Miriam Haddu – författare

The last two decades have seen dramatic changes to Mexico’s socio-political landscape. A former president fleeing into exile, political assassinations, a rebellion in Chiapas, and the eruption of the so-called war on drugs provide key examples of critical events shaping the nation. This book examines Mexican cinema’s representations of, and responses to, these socio-political moments. Beginning with the definitive year 1994, which saw the Ejército Zapatista de Liberación Nacional (EZLN) declare war on the Mexican government, the early chapters in this book discuss the outcome of these episodes in subsequent years and how they find screen representation. The study then moves on to provide close readings of key filmic texts as reflections of the so-called narco-war and its effects on Mexican society. Focusing on both fiction and documentary filmmaking, this book explores notions of violence, victimhood, and the complex processing of grief in the context of enforced disappearances and the narco-conflict. In addition to examining films made in Mexico, this investigation incorporates the work of three of the nation’s most celebrated transnational directors: Guillermo del Toro, Alejandro González Iñárritu and Alfonso Cuarón. By examining their work on European soil as a comparative exercise, the analyses offer an understanding of the imprints left by warfare and trauma upon the collective and individual psyche, seen from a universal viewpoint. Using rigorous theoretical frameworks and succinct filmic analyses, this book will be essential reading for those interested in Mexican and Latin American film, as well as those working in the fields of Cultural, Screen, and Trauma Studies.

Using rigorous theoretical frameworks and succinct filmic analyses, this book will be essential reading for those interested in Mexican and Latin American film, as well as those working in the fields of Cultural, Screen, and Trauma Studies.

Riven with unresolved traumas and appropriated by successive governments, the past haunts spaces in Mexican film and visual culture. These events, without consensus or a singular/unifying narrative, act like spectres haunting the present. To comprehend how they manifest, Legacies of the Past considers how filmmakers and visual artists have found ways of understanding these haunted spaces. With case studies of films like El atentado (2010), Flor en Otomí (2012) and the photography of Dulce Pinzón, this collection analyses the audio-visual representations of several heightened events in Mexican history. The conbtributors’ explorations, imaginings and counter-imaginings bring the past to the foreground, creating new narratives and proposing new histories in order to show the significance of storytelling and narrative for a shared understanding of ourselves.