spread across more than twenty countries who are mostly used to information controlled by dominant economic groups or families. Thus, this paper explores the discourse promoted by HispanTV in order to understand how an Iranian channel plays an active role in terms of the media economy by strengthening political links beyond the region and suggesting a new trans-national way to “be together” around dissent. At the end, it will be possible to understand how an Iranian television channel disrupts the political discourse in Spanish-speaking countries through a grid of programs consolidating a global and digital community.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48508931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article analyzes the presence of Lincoln Kirstein (famous founder of the American Ballet and MoMA advisor) in Argentina during 1941 and 1942, first as director of the Caravan Ballet and then as a specialist sent by MoMA. Studies on the cultural activities and US government projects for Latin America during the Good Neighbor policy have overlooked some crucial personalities involved in the construction and dissemination of this policy. The Good Neighborhood Tours played a central role in spreading the idea of American friendship. Cultural networks were organized around this idea. Lincoln Kirstein, a character of enormous reputation in the cultural circles of the United States, participated actively in the strategies of the American government and, while he carried out the acquisition of Latin American paintings and artworks, he also helped to forge a concept of Latin American art in the United States.
{"title":"Un amigo americano: Lincoln Kirstein en Argentina en los años de la política del Buen Vecino","authors":"Andrea Matallana","doi":"10.7560/slapc3807","DOIUrl":"https://doi.org/10.7560/slapc3807","url":null,"abstract":"Abstract:This article analyzes the presence of Lincoln Kirstein (famous founder of the American Ballet and MoMA advisor) in Argentina during 1941 and 1942, first as director of the Caravan Ballet and then as a specialist sent by MoMA. Studies on the cultural activities and US government projects for Latin America during the Good Neighbor policy have overlooked some crucial personalities involved in the construction and dissemination of this policy. The Good Neighborhood Tours played a central role in spreading the idea of American friendship. Cultural networks were organized around this idea. Lincoln Kirstein, a character of enormous reputation in the cultural circles of the United States, participated actively in the strategies of the American government and, while he carried out the acquisition of Latin American paintings and artworks, he also helped to forge a concept of Latin American art in the United States.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47120249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article analyzes the creative contributions to counterrevolutionary criticism in Venezuelan popular music (2002–2018). I examine how these musical productions reclaim discourses previously controlled by political power. From the working-class neighborhoods of cities such as Caracas and Maracay—Chavista territories par excellence—the emergence of a radical street consciousness bluntly attacks the symbolic apparatus of the Revolution. In this context, these cultural products question the government’s fight for social justice and equality. In the study of the musical representation of political dissent, I focus on denunciations of a failed state, portrayals of socioeconomic tribulations, and possible solutions to the national crisis.
{"title":"Música popular y resistencia política en Venezuela (2002–2018)","authors":"Patricia Valladares-Ruiz","doi":"10.7560/slapc3808","DOIUrl":"https://doi.org/10.7560/slapc3808","url":null,"abstract":"Abstract:This article analyzes the creative contributions to counterrevolutionary criticism in Venezuelan popular music (2002–2018). I examine how these musical productions reclaim discourses previously controlled by political power. From the working-class neighborhoods of cities such as Caracas and Maracay—Chavista territories par excellence—the emergence of a radical street consciousness bluntly attacks the symbolic apparatus of the Revolution. In this context, these cultural products question the government’s fight for social justice and equality. In the study of the musical representation of political dissent, I focus on denunciations of a failed state, portrayals of socioeconomic tribulations, and possible solutions to the national crisis.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41996519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Tiburcio González Rojas (birth date unknown) worked as a small-time jobbing photographer in the mid-twentieth century in the area around Ypacaraí, southeast of Asunción, where he specialized in ID photos. However, he soon turned his camera to the provincial life of the area, recording traditional events like the funeral rituals for infant deaths and folk music together with subjects that showed Paraguay, while under the draconian dictatorship of Alfredo Stroessner, experiencing the first signs of modernity: the arrival of electrification, the radio, modern youth gatherings, and women in stylish bathing suits. Lost for several decades, this is an intriguing archive of recovered photography that is part of the beginnings of contemporary photographic projects for Paraguay, a country whose photography remains essentially unknown.
{"title":"Tiburcio González Rojas: Photographic Avatars of Modern Paraguay","authors":"D. Foster","doi":"10.7560/slapc3805","DOIUrl":"https://doi.org/10.7560/slapc3805","url":null,"abstract":"Abstract:Tiburcio González Rojas (birth date unknown) worked as a small-time jobbing photographer in the mid-twentieth century in the area around Ypacaraí, southeast of Asunción, where he specialized in ID photos. However, he soon turned his camera to the provincial life of the area, recording traditional events like the funeral rituals for infant deaths and folk music together with subjects that showed Paraguay, while under the draconian dictatorship of Alfredo Stroessner, experiencing the first signs of modernity: the arrival of electrification, the radio, modern youth gatherings, and women in stylish bathing suits. Lost for several decades, this is an intriguing archive of recovered photography that is part of the beginnings of contemporary photographic projects for Paraguay, a country whose photography remains essentially unknown.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43971927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This work analyzes the visual representation that formed part of the electoral campaign of Argentina’s former president Cristina Fernández de Kirchner for the primary and parliamentary elections of 2017, in which she ran for senator from the province of Buenos Aires. From a textual corpus made up of photographic and video images published during the primary campaign (July–August) and the parliamentary campaign (September 17 to October 22), it scrutinizes the iconographic and epistemological potential of the persuasive image at the threshold of a parliamentary election.
{"title":"Politicians on Campaign: Cristina Fernández’s Visual and Discursive Strategies of Persuasion in the Parliamentary Elections of 2017","authors":"Hugo Hortiguera, M. Favoretto","doi":"10.7560/slapc3803","DOIUrl":"https://doi.org/10.7560/slapc3803","url":null,"abstract":"Abstract:This work analyzes the visual representation that formed part of the electoral campaign of Argentina’s former president Cristina Fernández de Kirchner for the primary and parliamentary elections of 2017, in which she ran for senator from the province of Buenos Aires. From a textual corpus made up of photographic and video images published during the primary campaign (July–August) and the parliamentary campaign (September 17 to October 22), it scrutinizes the iconographic and epistemological potential of the persuasive image at the threshold of a parliamentary election.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45697054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article proposes an approach to the processes of making, circulating, and receiving melodramas in verses known as "novelas en décimas." Published in low-cost brochures and written by popular poets, residents of cities and towns, these stories of impossible love between rich and poor invaded rural and urban homes in the mid-twentieth century. In these stories and their social uses we find new possibilities to think about the functioning of popular commercial advertising, the role of popular sectors before mass culture, and the relationship between print and radio. To explore these complex dialogues in the next few pages we will perform diverse operations, which range from the analysis of the novel Amores Montaraces to the secrets of a local poet to construct his melodramas. Finally, we will focus on reflecting, in a general way, on the characteristics of the reception of the brochures.
{"title":"Las novelas en décimas: Imprentas olvidadas, melodramas populares y memorias citadinas (Cuba, 1938–1959)","authors":"Jaddiel Díaz Frene","doi":"10.7560/slapc3707","DOIUrl":"https://doi.org/10.7560/slapc3707","url":null,"abstract":"Abstract:This article proposes an approach to the processes of making, circulating, and receiving melodramas in verses known as \"novelas en décimas.\" Published in low-cost brochures and written by popular poets, residents of cities and towns, these stories of impossible love between rich and poor invaded rural and urban homes in the mid-twentieth century. In these stories and their social uses we find new possibilities to think about the functioning of popular commercial advertising, the role of popular sectors before mass culture, and the relationship between print and radio. To explore these complex dialogues in the next few pages we will perform diverse operations, which range from the analysis of the novel Amores Montaraces to the secrets of a local poet to construct his melodramas. Finally, we will focus on reflecting, in a general way, on the characteristics of the reception of the brochures.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45222501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Traveling the Western world as a museumgoer, I have the habit of browsing through museum gift shops, looking for pencils and erasers as clues to identify international trends within the process of globalization. What I found in Mexico City in 2015 was an unusual concentration of items with the color pink (often followed by purple). Not only in museums but everywhere in the area, regardless of the cultural context; the color green was nowhere to be seen, in contrast to twenty years ago. This article intends to provide a transverse answer to that striking experience looking to museum practices as well as current trends in art and architecture. The study reveals that the country, and especially the capital, has recently made "Mexican pink" into something like an official brand. Current literature in art and architecture points to the past and present traditions of the indigenous peoples of Mexico, long appropriated by national elites. However, social realities show that while indigenous peoples are central to national identity they are in fact marginalized in practice.
{"title":"Mexican Pink: Color, Museums, and Society","authors":"J. Martínez","doi":"10.7560/slapc3709","DOIUrl":"https://doi.org/10.7560/slapc3709","url":null,"abstract":"Abstract:Traveling the Western world as a museumgoer, I have the habit of browsing through museum gift shops, looking for pencils and erasers as clues to identify international trends within the process of globalization. What I found in Mexico City in 2015 was an unusual concentration of items with the color pink (often followed by purple). Not only in museums but everywhere in the area, regardless of the cultural context; the color green was nowhere to be seen, in contrast to twenty years ago. This article intends to provide a transverse answer to that striking experience looking to museum practices as well as current trends in art and architecture. The study reveals that the country, and especially the capital, has recently made \"Mexican pink\" into something like an official brand. Current literature in art and architecture points to the past and present traditions of the indigenous peoples of Mexico, long appropriated by national elites. However, social realities show that while indigenous peoples are central to national identity they are in fact marginalized in practice.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43060008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article presents a theoretical approach derived from a research project focused at a historical reconstruction of the record production in Medellín's discographic industry during the 1960s. Drawing from Diana Taylor's concept of archive and repertoire, the author coins a new concept, the "inapprehensible archive," which might be useful to analyze cultural practices of listening and of aesthetic enjoyment built around activities of collecting artifacts of massive cultural production. By defining a new concept, the article proposes a theoretical model that aims to contribute to study other similar cases, as well as to make explicit some principles that would guide the development of a line of research that explores in depth the historical evolution of the city's sound archive.
{"title":"El archivo inasible: Hacia una nueva conceptualización del archivo sonoro de la industria discográfica antioqueña","authors":"Carolina Santamaría-Delgado","doi":"10.7560/slapc3703","DOIUrl":"https://doi.org/10.7560/slapc3703","url":null,"abstract":"Abstract:This article presents a theoretical approach derived from a research project focused at a historical reconstruction of the record production in Medellín's discographic industry during the 1960s. Drawing from Diana Taylor's concept of archive and repertoire, the author coins a new concept, the \"inapprehensible archive,\" which might be useful to analyze cultural practices of listening and of aesthetic enjoyment built around activities of collecting artifacts of massive cultural production. By defining a new concept, the article proposes a theoretical model that aims to contribute to study other similar cases, as well as to make explicit some principles that would guide the development of a line of research that explores in depth the historical evolution of the city's sound archive.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41579409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In this paper, I analyze Chanoc (1959–1981), a weekly booklet in color of thirty-two pages, and one of the most read and consumed comics during the now cataloged "silver epoch" of Mexican comics. Entering the world of football comics, Chanoc begins to narrate through parody and picaresque, and the themes begin to diversify in front of the language that at the same time is produced by the written press, radio, and Mexican television. Chanoc explores the contemporary tensions of football and does so with special emphasis on the media and the market. With all these changes and subtle frameworks of Chanoc, in this work 1) I investigate the brief history of Chanoc and its contact with soccer; 2) I propose the beginning of the "football imagination" on Mexican television; and 3) I explore how Chanoc narrates the tensions and fertilizations that arise between the media and football under the mocking and parody tone of a contemporary commentator of the comic, Ángel Fernández.
{"title":"Chanoc: Caricaturizando los medios y el futbol","authors":"Alejandro González Landeros","doi":"10.7560/slapc3706","DOIUrl":"https://doi.org/10.7560/slapc3706","url":null,"abstract":"Abstract:In this paper, I analyze Chanoc (1959–1981), a weekly booklet in color of thirty-two pages, and one of the most read and consumed comics during the now cataloged \"silver epoch\" of Mexican comics. Entering the world of football comics, Chanoc begins to narrate through parody and picaresque, and the themes begin to diversify in front of the language that at the same time is produced by the written press, radio, and Mexican television. Chanoc explores the contemporary tensions of football and does so with special emphasis on the media and the market. With all these changes and subtle frameworks of Chanoc, in this work 1) I investigate the brief history of Chanoc and its contact with soccer; 2) I propose the beginning of the \"football imagination\" on Mexican television; and 3) I explore how Chanoc narrates the tensions and fertilizations that arise between the media and football under the mocking and parody tone of a contemporary commentator of the comic, Ángel Fernández.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49354675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay seeks to revise the periodization of corridos dealing with the consumption of drugs. While it is commonly assumed that corridos depicting the use of drugs first appeared in the last decades of the twentieth century, in this essay I present several samples of corridos and popular songs depicting use of drugs (sometimes in a very explicit and crude manner) that seriously problematizes the notion of narcocultura (narcoculture) as a product of late twentieth-century Mexico. One of these early lyrics, "¿A poco picas?" ("Do you shoot up?"), which narrates in a very crude way the process of preparing heroin, boiling it in a spoon and then injecting it, precedes in some cases over half a century some graphic corridos of the 1990s such as "Líneas de a metro" (Meter-long cocaine lines), "Me gusta ponerle al polvo" ("I like snorting dust"), and "El nariz de a gramo" ("One gram nostril").
摘要：本文试图修正与药物消费有关的corridos的分期。虽然人们普遍认为描述毒品使用的corridos最早出现在20世纪的最后几十年，但在这篇文章中，我展示了几首描述毒品使用（有时以非常明确和粗鲁的方式）的Corrido和流行歌曲的样本，这严重质疑了毒品文化（毒品文化）作为20世纪末墨西哥产物的概念。其中一首早期的歌词“A poco picas？”（“你会开枪吗？”，和“一克鼻孔”。
{"title":"Narcocultura temprana: El consumo de drogas en la corridística de la primera mitad del siglo XX","authors":"Juan Carlos Ramírez-Pimienta","doi":"10.7560/slapc3710","DOIUrl":"https://doi.org/10.7560/slapc3710","url":null,"abstract":"Abstract:This essay seeks to revise the periodization of corridos dealing with the consumption of drugs. While it is commonly assumed that corridos depicting the use of drugs first appeared in the last decades of the twentieth century, in this essay I present several samples of corridos and popular songs depicting use of drugs (sometimes in a very explicit and crude manner) that seriously problematizes the notion of narcocultura (narcoculture) as a product of late twentieth-century Mexico. One of these early lyrics, \"¿A poco picas?\" (\"Do you shoot up?\"), which narrates in a very crude way the process of preparing heroin, boiling it in a spoon and then injecting it, precedes in some cases over half a century some graphic corridos of the 1990s such as \"Líneas de a metro\" (Meter-long cocaine lines), \"Me gusta ponerle al polvo\" (\"I like snorting dust\"), and \"El nariz de a gramo\" (\"One gram nostril\").","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44175468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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