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的转变如何影响了拉丁美洲的电影表现，而拉丁美洲的电影长期以来都喜欢以儿童为中心的叙事。 1989 年《联合国儿童权利公约》引发了人们对代表拉丁美洲最贫困儿童的新兴趣，以及有关此类儿童的现实主义电影的热潮，而地区和国家层面关于失踪儿​​童和街头儿童等问题的公开辩论对电影制作产生了重大影响。该项目的核心理念是，将儿童作为权利主体的话语建构导致了再现策略的转变，制作了优先考虑儿童能动性和经验的电影，这与传统上将儿童视为探索成人关注点的密码形成鲜明对比。该研究比较了阿根廷、巴西、哥伦比亚和墨西哥等国家的电影。该研究借鉴了儿童研究、女孩研究和最近的电影理论，询问儿童在拉丁美洲电影中具有哪些代表性用途，哪些叙事和风格技巧在儿童视角的创造中发挥着作用，以及这些表现如何确认或破坏儿童的“他者”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。该研究包括四个章节：“边缘的儿童”考察了 20 世纪 90 年代以边缘儿童为中心的拉丁美洲电影（例如《边境杀手》，[Novoa，1994]），除了表现儿童痛苦的伦理以及情感和观众问题之外，还关注“问题”和“处于危险中”儿童的话语建构； “童年与电影之旅”探索了描绘 20 世纪 90 年代末和 2000 年代初儿童旅行的电影，要么穿越国家领土（通常与寻找父亲有关，如巴西中部 [Salles，1998]），而城市的来来往往从根本上破坏了传统的身份叙事； 《鬼魂与目击者》讨论了《厄尔尼诺佩斯》（Puenzo，2009）等电影，这些电影将儿童视为不可思议或幽灵般的记忆轨迹和/或政治或个人创伤的见证人； 《酷儿儿童与未来》提出拉丁美洲电影中女童的出现，作为不受管制的欲望的主题，破坏了父权-异性恋矩阵和未来的象征，讨论了此类电影如何体现酷儿代表性规范，如《La niña santa》（Martel 2004）。近年来，人们对电影中的儿童进行了重要的研究，并产生了关于儿童的电影用途以及他们对成人的看法的新问题 文化。这项研究是基于人们对儿童与文化和政治的关系日益浓厚的兴趣，以及各学科学者的信念，即对现代文化中性别结构性角色的审查应该立即适用于儿童的审查，特别是在拉丁美洲的研究中，尽管该大陆一半的人口年龄在 18 岁以下，但儿童在当代学术中却很稀缺。许多拉丁美洲电影都是关于儿童的，但儿童的角色已经受到了广泛的关注。 与性别或种族等类别相比，关键工作很少受到关注。那里的研究往往集中于街头儿童，并且本质上是关于阶级而不是童年。这项研究将看到儿童贫困和无家可归的表现以及儿童的其他表现，因此将处于一个独特的位置来询问（呼应勒博）儿童对于拉丁美洲电影来说意味着什么（不仅仅是强调社会边缘化的手段）；拉丁美洲电影对孩子的期望，这对于理解当代拉丁美洲国家的文化身份至关重要。

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