Remediating Kalimán: Digital Evolutions of Eugenic Agents

2019 ◽  
Vol 5 (1-2) ◽  
pp. 57-78
Author(s):  
Itzayana Gutiérrez

Kalimán is a Mexican superhero that has circulated Orientalist eugenic values for over fifty years across Latin America. Although Indian, and wearing traditional Indian subcontinental clothing, distinguishable only by a jewel-encased “K” on his turban, Kalimán is a muscular, blue-eyed, and white character. He was created in 1963 as the main protagonist of a radio series that spawned a comic magazine in 1965, two films in 1972 and 1976, and animations and video games in the early 2010s, in a massive process of remediation that has guaranteed a solid mark in the cultural patrimony of the Americas. Since Kalimán incarnates impulses of punishment and desire over racially contaminated brown and black characters, his undisturbed, easy-to-access, and enduring presence provides evidence of deeply ingrained anti-Asian violence in Latin American popular culture, as well as the urge to develop a critical look at graphic violence traditions which continue to be treasured.

2018 ◽  
Vol 23 ◽  
pp. 187-197
Author(s):  
Magdalena Szkwarek

What games do the characters in Latin American literature play?The “open text” concept allows us to look at the literary work through the prism of the game which an author plays or could potentially play with a  recipient. However, in my article I  would like to show what games literally! play the fictional characters created by authors from Latin America, namely: board games, games involving physical stimulation, group games, video games, etc. Regardless of the origin and social status, the characters in Latin American literature enjoy playing games, as we shall see by analyzing selected texts.


1990 ◽  
Vol 6 (22) ◽  
pp. 119-127
Author(s):  
Enzo Cozzi

In NTQ15 (1988) Catherine Boyle surveyed the paradoxically rich variety of theatrical practices that have come to life in Chile under conditions of extreme hardship since the military takeover of 1973. She concluded that ‘there is more to be said about Chilean theatre and other interpretations to be made’. The following piece puts forward one such interpretation, by examining some of those practices in terms of the larger social and political questions at stake, and by drawing theatrical and historical parallels between the work of the two most important dramatists of the period – Juan Radrigán and Marco Antonio de la Parra – and the work and thought of Piscator. This article was written well before the developments that have brought Chile to the brink of a re-establishment of some kind of democracy, with the elections of December 1989 won by the opposition to Pinochet: but it still reaches an optimistic conclusion, which we can only hope is borne out by events. Enzo Cozzi is a Chilean who came to exile in Britain in the aftermath of the military coup. He now teaches in the Department of Drama at Royal Holloway and Bedford New College. University of London, and runs a puppet theatre company. Travesura, devoted to Latin American popular culture.


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