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In January 2001, before the Conference on Latin American History decided to link its annual luncheon address to the recipient of its Distinguished Service Award, I had the honor of speaking at the CLAH luncheon, and in that previous talk I briefly discussed the circumstances that led to my becoming a Latin Americanist. Here I return to the theme of becoming a historian of Latin America, but this time I will be drawing not on my own rather unremarkable experience, but instead on my current research for an intellectual biography of the renowned Latin Americanist Frank Tannenbaum (1893–1969), whose path to specialization in Latin American history was considerably more remarkable.
Hitler's Machtergreifung, or seizure of power, on January 30, 1933, marked the end of the Weimar Republic and the beginning of the Third Reich, and German film scholarship has generally accepted this date as the break between Weimar and Nazi-era film as well. This collection of essays interrogates the continuities and discontinuities in German cinema before and after January 1933 and theirrelationship to the various crises of the years 1928 to 1936 in seven areas: politics, the economy, concepts of race and ethnicity, the making of cinema stars, genre cinema, film technologies and aesthetics, and German-international film relations. Focusing both on canonical and lesser-known works, the essays analyze a representative sample of films and genres from the period. This book will be ofinterest to scholars and students of Weimar and Third Reich cinema and of the sociopolitical, economic, racial, artistic, and technological spheres in both late Weimar and the early Third Reich, as well as to film scholars in general.
Contributors: Paul Flaig, Margrit Frölich, Barbara Hales, Anjeana Hans, Bastian Heinsohn, Brook Henkel, Kevin B. Johnson, Owen Lyons, Richard W. McCormick, Kalani Michell, Mihaela Petrescu, Christian Rogowski, Valerie Weinstein, Wilfried Wilms.
Barbara Hales is Associate Professor of History at the University of Houston-Clear Lake. MihaelaPetrescu is Visiting Lecturer at the University of Pittsburgh. Valerie Weinstein is Assistant Professor of Women's, Gender, and Sexuality Studies and German Studies at the University of Cincinnati.
Once upon a time there was a beautiful and virtuous region, a ‘paradise of riches beyond men's dreams’, that lured the interest of fortuneseekers from far and wide. But this region, cursed by its culture and location to suffer from immature technology and insufficient venture capital, lay dormant, in a deep, timeless sleep until one day Prince Charming (who bore a remarkable resemblance to Henry Ford) bestowed upon it the kiss of his copious capital and breathtaking technological innovations, and the region finally stirred, shaking off its slumbers to join Prince Charming on the road to progress.
The ‘fairy tale’ narrative sketched out above may seem facetious, but it captures the genre conventions and, in most respects, the message of the film The Amazon Awakens, a 1944 documentary produced through a joint venture of the Office of the Coordinator of Inter-American Affairs (headed by the young Nelson Rockefeller) and the Disney Studios. It formed part of an extensive body of feature films and documentaries dedicated to promoting the Good Neighbor Policy in Latin America during World War II. This cinematic collection included both theatrical releases—such as the animated Disney features Saludos Amigos (1942) and The Three Caballeros (1944)—as well as numerous non-fictional works that included, aside from The Amazon Awakens, films on such rousing subjects as changing agrarian structures in Chile and the versatility of corn. The intended and actual audience for these non-theatrical films is somewhat difficult to determine; many, with Spanish or Portuguese voice-overs, were routinely shown as educational or public health films in open-air theaters to Latin American audiences. In the case of films directed at US publics, such as The Amazon Awakens, it is probable that they were distributed to educational institutions and business organizations (such as local chambers of commerce) in the USA to promote ‘hemispheric understanding’ and investments abroad. As for the decision to make a film specifically about the Amazon, this likely reflected both the longstanding (and ongoing) US fascination with the region, and the intense interest in the Amazon Basin inspired by the campaign to revive regional rubber production for the war effort, known in Brazil as ‘The Battle for Rubber’.
Originally published in Portuguese in 1994 as Negros da Terra, this field-defining work by the late historian John M. Monteiro has been translated into English by Professors Barbara Weinstein and James Woodard. Monteiro's work established ethnohistory as a field in colonial Brazilian studies and made indigenous history a vital part of how scholars understand Brazil's colonial past. Drawing on over two dozen collections on both sides of the Atlantic, Monteiro rescued Indians from invisibility, documenting their role as both objects and actors in Brazil's colonial past and, most importantly, providing the first history of Indian slavery in Brazil. Monteiro demonstrates how Indian enslavement, not exploration or the search for mineral wealth, was the driving force behind expansion out of São Paulo and through the South American backcountry. This book makes a groundbreaking contribution not only to Latin American history, but to the history of indigenous slavery in the Americas generally.
