Representations of The Child in Latin American Cinema

拉丁美洲电影中的儿童表现

• 批准号: AH/J000868/1
• 负责人: Deborah Martin
• 金额: $ 7.51万
• 依托单位: University of Bath
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2011
• 资助国家: 英国
• 起止时间: 2011 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FJ000868%2F1
• 关键词: Representations; Child; Latin; American; Cinema

This project shows how shifting discourses around the child since 1990 have influenced their filmic representation in Latin America, where cinema has long been fond of child-centred narratives. The 1989 UN Convention on child rights led to renewed interest in representing the poorest children in Latin America, and an upsurge in realist films about such children, whilst public debates at regional and national levels over, for example, disappeared children and street children have influenced filmmaking significantly. At the project's centre is the idea that the discursive construction of the child as subject of rights has produced a shift in representational strategies, producing films which privilege child agency and experience by contrast with traditional uses of children as ciphers for exploring adult preoccupations. The study compares films from countries including Argentina, Brazil, Colombia and Mexico.The study asks what representational uses the child has in Latin American film, what narrative and stylistic techniques are at play in the creation of the child's perspective, and how these representations confirm or disrupt the child's status as 'other', drawing on work in childhood studies, girls' studies and recent film theory. It argues that a changing politics of child-representation is key to understanding contemporary Latin American countries' relationship to the issues children have traditionally represented, among them, modernity, nation, past and future. The study comprises four chapters: 'Children on the edge' examines Latin American films centring on marginal children in the 1990s (e.g. Sicario, [Novoa, 1994]), paying attention to the discursive construction of the 'problem' and the 'at risk' child in addition to the ethics of representing child suffering and questions of emotion and spectatorship; 'Childhood and cinematic journeys' explores films depicting travelling children in the late 1990s and early 2000s, either across the national territory (often linked to a search for the father, as in Central do Brasil [Salles, 1998]), whilst urban to-ing and fro-ing radically undermines conventional identity narratives; 'Ghosts and witnesses' discusses films like El niño pez (Puenzo, 2009) which figure children as uncanny or ghostly loci of memory and/or witnesses to political or personal trauma; and 'Queer children and the future' proposes the advent of the girl-child within Latin American film as subject of unregulated desire disruptive of the patriarchal-heterosexual matrix and symbol of the future, discussing how such films queer representational norms, as in La niña santa (Martel 2004).In recent years, significant work has been done on the child in film, and new questions generated about cinematic uses of the child and what they say about adult culture. This research is informed by the growing interest in children's relationship to culture and politics and the belief amongst scholars of various disciplines that the kind of scrutiny that has been applied to the structural role of gender in modern culture should with urgency be applied to that of childhood, especially in Latin American studies where the child is scarce in contemporary scholarship despite the fact that half the continent's population is under 18. Many Latin American films are about children, yet the role of the child has received scant attention in critical work by contrast with categories such as gender or race. What studies there are tend to focus on street children, and are essentially about class rather than childhood. This study will see representations of child poverty and homelessness alongside other representations of the child, and will therefore be in a unique position to ask (echoing Lebeau) what the child is for Latin American cinema (beyond simply a means to highlight social marginalization); what Latin American cinema wants of thechild, which is vital to an understanding of cultural identity in contemporary Latin American countries.

该项目展示了自1990年以来围绕儿童的话语转变如何影响他们在拉丁美洲的电影表现，那里的电影长期以来一直喜欢以儿童为中心的叙事。1989年的联合国儿童权利公约使人们对表现拉丁美洲最贫穷的儿童重新产生了兴趣，关于这些儿童的现实主义电影激增，而区域和国家一级关于失踪儿童和街头儿童的公共辩论对电影制作产生了重大影响。该项目的中心思想是，将儿童作为权利主体的论述性结构产生了代表性战略的转变，制作了赋予儿童权力和经验的电影，而不是传统上将儿童作为探索成人关注的密码。这项研究比较了阿根廷、巴西、哥伦比亚和墨西哥等国的电影。这项研究借鉴了儿童研究、女孩研究和最近的电影理论，询问了儿童在拉丁美洲电影中的代表性用途，在儿童视角的创造中起作用的叙事和文体技巧，以及这些代表性如何确认或破坏儿童作为“他者”的地位。它认为，不断变化的儿童代表政治是理解当代拉丁美洲国家与儿童传统上代表的问题，其中包括现代性、民族、过去和未来的关系的关键。本研究共分四章：《边缘儿童》考察了20世纪90年代以边缘儿童为中心的拉美电影（例如，Sicario，[Novoa，1994]），除了代表儿童痛苦的伦理和情感与旁观的问题外，还注意"问题"和"处于危险中"的儿童的话语结构;“童年和电影之旅”探讨了描绘20世纪90年代末和21世纪初旅行儿童的电影，无论是在全国范围内（通常与寻找父亲联系在一起，如在巴西中部[Salles，1998]），而城市的来回运动从根本上破坏了传统的身份叙事;“鬼魂和证人”讨论了像厄尔尼诺Pez这样的电影（Puenzo，2009），将儿童描绘成记忆中神秘或幽灵般的场所和/或政治或个人创伤的见证人;《酷儿与未来》提出，拉丁美洲电影中的女童是不受管制的欲望的主体，破坏了父权制-异性恋的母体，是未来的象征，近年来，人们对电影中的儿童做了大量的研究，并产生了关于电影中儿童的使用以及他们对成人文化的看法的新问题。这项研究的依据是，人们对儿童与文化和政治的关系越来越感兴趣，而且各学科的学者都认为，对性别在现代文化中的结构性作用进行的那种审查，应立即适用于童年，特别是在拉丁美洲的研究，在那里的孩子是稀缺的当代奖学金，尽管事实上，一半的大陆的人口是在18.许多拉丁美洲电影都是关于儿童的，但与性别或种族等类别相比，儿童的角色在批评工作中很少受到关注。现有的研究往往侧重于街头儿童，基本上是关于阶级而不是童年的。这项研究将看到儿童贫困和无家可归的表征以及其他儿童的表征，因此将在一个独特的位置问（呼应勒博）什么是儿童的拉丁美洲电影（不仅仅是一种手段，以突出社会边缘化）;什么是拉丁美洲电影想要的孩子，这是至关重要的当代拉丁美洲国家的文化身份的理解。

项目成果

Feminine Adolescence as Uncanny: Masculinity, Haunting and Self-Estrangement

不可思议的女性青春期：男子气概、困扰和自我疏远

• DOI: 10.1093/fmls/cqs067
• 发表时间: 2013
• 期刊: Forum for Modern Language Studies
• 影响因子: 0.2
• 作者: Martin D

Childhood, Youth, and the In-between: The Ethics and Aesthetics of Lucrecia Martel's La mujer sin cabeza

童年、青年和中间时期：卢克雷西亚·马特尔《La mujer sin cabeza》的伦理与美学

• DOI: 10.1179/1468273712z.00000000043
• 发表时间: 2013
• 期刊: Hispanic Research Journal
• 作者: Martin D

Blackwells Companion to Latin American Cinema

布莱克威尔拉丁美洲电影伴侣

• 作者: Martin, D

International Cinema and the Girl

国际电影与女孩

• DOI: 10.1057/9781137388926_5
• 发表时间: 2016
• 作者: Martin D

Growing sideways in Argentine cinema: Lucía Puenzo's XXY and Julia Solomonoff's El último verano de la boyita

在阿根廷电影中横行发展：卢西亚·普恩佐 (Lucía Puenzo) 的《XXY》和朱莉娅·索罗门诺夫 (Julia Solomonoff) 的《El öltimo verano de la boyita》

• DOI: 10.3167/jrs.2013.130103
• 发表时间: 2013
• 期刊: Journal of Romance Studies
• 影响因子: 0.2
• 作者: Martin D