[UWcinema] “Rematerialization” by Diana Flores Ruiz in Feminist Media Histories - New Issue Fall 2024: Transnational Latinxs and Digital Media

[UW Cinema Studies List via Uwcinema]

CMS friends!  I’m writing to share this wonderful essay in the fall issue of FMH by our very own Diana Flores Ruiz, “Rematerialization: Anticolonial Collective Memory through Latinx Digital Art<https://online.ucpress.edu/fmh/article/10/4/10/203491/RematerializationAnticolonial-Collective-Memory>,” which is now available for free streaming thanks to UC Press. More details on this special issue below.   Circulate at will and enjoy.  Cheers, JB



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CURRENT ISSUE<https://online.ucpress.edu/fmh/issue/10/4>


TRANSNATIONAL LATINXS AND DIGITAL MEDIA


Vol. 10 No. 4, FALL 2024



FEATURED ARTICLES


EDITORIAL


Paradoxical/Relation: Latinx+ America, Feminisms,<https://online.ucpress.edu/fmh/article/10/4/1/203486/IntroductionParadoxical-Relation-Latinx-America>

and Digital Media<https://online.ucpress.edu/fmh/article/10/4/1/203486/IntroductionParadoxical-Relation-Latinx-America>

FRANCES NEGRÓN-MUNTANER AND

ORIANNA CALDERÓN-SANDOVAL



ARTICLES


Rematerialization: Anticolonial Collective Memory through Latinx

Digital Art

DIANA FLORES RUÍZ


Transing the “Problem”: Trans Latinx Micro-Celebrity

Media Activism

DAN BUSTILLO


Translating Yoani: How a Young Woman in a Country Ruled by Old Men with Near Zero Internet Became the World’s Most Famous Blogger—and More

FRANCES NEGRÓN-MUNTANER


Radios y Cacerolas: Feminist Approaches to Online Activism during the 2021 Colombian National Strike

LUISA GONZÁLEZ


Race-ing Masculinity: An Intersectional Analysis of the Spanish Public Platform Series Riders

ORIANNA CALDERÓN-SANDOVAL, ÁNGELA RIVERA-IZQUIERDO, AND

ADELINA SÁNCHEZ-ESPINOSA



SHORT TAKES


Documentary as Memory Archive and Feminist Practice

BERNARDITA LLANOS M.


Abuela Alma: Exploring Aging Femininity in Disney’s

Encanto (2021)

MERCEDES ÁLVAREZ SAN ROMÁN AND ASIER GIL VÁZQUEZ


Jayaera: The Multimedia Joy of Afro-Caribbean “Cuir Bliss” (2008–2024)

CELIANY RIVERA-VELÁZQUEZ



INTERVIEW


“I Am a Meme”: Interview with Gad Yola, Drag Artist

MIGUEL ÁNGEL BLANCO MARTÍNEZ AND GAD YOLA



TRANSLATION


Black Feminist Activism in Times of Digital Technology Immersion and Surveillance Capitalism

ZELINDA BARROS. TRANSLATED FROM THE ORIGINAL PORTUGUESE BY

FRANCESCA CARROLL LAUSELL WITH FRANCES NEGRÓN-MUNTANER



FUTURE ISSUES


The Films of Camille Billops and James V. Hatch

Guest editors Terri Francis and Miriam Petty


Nontheatrical Medias

Guest editors Tanya Goldman and Benjamin Schultz-Figueroa


The Lara Croft 30th Anniversary Special Issue

Guest editors Amanda Phillips and Josef Nguyen


Making History: Notes on Methods

Guest editor Katherine Groo




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Remember: every issue of FMH is now available via Print on Demand. Details are here<https://fmh.ucpress.edu/content/subscriptions-and-single-issues>.


Dear colleagues,


We are pleased to announce the Fall 2024 issue of Feminist Media Histories<https://online.ucpress.edu/fmh>, a special issue on Transnational Latinxs and Digital Media, guest edited by Frances Negrón-Mutaner and Orianna Calderón-Sandoval.



Please be sure to follow us on Facebook<https://www.facebook.com/FeministMediaHistories> and

Twitter<https://twitter.com/FemMediaHist> for news about our limited-time free article access, upcoming events, and more!




Editors' Introduction – Paradoxical/Relation: Latinx+America, Feminisms, and Digital Media


This special issue of Feminist Media Histories arises from pressing questions about a historic convergence with significant political consequences: the joint rise of digital technologies and feminisms across hemispheric Latinx+ America. In contrast to even two decades ago, an increasingly plural feminism is now one of the most extensive social movements in the region, producing new political forms, knowledge, and subjects. In addition, the people(s) of

Latinx+ America are—although unevenly—one of the most networked in the world. While in the United States an estimated 80 to 91 percent of

Latinxs are connected to the internet, as of 2021 there were over 500 million Latin American users, and the region’s internet incursion reached 78 percent, surpassing China’s, at 74 percent. Latinx+ Americans are also among the

most politically effective deployers of digital technologies. A striking example is the 2019 viral “Green Wave” mobilization to protest violence against women staged in Chile that spread worldwide, in part due to digital recordings of a performance by the art collective LASTESIS, “El violador en tu camino” (The Rapist in Your Path). As scholar Myra Mendible has summarized,

“Today’s Latinx feminist activists are . . . using technologies not available to earlier feministas. Most have access to social media and other digital platforms that broaden their audiences and extend their transnational reach.”



Building on the work by Mendible, Mary Beltrán, Mirasol Enríquez and Marisa Revilla Blanco, among other scholars, this special issue asks: How are Latinx+ American feminisms, including borderlands, Black, Indigenous, diasporic, and queer, among others, using digital media and to what ends? How do hierarchies based on class, race, Indigeneity, gender, and sexuality shape media makers/users and to what effects? In what ways do the Latinx+ America digital arts and the region’s long avant-garde artistic tradition differently “in-form” feminist politics in the region? What are the implications of a state-sponsored and racial capitalist digital visuality for the region’s political present and future? Ultimately, what histories—herstories and theirstories—might feminist media scholars write of the digital age when Latinx+ America and its users/makers are placed at the center of the discussion, and how may these enable a more just and joyful present?



Titled “Paradoxical/Relation,” the issue engages with and broadens these questions through ten interventions, organized in four parts—peer reviewed research articles and an essay, short takes, an interview, and a translation, which respond by engaging paradox, in two of its core meanings. If a paradox is a situation or context that combines “contradictory features or qualities,” the work gathered here pays particular attention to the paradoxical dimensions of the relationship between Latinx+ America, feminism, and digital media praxis. At the same time, the contributors embody the etymological roots of the term paradoxa as a “statement contrary to accepted opinion,” performing a robust critique of neoliberal coloniality and hegemonic understandings of media. Drawing near the notion of paradox with writer Édouard Glissant’s notion of “poetics of relation,” or the view that social relations are co-constitutive, and “that our contemporary reality is one of accelerating multiplicity,” the special issue also proposes the notion of “paradoxical/relation” to consider the ways that paradox is not external to ourselves, our concepts, our movements, or technologies, and therefore fundamental to feminist politics.



Accordingly, the special issue brings to the fore the vibrant epistemological diversity or “el abanico diverso y disperso” (“the diverse and dispersed spectrum”) in the words of activist Agustina Cepeda, characteristic of the region’s feminisms. Importantly, this diversity is not a simple matter of “inclusion.” Instead, the issue argues that such diversity—which here includes

Black, queer, ecofeminist, Indigenous, Caribbean, drag, and trans—is a conceptual

and political necessity. The region’s histories of coloniality, including enslavement, genocide, and mass displacement have generated a range of critical perspectives that emerge from struggles against differentiated but articulated structures of power which have distinct genealogies, concepts, and effects, and are not reducible to each other. Indeed, these diverse frameworks and knowledge(s) often conflict in their methods or conclusions, as they do in other political arenas. Yet, by staging this conversation, “Paradoxical/Relation” suggests that each of these perspectives lays bare a different systemic dimension, enables greater analytic complexity, and allows for a broader and richer politics.





[...]








 

Feminist Media Histories publishes original research, oral histories, primary documents, conference reports, and archival news on radio, television, film, video, digital technologies, and other media across a range of historical periods and global contexts. Inter-medial and trans-national in its approach, Feminist Media Histories examines the historical role gender and sexuality have played in varied media technologies, and documents the engagement of women and LGBTQ communities with these media as audiences, users and consumers, creators and executives, critics, writers and theorists, technicians and laborers, educators, activists, and librarians.



Feminist Media Histories is published quarterly by the University of California Press.

More information is available here<http://fmh.ucpress.edu/>.

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