Tempestad: an Embodied Cartography of Violence

DOI:

https://doi.org/10.19137/anclajes-2020-2433

Keywords:

Tatiana Huezo, violence, necropolitics, frames of war, documentary

Abstract

This article uses a critique of violence and its relationship to art to examine how Tatiana Huezo in her latest documentary film, Tempestad (2016), creates an aesthetic that functions as a response to contemporary modes of production and socialization of visual violence, as well as the dehumanization of victims, situated in the violence of contemporary Mexico that results from its militarized borders and the so-called "war on drug trafficking." Huezo focuses specifically on the biopolitical disposability of women's bodies, subjected to the precariousness of justice, whose symptom is the impunity that comes from the systemic neglect of the state.

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Author Biography

Ana Cornide, University of Arizona

Doctora en Filología Hispánica y profesora titular de estudios culturales de frontera y gestión cultural comunitaria en la Universidad de Arizona. Su actual proyecto “Miradas sumergidas: traslados postcoloniales en la frontera sur” estudia diferentes intervenciones temporales en la geografía y espacios comunitarios fronterizos, así como sus nuevos modos de presentación, producción y socialización artística.

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Published

2020-09-01

How to Cite

Cornide, A. (2020). Tempestad: an Embodied Cartography of Violence. Anclajes , 24(3), 29–43. https://doi.org/10.19137/anclajes-2020-2433

Issue

Vol. 24 No. 3 (2020): septiembre-diciembre

Section

Dossier

License

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