Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

We will make a comparative analysis between the Brazilian feature film O som ao redor (Kleber Mendonça Filho, 2013) and the Argentine film Bem perto de Buenos Aires (Historia del miedo, Benjamín Naishtat, 2014). This analysis will take into account the study of how the issue of territorial split —both in Recife and Buenos Aires— relates to the issue of social resentment and is reflected in the narrative and aesthetic structure in both films. To this end, it will be demonstrated how narrative fragmentation, in dialogue with elements of a horror tradition, is linked to thematic issues of resentment for territorial reasons in both countries. Given the urgency of the disputes for space that both Benjamín Naishtat’s film and Kleber Mendonça Filho’s film evoke, we seek to compare narrative resources for the approach of an ancient and central impasse in Latin America: the fence impasse.

As a field of visual arts, cinema can also be defined as an architectural practice, an agent in building different views of the city. Not only the place where action occurs, filmic space can be powerful enough to reveal the past, uncovering less evident memories and dynamics, giving visibility to memories and processes that official narrative tried to conceal. The spatial construction in the Argentinian documentary AU3 – Autopista Central (Alejandro Hartmann, 2010) presents a sensible point of view contrary to the given effort of erasing narratives that are inconvenient for official History, exposing social and urban tensions that marked Buenos Aires throughout different historical periods.  With Villa Urquiza’s careful approach to space and its dwellers, AU3 exposes the social exclusion process and the unspeakable violence of military dictatorship.

The current dossier "The city in contemporary Argentinean cinema" aims to think about how the city is conceived and perceived in Argentinean cinema in the last decade. In the so-called "nuevo cine argentino" (NCA), which appeared in the mid-1990s, the urban space was consolidated as a privileged place to think about the social, political and cultural relations of Argentina at that time. In the most recent Argentinean cinema, after some years of intense changes in the cinematographic panorama (with the consolidation of the careers of several directors and producers of the new film and the incessant appearance of new filmmakers, aesthetics and modes of production), would the urban space still be privileged? 

The prolific historian John Mraz, a gringo and yet Mexican citizen who has tailored himself into one of the gurus of Latin American visual culture, reflects on photojournalism as both document and narrative in this interview, wherein he also allows his political, academic and personal visions to shine. Among other important titles, we find Historiar fotografías (2018), México en sus imágenes (2014), Photographing the Mexican Revolution (2012) and Nacho López y el fotoperiodismo de los años cincuenta (1999). He also edited Fotografía e historia en Amércia Latina (2015), a volume with Ana Maria Mauad published by the Center for Photography in Montevideo, Uruguay.

This oil on canvas won First Prize in the Santiago Achugar Díaz painting and drawing competition, which was awarded on 29 August 2019 and whose pre-selected works were exhibited at Castells Remates. The prize and exhibition is a tribute to the painter Santiago Achugar Díaz, promoted by the artist's family. The competition was open to emerging artists under 30 years of age. The jury was made up of Pablo Thiago Rocca, director of the Figari Museum, Cristina Bausero, director of the Blanes Museum, and Santiago Tavella, a visual artist.

Federico Rubio (Montevideo, 1966). Es fotógrafo desde 1991. Egresado de la Facultad de Ciencias Económicas de la Universidad de la República (Uruguay) en 1994 y del London College of Printing (Inglaterra) en 1996, donde realizó un posgrado en Fotoperiodismo. Ha participado en numerosas muestras colectivas e individuales, en Uruguay y el exterior. Entre los premios recibidos destaca la Guggenheim Fellowship en Fotografía, obtenida en 2010. Vive la mayor parte del año en Montevideo

Information on upcoming international communication congresses and links of interest.

Congresos y enlaces de interés del primer semestre de 2020.

Lista de revisores que participaron en los números 30 y 31 de Dixit.

This article is based on the doctoral dissertation, Sensibilidad intercultural: prácticas docentes con estudiantes sordos de una escuela especial de Chile (Intercultural Sensitivity: Teaching Practices for Deaf Children at a Special Education School in Chile). The objective is to characterize perception regarding Chilean Sign Language [Lengua de señas chilena - LSCh] used by an administrative board and eighth grade teachers and co-teachers to educate deaf students.  This was a qualitative study that used an ethnographic method with case studies from an eight grade classroom at a Special Education School. The sample included a hearing teacher and a deaf co-teacher as well as an administrative board that organized teaching activities. Among the techniques used were in depth interviews and observation including recordings of seven class sessions, transcriptions and descriptions in sign language. Content analysis was based on grounded theory. The study shows that teachers and coteachers of deaf students had better ethical communicational positioning regarding the use of sign language in order to provide students access to all areas of knowledge within the context of the school. The students in the class were not at the same level of mastery of LSCh, making it challenging for everyone in the classroom to understand and express themselves in sign language as well as limits the role of the teacher with regards to the material being taught. This requires additional roles within the school, family and other contexts to help compensate these differences.