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| Field: |
Latin American Culture |
| Post: |
Professor of Latin American CultureChair of FacultyFaculty of Modern and Medieval Languages and LinguisticsUniversity of Cambridge |
“Espacios necropolíticos: comunidad e inmunidad en la megaurbe”. In Gina Cebey, Cine y megalópolis. Forthcoming 2021.
“Creative Spaces - Afterword: Uninhabiting the Urban”. In Niall H.D. Geraghty and Adriana Laura Massidda, Creative Spaces: Urban Culture and Marginality in Latin America (London: Institute of Latin American Studies, 2019), 241-52. Available: https://humanities-digital-library.org/index.php/hdl/catalog/book/creative_spaces.
“El texto psicosomático: releyendo psicoanálisis y semiótica en «Como en la guerra», o Las hermanas de Edipo” [republication]. Biblioteca Virtual Miguel de Cervantes (Alicante: Biblioteca Virtual Miguel de Cervantes, 2018). 821.134.2(82)Valenzuela,Luisa.07. Available: https://tinyurl.com/kantaris-texto-psicosomatico.
“Terminal City: Immaterial Migrations, Virtual Detachments and the North-South Divide (Alex Rivera’s Sleep Dealer, 2008)”. In Kerry Bystrom, Ashleigh Harris and Andrew J. Webber, eds., South and North: Contemporary Urban Orientations (London: Routledge India, 2018), 141-160. Pre-proof PDF available.
“Space, Politics and the Crisis of Hegemony in Latin American Film”. In Marvin D'Lugo, Ana M. López, and Laura Podalsky, eds, The Routledge Companion to Latin American Cinema (London: Routledge, 2017), 92-104. Pre-proof PDF available.
“From Postmodernity to Post-Identity: Latin American Film after the Great Divide”. In Stephen Hart, María Delgado and Randal Johnson, eds, A Companion to Latin American Cinema (London: Wiley, 2017), 150-166. Proof PDF available.
“Migraciones inmateriales, cuerpos virtuales y biopolíticas del afecto: el tecno-noir en Sleep Dealer (2008)”. In Sabine Schmitz, Annegret Thiem, and Daniel A Verdú Schumann, eds, Descubrir el cuerpo: estudios sobre la corporalidad en el género negro en Chile, Argentina y México (Frankfurt: Iberoamericana-Vervuert. 2017), 263-84.
“Pablo Trapero y el elefante blanco de la razón populista”. In Bernhard Chappuzeau and Christian von Tschilschke, eds, Cine argentine contemporáneo: visiones y discursos (Frankfurt: Iberoamericana-Vervuert. 2016), 83-106. Available here.
“Waste Not, Want Not: Garbage and the Philosopher of the Dump (Waste Land and Estamira)”. In Christopher Lindner and Miriam Meissner, eds, Global Garbage: Urban Imaginaries of Waste, Excess, and Abandonment (Abingdon and New York: Routledge, 2016), 52-67. Pre-proof PDF available.
“Desreferenciar lo real: paisajes mediáticos en los documentales de Carlos Marcovich (¿Quién diablos es Juliette? y Cuatro labios)”, Revista iberoamericana 81.251 (Abril-junio 2015): 627-44. Available here
“‘Un tal Alt’: espacio urbano, crimen y la sociedad de control en La sonámbula y Nueve reinas.” In Sabine Schmitz, Annegret Thiem and Daniel Verdú Schumann, eds., Diseño de nuevas geografías en la novela y el cine negros de Argentina y Chile, Editionen der Iberoamericana, Serie A,, Literaturgeschichte und -kritik (Frankfurt am Main: Vervuert, 2013), 49-70. Available here
Latin American Popular Culture: Politics, Media, Affect. Ed. with Rory O’Bryen. London: Tamesis, 2013. Available: http://universitypublishingonline.org/boydell/ebook.jsf?bid=CBO9781782041825
“The Cinematic Labor of Affect: Urbanity and Sentimental Education in El Bruto and Ensayo de un crimen [by Luis Buñuel]”. In Rob Stone and Julián Daniel Gutiérrez-Albilla, eds, A Companion to Luis Buñuel (Oxford and Malden, MA: Blackwell Publishing, 2013), 302-23.
“The Psychosomatic Text: Re-Reading Psychoanalysis and Semiotics in Como en la guerra, or, The Sisters of Oedipus”, A Contracorriente: A Journal on Social History and Literature in Latin America [North Carolina] 12.1 (Fall 2012): 226-48. Available: http://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/622/967 .
“Last Snapshots /Take 2: Personal and Collective Shipwrecks in Buenos Aires”. In Richard Young and Amanda Holmes, eds., Cultures of the City: Mediating Identities in Urban Latin/o America (Pittsburgh, PA: University of Pittsburgh Press, 2010), 31-45.
“El texto psicosomático: releyendo psicoanálisis y semiótica en Como en la guerra, o, Las hermanas de Edipo”. In Gwendolyn Díaz, María Teresa Medeiros-Lichem and Erna Preiffer, eds., Texto, contexto y postexto: aproximaciones a la obra literaria de Luisa Valenzuela, Nueva América (Pittsburgh, PA: Instituto Internacional de Literatura Iberoamericana, 2010), 275-95. See above for reprint in the Biblioteca Virtual Cervantes.
“Buenos Aires 2010: Memory Machines and Cybercities in Two Argentine Science Fiction Films” (La sonámbula and Moebius). In Andrew Webber et al, eds, Memory Culture and the Contemporary City: Building Sites (New York: Palgrave Macmillan, 2009), 191-207.
“Drugs and Assassins in the City of Flows”. In Christopher Lidner, ed., Globalization, Violence, and the Visual Culture of Cities (Oxford and New York: Routledge, 2009), 32-48.
“Dereferencing the Real: Documentary Mediascapes in the Films of Carlos Marcovich (¿Quién diablos es Juliette? and Cuatro labios)”. In Joanna Page and Miriam Haddu, eds, Visual Synergies in Fiction and Documentary Film from Latin America (New York: Pallgrave Macmillan, 2009), 219-36.
“El cine urbano y la tercera Violencia colombiana”. Revista iberoamericana [Pittsburgh] 74.223 (abril-junio 2008): 455-70. Available here
“Lolo/Lola: Filming Gender and Violence in Mexican Urban Cinema”. In Wilson and Webber, eds, Cities in Transition: The Moving Image and the Modern Metropolis (London and New York: Wallflower Press, 2008), 163-75.
"Cyborgs, Cities, and Celluloid: Memory Machines in Two Latin American Cyborg Films". In Thea Pitman and Claire Taylor, eds., Latin American Cyberculture and Cyberliterature (Liverpool: Liverpool University Press, 2007), 50-69.
"The Desire for Literature: Proxy Auteurs in Last Images of the Shipwreck and Dark Side of the Heart". In Nancy J. Mémbrez, ed., The Cinematic Art of Eliseo Subiela, Argentine Filmmaker (Lewiston, NY: Edwin Mellen Press, 2007), 151-68.
"Soapsuds and Histrionics: Media, History, and Nation in Bolívar soy yo (Jorge Alí Triana, Colombia 2002)". In Deborah Shaw, ed., Contemporary Latin American: Breaking Into the Global Market (USA: Rowman and Littlefield, 2007), 117-33.
"Cinema and Urbanías: Translocal Identities in Contemporary Mexican Film". Bulletin of Latin American Research [Liverpool] 25.4 (October 2006): 517-27. Available: http://dx.doi.org/10.1111/j.1470-9856.2006.209_4.x.
“Naufragios colectivos y personales en el cine argentino contemporáneo”. DeSignis [Barcelona] 10 (octubre de 2006): 155-166. Medios audiovisuales entre arte y tecnología. Available: https://web.archive.org/web/20150203010852/http://copu.uprrp.edu/designis/designis10.pdf (warning: large download [52Mb]).
"Visiones de la violencia en el cine urbano latinoamericano". Revista de la Universidad de Palermo [Buenos Aires]. Published.
"Holograms and Simulacra: Bioy Casares, Subiela, Piglia". Science and the Creative Imagination in Latin America. London: Institute for the Study of the Americas, 2005. 
"Lola/Lolo: género y violencia en películas de la Ciudad de México". Guaraguao: revista de cultura latinoamericana [Barcelona and Glasgow] 18 (verano 2004) 57-78. Web-based reprint available here.
"The Young and the Damned: Street Visions in Latin American Cinema". In Stephen Hart, ed., Contemporary Latin American Studies (London: Arnold, 2003), 177-89.
"Periferias de la globalización: la disfasia temporal en La vendedora de rosas de Víctor Gaviria". Revista objeto visual [Caracas] 9 (julio 2003), 70-81. Available as PDF
"Deseos de literatura: autores sucedáneos en dos películas de Eliseo Subiela - Últimas imágenes del naufragio y El lado oscuro del corazón". Revista iberoamericana [Pittsburgh] 68.199 (abril-junio 2002): 269-81. Available here; Also in English in Nancy Mémbrez, ed. The Cinematic Art of Eliseo Subiela, Argentine Filmmaker (see above).
"Re-Engendering History: María Luisa Bemberg's Miss Mary". Women's Studies [UCLA] 29 (2000): 5-18. Also published in John King, ed., María Luisa Bemberg: An Argentine Passion (London: Verso, 2001).
"The Repressed Signifier: the Cinema of Alejandro Agresti and Eliseo Subiela". Identity and Discursive Practice. Ed. Francisco Domínguez. London: Peter Laing Publishers, 2000. Available: http://people.ds.cam.ac.uk/egk10/notes/repressedsignifier.html
“Allegorical Cities: Bodies and Visions in Colombian Urban Cinema”. Estudios interdisciplinarios de América Latina y el Caribe 9.2 (jul-dic, 1998): 55-73. 19pp. Available: http://eial.tau.ac.il/index.php/eial/issue/view/76
The Subversive Psyche: Contemporary Women's Narrative from Argentina and Uruguay. Oxford University Press, March 1996. 266pp. http://books.google.com/books?id=HYJdAAAAMAAJ
“The Last Snapshots of Modernity: Argentine Cinema after the ‘Process’”. Bulletin of Hispanic Studies [
"Folk Song/Street Song: Poetry and Popular Tradition in the Historical Avant-Garde". Changing Times in Hispanic Culture. Ed. Derek Harris. Aberdeen: Centre for the Study of the Hispanic Avant-Garde, 1996.
"The Silent Zone: Marta Traba". The Modern Language Review [London] 87.1 (January 1992): 86-101.
“The Politics of Desire: Alienation and Identity in the Work of
"Chariot of the Sun", fragment from the Tapiz de la creación. Image appears on the front cover of The Subversive Psyche (by kind permission of the Chapter of Girona Cathedral) |
Blurb: "Popular culture" has always represented a fulcrum within social, cultural and anthropological discourses in Latin America. Often imagined as representing a challenge to the dominant cultural paradigms of the "lettered city", it has repeatedly been mapped onto political, economic and even libidinal boundaries - between country and city, between folk and street, between the "masses" and elite national/political structures. Yet at the turn of the 21st century, concepts such as the "folk", the "popular", the "mass" and the "multitude" have exploded in the face of new cultural and informational technologies, putting cinematic, televisual and cybernetic manifestations of popular culture at the forefront of social processes. In order to address the fragile contemporaneity of popular culture in Latin America, the essays in this collection engage with a wide range of cultural phenomena, from forms of mass political experience in the Colonial and Independence periods, to the modern-day emergence of street art, blogs, comic books and television, as well as the recycling of refuse as art, the marketing of santería to tourists, and the filming of poverty in the favela. In so doing, they explore the diverse regimes of affect that both sustain and destabilize national symbolic orders, and chart the novel mediations between the national and the global in a see-sawing climate of conflicting economic and political ideologies. Geoffrey Kantaris is a Reader at the University of Cambridge. Rory O'Bryen is a Senior Lecturer at the University of Cambridge. Contributors: Francisco Ortega, Joanna Page, Stephen Hart, Erica Segre, Jesús Martín Barbero, Lúcia Sá, Chandra Morrison, Claire Taylor, Andrea Noble, Ed King.
This book is searchable on Google Books [direct link to book].
Blurb: "This is an exciting and original study of the links between gender and politics in the work of six important contemporary women writers from Argentina and Uruguay. Through detailed and theoretically sophisticate discussions of texts by six key writers -- Luisa Valenzuela, Marta Traba, Sylvia Molloy, and Reina Roffé (Argentina), and Cristina Peri Rossi and Armonía Somers (Uruguay) -- Geoffrey Kantaris shows how their writing of the 1980s, including their own critical and theoretical work, engages with, and often challenges, Western theories of the construction of gender and its relation to identity politics (notably psychoanalysis, deconstruction, and feminism). By situating their work within the political turmoil of the period -- the brutal military dictatorships and the necessity of political or cultural exile -- Kantaris is able to show how these texts signal a shift of cultural perspective in the Southern Cone, in which gender is no longer ignored in the construction of national and political narratives."
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