The following is the first installment of a two-part series. The article is published simultaneously with Religious Theory. Catholic horror—horror fiction that integrates Catholic perspectives into the fiction itself—is often be seen by Catholics to be incompatible with the mission of the religion. These skeptics argue that popular culture media…
The following is the third installment of a three-part series. The first can be found here. The second is here. Post/Colonialism in the Film There are not only unequal and exploitative relationships between men and women in The Curse of La Llorona, the relationship between whiteness and Mexican bodies and culture…
The following is the second installment of a three-part series. The first can be found here. Patricia represents elements of La Malinche and a becoming of La Llorona through her desperation and subjugation. In the beginning of the film, Patricia and her two sons are introduced as having a long…
La Llorona as the Space for Discourse Surrounding Colonialism and Motherhood The American psyche is currently saturated with images of children in cages at the southern border and discussions about women’s reproduction and sexual rights. Immigration and women’s bodily autonomy are issues that were a polarizing force in the 2016…
The following is the second of a two-part series. The first can be found here. The possibility of seven-year sentences for the perpetrators in colorful dresses was discussed as too benevolent a punishment in such circumstances. At the same time, state officials suggested that to keep women in custody was…
The following is the first of a two-part series. On February 21, 2012 the Russian feminist punk band Pussy Riot staged a performance in the Christ the Savior Cathedral, Moscow, 2012. Three members of the group were arrested, accused of hooliganism motivated by religious hatred, and sentenced to two years…
The following is the second installment of a two-part series. The first can be found here. In describing this kind of cinema Craig writes, “when choosing subjectsfor a title, the direct cinema producer seeks out situations that require intense involvement from the focal characters, thus rendering the camera an innocuous…
The film/game creates a kind of avatar for the spectator/gamer, who then becomes part of the story directly.
In the 2017 Whitney Museum Biennial, contemporary painter Dana Schutz’s contributing work “Open Casket” (2016) was set to be exhibited for an allotted time of 18 weeks. It was hung with and in between the multimedia works by other artists, all of which were meant to be in a curatorial…
The following is the second of a two-part series. The first can be found here. My thanks to curator Mary Jane Jacob and artist Ernesto Pujol for their skillful editing of this text. Pujol originally proposed the topic of the essay, which will be published in 2018 as part of…