Paul A Schroeder Rodríguez
Biographic Data
| ID | 179787 |
|---|---|
| NAME | Paul A Schroeder Rodríguez |
| GIVEN NAMES | Paul A Schroeder |
| FAMILY NAME | Rodríguez |
| SIGNATURE | RODRÍGUEZ P A S |
| AFFILIATIONS | 1 Amherst College Department of Spanish |
| ORCID | 0009-0007-6445-9434 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
Leonardo, Morelli, and the Computational Mirror
By bringing forward and interpreting the results from a collaborative research project that used contemporary computing techniques to investigate Giovanni Morelli’s nineteenth-century method for making stylistic attributions of old master paintings, this article examines how humanists make claims to knowledge and how this process may or may not be modellable or mechanizable within the context of classical, deterministic, digital computation. It b…
Perdonar sin olvidar
Este ensayo reseña las siguientes películas: Ciro y yo. Dir. Miguel Salazar. Prod. La Esperanza. Colombia, 2018, 117 min. Distribuido por Pragda (pragda.com). Fragmentos. Dir. Mayte Carrasco. Prod. Photoholic y Big Story Films. Colombia, Canadá, Reino Unido, 2019, 23 min. Disponible a través del Canal de YouTube del Museo Nacional de Colombia, https://www.youtube.com/watch?v=d7rAb2O0JV8. Limbo. Dir. Alex Fattal. Prod. Break the Frame Films y Casa…
Homosexuality and Invisibility in Revolutionary Cuba
Little Red Riding Hood Meets Freud in Lucrecia Martel's Salta Trilogy
Lucrecia Martel is quite possibly the leading filmmaker in Latin America today, thanks to her subtle yet scathing critique of patriarchy's traditional gender roles and normative sexuality through a multilayered and innovative cinematic language that privileges nonlinearity over causality, sound over sight, and suspense over closure. This article argues that Martel's trilogy of life in the province of Salta, Argentina, examines the country's incom…
Marxist Historiography and Narrative Form in Sergei Eisenstein's ¡Que viva México
In 1931, Soviet film director Sergei Eisenstein lived in Mexico to work on ¡Que viva México! This epic film dramatizes over four centuries of that nation's history, in six parts: a prologue, four episodes representing three different modes of production, and an epilogue. This essay explores (1) how the film's montage of narrative discontinuity functions as the formal equivalent of the ideological breaks associated with transitions between modes o…
Latin American Silent Cinema
Despite its important role in the construction of imagined communities throughout the region, the study of silent cinema in Latin America has barely gone beyond an initial stage of unearthing national and regional cinemas to a more comparative and critical study of trends and ideologies from a transnational perspective. This essay outlines such a comparative history by using the spatiotemporal metaphor of triangulation as a framework for theorizi…
Latin American Silent Cinema
Despite its important role in the construction of imagined communities throughout the region, the study of silent cinema in Latin America has barely gone beyond an initial stage of unearthing national and regional cinemas to a more comparative and critical study of trends and ideologies from a transnational perspective. This essay outlines such a comparative history by using the spatiotemporal metaphor of triangulation as a framework for theorizi…
Little Red Riding Hood Meets Freud in Lucrecia Martel's Salta Trilogy
Lucrecia Martel is quite possibly the leading filmmaker in Latin America today, thanks to her subtle yet scathing critique of patriarchy's traditional gender roles and normative sexuality through a multilayered and innovative cinematic language that privileges nonlinearity over causality, sound over sight, and suspense over closure. This article argues that Martel's trilogy of life in the province of Salta, Argentina, examines the country's incom…
Latin American Silent Cinema
Despite its important role in the construction of imagined communities throughout the region, the study of silent cinema in Latin America has barely gone beyond an initial stage of unearthing national and regional cinemas to a more comparative and critical study of trends and ideologies from a transnational perspective. This essay outlines such a comparative history by using the spatiotemporal metaphor of triangulation as a framework for theorizi…
Marxist Historiography and Narrative Form in Sergei Eisenstein's ¡Que viva México
In 1931, Soviet film director Sergei Eisenstein lived in Mexico to work on ¡Que viva México! This epic film dramatizes over four centuries of that nation's history, in six parts: a prologue, four episodes representing three different modes of production, and an epilogue. This essay explores (1) how the film's montage of narrative discontinuity functions as the formal equivalent of the ideological breaks associated with transitions between modes o…
Little Red Riding Hood Meets Freud in Lucrecia Martel's Salta Trilogy
Lucrecia Martel is quite possibly the leading filmmaker in Latin America today, thanks to her subtle yet scathing critique of patriarchy's traditional gender roles and normative sexuality through a multilayered and innovative cinematic language that privileges nonlinearity over causality, sound over sight, and suspense over closure. This article argues that Martel's trilogy of life in the province of Salta, Argentina, examines the country's incom…
Homosexuality and Invisibility in Revolutionary Cuba
Leonardo, Morelli, and the Computational Mirror
By bringing forward and interpreting the results from a collaborative research project that used contemporary computing techniques to investigate Giovanni Morelli’s nineteenth-century method for making stylistic attributions of old master paintings, this article examines how humanists make claims to knowledge and how this process may or may not be modellable or mechanizable within the context of classical, deterministic, digital computation. It b…
Perdonar sin olvidar
Este ensayo reseña las siguientes películas: Ciro y yo. Dir. Miguel Salazar. Prod. La Esperanza. Colombia, 2018, 117 min. Distribuido por Pragda (pragda.com). Fragmentos. Dir. Mayte Carrasco. Prod. Photoholic y Big Story Films. Colombia, Canadá, Reino Unido, 2019, 23 min. Disponible a través del Canal de YouTube del Museo Nacional de Colombia, https://www.youtube.com/watch?v=d7rAb2O0JV8. Limbo. Dir. Alex Fattal. Prod. Break the Frame Films y Casa…
Art (5 works) · Art history (3 works) · Humanities (3 works) · Political science (3 works) · Cinema History and Criticism (2 works) · Law (2 works) · Politics (2 works) · Anarchism and Radical Politics (1 works) · Archaeology (1 works) · Architecture and Art History Studies (1 works)