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Photopoetics at Tlatelolco : Afterimages of Mexico, 1968 / Samuel Steinberg.

By: Material type: TextTextPublisher: Austin : University of Texas Press, [2021]Copyright date: ©2016Description: 1 online resourceContent type:
Media type:
Carrier type:
ISBN:
  • 9781477307496
Subject(s): DDC classification:
  • 972/.530831 23
LOC classification:
  • F1386.4.T597 S74 2016
  • F1386.4.T597 S74 2016eb
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Introduction -- 1. Archive and Event -- 2. Postponed Images -- 3. Testimonio and the Future without Excision -- 4. Exorcinema -- 5. Literary Restoration -- 6. An-archaeologies of 1968 -- Notes -- Bibliography -- Index
Summary: In the months leading up to the 1968 Olympic games in Mexico City, students took to the streets, calling for greater democratization and decrying crackdowns on political resistance by the ruling PRI party. During a mass meeting held at the Plaza of the Three Cultures in the Tlatelolco neighborhood, paramilitary forces opened fire on the gathering. The death toll from the massacre remains a contested number, ranging from an official count in the dozens to estimates in the hundreds by journalists and scholars. Rereading the legacy of this tragedy through diverse artistic-political interventions across the decades, Photopoetics at Tlatelolco explores the state’s dual repression—both the massacre’s crushing effects on the movement and the manipulation of cultural discourse and political thought in the aftermath. Examining artifacts ranging from documentary photography and testimony to poetry, essays, chronicles, cinema, literary texts, video, and performance, Samuel Steinberg considers the broad photographic and photopoetic nature of modern witnessing as well as the specific elements of light (gunfire, flares, camera flashes) that ultimately defined the massacre. Steinberg also demonstrates the ways in which the labels of “massacre” and “sacrifice” inform contemporary perceptions of the state’s blatant and violent repression of unrest. With implications for similar processes throughout the rest of Latin America from the 1960s to the present day, Photopoetics at Tlatelolco provides a powerful new model for understanding the intersection of political history and cultural memory.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781477307496

Frontmatter -- Contents -- Acknowledgments -- Introduction -- 1. Archive and Event -- 2. Postponed Images -- 3. Testimonio and the Future without Excision -- 4. Exorcinema -- 5. Literary Restoration -- 6. An-archaeologies of 1968 -- Notes -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

In the months leading up to the 1968 Olympic games in Mexico City, students took to the streets, calling for greater democratization and decrying crackdowns on political resistance by the ruling PRI party. During a mass meeting held at the Plaza of the Three Cultures in the Tlatelolco neighborhood, paramilitary forces opened fire on the gathering. The death toll from the massacre remains a contested number, ranging from an official count in the dozens to estimates in the hundreds by journalists and scholars. Rereading the legacy of this tragedy through diverse artistic-political interventions across the decades, Photopoetics at Tlatelolco explores the state’s dual repression—both the massacre’s crushing effects on the movement and the manipulation of cultural discourse and political thought in the aftermath. Examining artifacts ranging from documentary photography and testimony to poetry, essays, chronicles, cinema, literary texts, video, and performance, Samuel Steinberg considers the broad photographic and photopoetic nature of modern witnessing as well as the specific elements of light (gunfire, flares, camera flashes) that ultimately defined the massacre. Steinberg also demonstrates the ways in which the labels of “massacre” and “sacrifice” inform contemporary perceptions of the state’s blatant and violent repression of unrest. With implications for similar processes throughout the rest of Latin America from the 1960s to the present day, Photopoetics at Tlatelolco provides a powerful new model for understanding the intersection of political history and cultural memory.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 27. Okt 2021)