Dunja Fehimovic – författare

As public and private sectors become stakeholders, nation-states become corporations, interests become strategic objectives, and identities become brands, branding emerges as a key feature of the pervasiveness of market logic in today’s world. Branding Latin America: Strategies, Aims, Resistance offers a sustained critical analysis of these transformations, which see identities deliberately (re)defined according to the principle of competition and strategically (re)oriented towards the market. Through context-sensitive case studies that foreground a specific, under examined set of practices and concepts, this volume draws particular attention not only to the reconfigurations of citizenship, identity, and culture according to an insidious logic of market competitiveness, but also to the ways in which different actors resist, survive, and even thrive in such a context. In so doing, it illuminates the ambivalent relationships between the local, national, and global; the individual and collective; the public and private; and the economic, political, and cultural landscapes that characterize contemporary Latin America and the wider world.

How Cuba’s contemporary mediascape is challenging official histories, recovering memories, and redefining identitiesThis volume shows how Cuban filmmakers, journalists, and activists use film and other digital media to create competing notions of memory and history that challenge official narratives about Cuban society. In the wake of the economic and ideological crises of Cuba’s Special Period, suppressed political differences and personal experiences have resurfaced in the contemporary mediascape, which has become a principal political arena for Cubans both inside and outside the island.In this volume, contributors examine topics including how filmmakers use audio to subvert official histories, media representations of sanatoriums and other settings at the margins of the Revolution, and a COVID-era digital archive that preserves personal memories outside government oversight. By tracing the interplay of film, digital technologies, and the internet, contributors reveal how alternative archives and online platforms resist state-sanctioned stories, circulate new materials, and broaden ideas of citizenship, time, and identity. Together, these essays offer fresh perspectives on the complexities of Cuba’s late-socialist context.Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

How Cuba’s contemporary mediascape is challenging official histories, recovering memories, and redefining identitiesThis volume shows how Cuban filmmakers, journalists, and activists use film and other digital media to create competing notions of memory and history that challenge official narratives about Cuban society. In the wake of the economic and ideological crises of Cuba’s Special Period, suppressed political differences and personal experiences have resurfaced in the contemporary mediascape, which has become a principal political arena for Cubans both inside and outside the island.In this volume, contributors examine topics including how filmmakers use audio to subvert official histories, media representations of sanatoriums and other settings at the margins of the Revolution, and a COVID-era digital archive that preserves personal memories outside government oversight. By tracing the interplay of film, digital technologies, and the internet, contributors reveal how alternative archives and online platforms resist state-sanctioned stories, circulate new materials, and broaden ideas of citizenship, time, and identity. Together, these essays offer fresh perspectives on the complexities of Cuba’s late-socialist context.Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

National Identity in 21st-Century Cuban Cinema tours early 21st-century Cuban cinema through four key figures—the monster, the child, the historic icon, and the recluse—in order to offer a new perspective on the relationship between the Revolution, culture, and national identity in contemporary Cuba. Exploring films chosen to convey a recent diversification of subject matters, genres, and approaches, it depicts a changing industrial landscape in which the national film institute (ICAIC) coexists with international co-producers and small, ‘independent’ production companies. By tracing the reappearance, reconfiguration, and recycling of national identity in recent fiction feature films, the book demonstrates that the spectre of the national haunts Cuban cinema in ways that reflect intensified transnational flows of people, capital, and culture. Moreover, it shows that the creative manifestations of this spectre screen—both hiding and revealing—a persistent anxiety around Cubanness even as national identity is transformed by connections to the outside world.

National Identity in 21st-Century Cuban Cinema tours early 21st-century Cuban cinema through four key figures—the monster, the child, the historic icon, and the recluse—in order to offer a new perspective on the relationship between the Revolution, culture, and national identity in contemporary Cuba. Exploring films chosen to convey a recent diversification of subject matters, genres, and approaches, it depicts a changing industrial landscape in which the national film institute (ICAIC) coexists with international co-producers and small, ‘independent’ production companies. By tracing the reappearance, reconfiguration, and recycling of national identity in recent fiction feature films, the book demonstrates that the spectre of the national haunts Cuban cinema in ways that reflect intensified transnational flows of people, capital, and culture. Moreover, it shows that the creative manifestations of this spectre screen—both hiding and revealing—a persistent anxiety around Cubanness even as national identity is transformed by connections to the outside world.