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Teaching Secondary Mathematics and Science Contents embedded in Historical and Cultural Contexts: Challenges and Possibilities
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In: Cultural Encounters, Conflicts, and Resolutions (2016)
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| 62 |
Hannah Arendt and Natives as Extras: Towards an Ontology of Palestinian Presence?
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In: Cultural Encounters, Conflicts, and Resolutions (2016)
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| 63 |
On Confucius’s Ideology of Aesthetic Order
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In: Cultural Encounters, Conflicts, and Resolutions (2016)
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| 64 |
Table of Contents
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In: Cultural Encounters, Conflicts, and Resolutions (2016)
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| 65 |
Introduction
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In: Cultural Encounters, Conflicts, and Resolutions (2016)
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| 66 |
Imagen y percepción de la inmigración ecuatoriana en España: alternativa literaria
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In: South East Coastal Conference on Languages & Literatures (SECCLL) (2016)
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| 67 |
Thematic Bibliography to New Work on Immigration and Identity in Contemporary France, Québec, and Ireland
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In: CLCWeb: Comparative Literature and Culture (2016)
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| 68 |
Approaches to Teaching Latin American Culture through Film: Children’s Plight in Poverty- and Violence-Ridden Countries
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In: Cultural Encounters, Conflicts, and Resolutions (2015)
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| 69 |
El Paseo by Harold Trompetero: Approaching Popular Film from Colombia in a North American Classroom
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In: Cultural Encounters, Conflicts, and Resolutions (2015)
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Abstract:
This article explores the manner in which popular films from Colombia— specifically comedies, such as the movie El paseo, directed by Harold Trompetero in 2010, which has been the highest grossing movie to date in the history of movies produced in Colombia–may be used in the classroom in the context of a World Language, Literature, and Culture department in the United States. It is the contention of this study that such a choice is far from common due to diverse issues, which include the limited access to international distribution of the majority of the so-called “national film” or, in this case, “Colombian film.” As a consequence, the reception of these films is conditioned by what British visual art historian Kobena Mercer has characterized as a “burden of representation;” that is, the fact that any product not coming from the heart of mainstream western culture is burdened by the implication that its content will be considered as representative of the identity with which it has been associated, regardless of how nuanced its position may actually be in its original context. Furthermore, many foreign films arrive in North America by way of festivals, which may impose an additional layer of expectations. This analysis also examines the need to complement, modulate, and separate from some trends common in the study of Colombian film, as discussed by film scholar Juana Suárez in her volume Cinembargo Colombia: Critical Essays on Colombian Cinema (i.e. the omnipresence of “violence” as a determining narrative, the false dichotomy of “good/bad” film without making explicit the criteria for such a taxonomy, among others). The article reviews some of the challenges involved in teaching the film with attention to intercultural communication. Classroom readings include legislative documents (such as Law 397/1997 and Law 814/2003), miscellaneous film criticism from Colombian newspapers and blogs, and critical concepts by film scholar Andrew Higson, Mexican anthropologist Marcela Lagarde, and Spanish communication specialist Miguel Rodrigo Alsina, among others.
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Keyword:
and Ethnicity in Communication; and Multicultural Education; Arts and Humanities; Bilingual; Colombia; Communication; Critical and Cultural Studies; Cultural History; Dispute Resolution and Arbitration; Education; El Paseo; film; film teaching; Gender; International and Intercultural Communication; Multilingual; Peace and Conflict Studies; popular film; Public Affairs; Public Policy and Public Administration; Race; Sexuality; Social and Behavioral Sciences; Social and Cultural Anthropology; Trompetero
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URL: https://engagedscholarship.csuohio.edu/cgi/viewcontent.cgi?article=1072&context=cecr
https://engagedscholarship.csuohio.edu/cecr/vol2/iss1/5
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| 70 |
Teaching about the Muxes in the United States: Cultural Construct Gender Identity, and Transgression in the 21st Century
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In: Cultural Encounters, Conflicts, and Resolutions (2015)
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| 71 |
Table of Contents
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In: Cultural Encounters, Conflicts, and Resolutions (2015)
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| 72 |
Intercultural Communicative Competence: Literature Review
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In: Cultural Encounters, Conflicts, and Resolutions (2015)
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| 73 |
Introduction: Foreign Films and Higher Education
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In: Cultural Encounters, Conflicts, and Resolutions (2015)
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| 74 |
Can Films Speak the Truth? Mathieu Kassovitz’s La Haine (1995) and Philippe Faucon’s La Désintégration (2011)
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In: Cultural Encounters, Conflicts, and Resolutions (2015)
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| 75 |
Note on Special Issue
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In: Cultural Encounters, Conflicts, and Resolutions (2015)
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| 76 |
Understanding Arab Culture through Cinema
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In: Cultural Encounters, Conflicts, and Resolutions (2015)
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| 77 |
Healing Our Race-Linked Wounds
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In: Carroy U "Cuf" Ferguson, Ph.D. (2015)
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| 78 |
Persistence of African-American/black signed language interpreters in the United States: the importance of culture and capital
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In: Master's of Arts in Interpreting Studies (MAIS) Theses (2015)
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| 79 |
Heritage learner to professional interpreter: who are deaf-parented interpreters and how do they achieve professional status?
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In: Master's of Arts in Interpreting Studies (MAIS) Theses (2015)
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| 80 |
The Body as Politic: Education and the performance Art of Guillermo Gómez-Peña
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In: Cultural Encounters, Conflicts, and Resolutions (2014)
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