F.-J. Hernández Adrián
Francisco-J. Hernández Adrián – Associate Professor of Hispanic Studies / Director of Postgraduate Studies
Associate Editor – Cultural Dynamics: Insurgent Scholarship on Culture, Politics and Power
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Before I joined the School of Modern Languages and Cultures (MLAC) at Durham in 2011, I worked as Assistant Professor of Spanish and Latin American Studies in the Department of Romance Studies at Duke University. I lecture on the cultures of the insular and post-colonial Atlantic, focusing on Surrealism and the avant-garde; Caribbean texts and diasporas; and Caribbean and Latin American cinema and visual culture.
My research interests include visual, gender / queer, and race theories of the Hispanic and Francophone Caribbean, with a specific focus on island studies, post-creolizing processes, and local / global ecologies. I am particularly interested in discourses of Atlantic space, encompassing connections across the Global South that involve the Afro-Caribbean, the Americas and the Canary Islands.
I am currently completing a book manuscript on Surrealism and avant-garde movements in the Caribbean and the Canary Islands. My other ongoing projects include a critical examination of visual, territorial and economic constructions of insularity in the contemporary Atlantic; and a book-length study of the visual representation of islands more broadly, with a particular emphasis on photography and film.
In March 2017, I curated ‘Cines del Caribe: visiones de la ruina, lo sumergido y lo emergente’, a Special Programme of contemporary Caribbean and island films for FICCI 57 (Festival Internacional de Cine de Cartagena de Indias). I was also a member of the Jury for the Official Short Film Competition at FICCI 57.
Since October 2016, I am a CI (Co-Investigator) for the AHRC (Arts and Humanities Research Council) four-year research grant, Open World Research Initiative (OWRI), a large multi-institutional and interdisciplinary programme of research, Cross-Language Dynamics: Reshaping Community, supervised by Professor Stephen Hutchings (University of Manchester). Led by Dr Andy Byford (MLAC) and Professor Anoush Ehteshami (School of Government & International Affairs) at Durham University, the project's Transnational Strand, Rethinking Language Communities for an Open World: Between and Beyond Nations, Institutions and Networks, investigates political, social and cultural interactions across communities sharing a single language, but dispersed across multiple states and cultures, with emphasis on Spanish, Russian, Arabic and Chinese. My individual research project is called Atlantic Insularities: Languages of Exorbitance in Spanish-Speaking Island Cultures.
I am an associate editor of the journal Cultural Dynamics: Insurgent Scholarship on Culture, Politics and Power, where since December 2016 I edit a new section on 'Worlds Panoramic: Visualities from the Global South', specifically devoted to the visualities of the Global South and its multiply fragmented borderzones. I am a member of the Race, Space, Place international collective:
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Since 2015, I co-convene the MLAC-based World Cinema and Cosmopolitics research group.
I am a member of CVAC – Centre for Visual Arts and Culture – at Durham University:
https://www.dur.ac.uk/cvac/
I am happy to review and support applications from potential PhD and Postdoctoral students, and available to supervise postgraduate work on a range of aspects of Caribbean and Latin American literature, visual culture and film.
Address: Durham, United Kingdom
Associate Editor – Cultural Dynamics: Insurgent Scholarship on Culture, Politics and Power
https://www.dur.ac.uk/mlac/spanish/staff/display/?id=9744
http://www.uk.sagepub.com/journals/Journal200795
Before I joined the School of Modern Languages and Cultures (MLAC) at Durham in 2011, I worked as Assistant Professor of Spanish and Latin American Studies in the Department of Romance Studies at Duke University. I lecture on the cultures of the insular and post-colonial Atlantic, focusing on Surrealism and the avant-garde; Caribbean texts and diasporas; and Caribbean and Latin American cinema and visual culture.
My research interests include visual, gender / queer, and race theories of the Hispanic and Francophone Caribbean, with a specific focus on island studies, post-creolizing processes, and local / global ecologies. I am particularly interested in discourses of Atlantic space, encompassing connections across the Global South that involve the Afro-Caribbean, the Americas and the Canary Islands.
I am currently completing a book manuscript on Surrealism and avant-garde movements in the Caribbean and the Canary Islands. My other ongoing projects include a critical examination of visual, territorial and economic constructions of insularity in the contemporary Atlantic; and a book-length study of the visual representation of islands more broadly, with a particular emphasis on photography and film.
In March 2017, I curated ‘Cines del Caribe: visiones de la ruina, lo sumergido y lo emergente’, a Special Programme of contemporary Caribbean and island films for FICCI 57 (Festival Internacional de Cine de Cartagena de Indias). I was also a member of the Jury for the Official Short Film Competition at FICCI 57.
Since October 2016, I am a CI (Co-Investigator) for the AHRC (Arts and Humanities Research Council) four-year research grant, Open World Research Initiative (OWRI), a large multi-institutional and interdisciplinary programme of research, Cross-Language Dynamics: Reshaping Community, supervised by Professor Stephen Hutchings (University of Manchester). Led by Dr Andy Byford (MLAC) and Professor Anoush Ehteshami (School of Government & International Affairs) at Durham University, the project's Transnational Strand, Rethinking Language Communities for an Open World: Between and Beyond Nations, Institutions and Networks, investigates political, social and cultural interactions across communities sharing a single language, but dispersed across multiple states and cultures, with emphasis on Spanish, Russian, Arabic and Chinese. My individual research project is called Atlantic Insularities: Languages of Exorbitance in Spanish-Speaking Island Cultures.
I am an associate editor of the journal Cultural Dynamics: Insurgent Scholarship on Culture, Politics and Power, where since December 2016 I edit a new section on 'Worlds Panoramic: Visualities from the Global South', specifically devoted to the visualities of the Global South and its multiply fragmented borderzones. I am a member of the Race, Space, Place international collective:
http://www.uk.sagepub.com/journals/Journal200795
http://racespaceplace.wordpress.com/
Since 2015, I co-convene the MLAC-based World Cinema and Cosmopolitics research group.
I am a member of CVAC – Centre for Visual Arts and Culture – at Durham University:
https://www.dur.ac.uk/cvac/
I am happy to review and support applications from potential PhD and Postdoctoral students, and available to supervise postgraduate work on a range of aspects of Caribbean and Latin American literature, visual culture and film.
Address: Durham, United Kingdom
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Papers by F.-J. Hernández Adrián
Talk by F.-J. Hernández Adrián
Future: Vulnerability, Resistance, Hope” conference, Durham University, 12-13 July 2016.
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the-Future-Vulnerability-Resistance-Hope
Other by F.-J. Hernández Adrián
SEMINARIO / TALLER
17-20 de septiembre, 2018
MÁS ALLÁ DE LA RUINA, LO SUMERGIDO Y LO EMERGENTE:
VISIONES DEL ESPACIO Y SUS FUGAS EN EL CINE LATINOAMERICANO RECIENTE
Esta serie de cuatro seminarios / talleres organizada y moderada por Francisco-J. Hernández Adrián y Pedro Adrián Zuluaga se propone revisitar y al mismo tiempo reevaluar y ampliar el proyecto de reflexión crítica que se presentó en FICCI 57, en el programa especial sobre CINES DEL CARIBE: VISIONES DE LA RUINA, LO SUMERGIDO Y LO EMERGENTE.
Nuestro propósito en el presente encuentro es debatir con un grupo de realizadores, activistas, estudiantes avanzados y profesionales de la industria del cine y de las artes visuales sobre el sentido de la multiplicidad de espacios, desplazamientos y fugas que conectan de manera sorprendente e inquietante los cines insulares y litorales del Caribe con sus regiones aledañas y con las dimensiones globales de estas regiones.
Entre otras, nos acercaremos a obras como Aequador (2012) de Laura Huertas Millán; Assistance Mortelle (2012) de Raoul Peck; Atrato (2014) de Marcos Ávila Forero; Bocas de ceniza (2004) de Juan Manuel Echavarría; Cocote (2017) de Nelson Carlo de los Santos Arias; Da pa’ lo’ do’ (2010) de Engel Leonardo (feat. Rita Indiana); El mégano (1955) de Julio García Espinosa y Tomás Gutiérrez Alea; Keyla (2017) de Viviana Gómez Echeverry; La tierra y la sombra (2015) de César Augusto Acevedo; Nueva argirópolis (2010) de Lucrecia Martel; Oscuro animal (2016) de Felipe Guerrero; Post Tenebras Lux (2012) de Carlos Reygadas; Rastros corporales (1982) de Ana Mendieta; Shibboleth (2007) de Doris Salcedo; y Silueta Series (1973-1980) de Ana Mendieta.
A través de las cuatro sesiones organizadas temática y conceptualmente en torno a travesías / costas, interiores / ruinas, fronteras / islas y desplazamientos / fugas, proponemos un diálogo crítico sobre precariedad y cine sumergido, cine experimental y experimentos visuales, espacios interiores y paisajes arruinados, arte conceptual y cine político, activismo medioambiental y ecologías del monocultivo, desastres medioambientales y desplazamientos forzados, sin apartarnos de nociones tan elementales y complejas como mirada, cuerpo, género, isla, interior, costa, muerte, supervivencia, vulnerabilidad, resistencia, imaginación y futuro.
Para inscribirse, enviar un correo con nombre completo a:
[email protected]
Future: Vulnerability, Resistance, Hope” conference, Durham University, 12-13 July 2016.
http://matarikiriskhumani.wixsite.com/matariki-risknetwork/single-post/2016/04/05/CFPRisking-
the-Future-Vulnerability-Resistance-Hope
SEMINARIO / TALLER
17-20 de septiembre, 2018
MÁS ALLÁ DE LA RUINA, LO SUMERGIDO Y LO EMERGENTE:
VISIONES DEL ESPACIO Y SUS FUGAS EN EL CINE LATINOAMERICANO RECIENTE
Esta serie de cuatro seminarios / talleres organizada y moderada por Francisco-J. Hernández Adrián y Pedro Adrián Zuluaga se propone revisitar y al mismo tiempo reevaluar y ampliar el proyecto de reflexión crítica que se presentó en FICCI 57, en el programa especial sobre CINES DEL CARIBE: VISIONES DE LA RUINA, LO SUMERGIDO Y LO EMERGENTE.
Nuestro propósito en el presente encuentro es debatir con un grupo de realizadores, activistas, estudiantes avanzados y profesionales de la industria del cine y de las artes visuales sobre el sentido de la multiplicidad de espacios, desplazamientos y fugas que conectan de manera sorprendente e inquietante los cines insulares y litorales del Caribe con sus regiones aledañas y con las dimensiones globales de estas regiones.
Entre otras, nos acercaremos a obras como Aequador (2012) de Laura Huertas Millán; Assistance Mortelle (2012) de Raoul Peck; Atrato (2014) de Marcos Ávila Forero; Bocas de ceniza (2004) de Juan Manuel Echavarría; Cocote (2017) de Nelson Carlo de los Santos Arias; Da pa’ lo’ do’ (2010) de Engel Leonardo (feat. Rita Indiana); El mégano (1955) de Julio García Espinosa y Tomás Gutiérrez Alea; Keyla (2017) de Viviana Gómez Echeverry; La tierra y la sombra (2015) de César Augusto Acevedo; Nueva argirópolis (2010) de Lucrecia Martel; Oscuro animal (2016) de Felipe Guerrero; Post Tenebras Lux (2012) de Carlos Reygadas; Rastros corporales (1982) de Ana Mendieta; Shibboleth (2007) de Doris Salcedo; y Silueta Series (1973-1980) de Ana Mendieta.
A través de las cuatro sesiones organizadas temática y conceptualmente en torno a travesías / costas, interiores / ruinas, fronteras / islas y desplazamientos / fugas, proponemos un diálogo crítico sobre precariedad y cine sumergido, cine experimental y experimentos visuales, espacios interiores y paisajes arruinados, arte conceptual y cine político, activismo medioambiental y ecologías del monocultivo, desastres medioambientales y desplazamientos forzados, sin apartarnos de nociones tan elementales y complejas como mirada, cuerpo, género, isla, interior, costa, muerte, supervivencia, vulnerabilidad, resistencia, imaginación y futuro.
Para inscribirse, enviar un correo con nombre completo a:
[email protected]
Los análisis en torno a películas de diferentes nacionalidades y formatos, géneros y periodos históricos, insistiraán en el examen detallado de los conceptos de espacio, paisaje, medioambiente, enclave, diáspora, Sur Global y expulsiones en contextos postglobales y neoliberales.
Francisco-J. Hernández Adrián
Durham University (UK)
The cosmos, in Alexander von Humboldt’s visionary accounts, can be apprehended through an immoderate acceleration of the local perspective. This acceleration imagines an adequate and genteel insertion of technological timescales (the temporalities produced and aided by measuring and navigational instruments) that extend ideologies of exploration and mapping, conquest and extraction into manageable and prosperous futures. The acceleration of the local perspective expands visuality beyond its insular standpoint, making it panoramic and capacious, simultaneously mobile and potentially boundless in the name of universal knowledge and moral perfection, international harmony and global peace. As Kantian and Humboldtian models of cosmopolitan and global thinking give way to the “unthought” of “planetary cognitive systems” and “cognitive assemblages” (Katherine Hayles), there are new and urgent questions surrounding borders, regimes, disposability.
Hernández Adrián considers the current sensory and affective emphasis in migration visualities through discussions of two recent documentary films about immigrant and refugee crises. Gianfranco Rosi’s celebrated Fire at Sea (Fuocoammare) (2016) is a staggering visual text that dwells uncomfortably on visual and aestheticopolitical boundaries. Filmed on the island of Lampedusa in 2015, it centres on Samuelle, a schoolboy from a local fishing family, approaching the so-called European refugee crisis from a series of unexpected small island angles. Ai Weiwei’s Human Flow (2017) expands the local perspective historically and territorially, deploying a dazzling panoramic projection that demonstrates the systemic and unprecedented scale of forced displacement, migration and statelessness involving more than 65 million people across twenty-three countries. Weiwei’s imaginary is expansive and continental, irreducibly global and multiply fragmented.
In both documentary films, longstanding concepts such as “the cosmos” and “international harmony,” “asylum,” and “refugee status” are rendered obsolete, while “human” and “landscape” can arguably be conceptualized accurately in terms of deathscapes of land and sea, given the sheer exorbitance of death rates across local contexts and global panoramas. Both films register these processes of conceptual erosion through contrasting perspectival manoeuvres: insular and amphibian, trans-continentally panoramic. Hernández Adrián asks how these visual texts might speak to us about a cosmopolitics of the small island model of surveillance (Lampedusa and the Canary Islands), the detainment and detention centre (Guantánamo and Manus Island), and related transitional spaces (the now dismantled “Calais Jungle” and the emerging EU-Turkey Refugee Deal) in today’s transnational contexts. What precisely do these documentary films demand of us imaginatively and conceptually, through their combined registers of insular and continental scales?
Works by Juan Soto (Parabola del Retorno / Parable of the Return, 2017), Laura Huertas Millan (Aequador, 2012), Camilo Restrepo (La impresion de una guerra, 2015) and Gonzalo Escobar (Pool version, 2016) unsettle established narratives of national cinema through counter- hegemonic perspectives. Experimental uses of archives, intersections with video art and explorations of texture and place characterise this radical and developing body of work.
Introduction by Juana Suarez
Q&A with filmmaker Juan Soto
Please address questions to [email protected]
Supported by:
World Cinema and Cosmopolitics Research Group & AHRC (Arts & Humanities Research Council) OWRI
Islands are a central aspect of Latin American physical and cultural geographies, economic and political experiences, and ongoing colonial histories. They extend from the large Caribbean islands of Cuba, Hispaniola and Puerto Rico to the lesser-known Colombian and Central American archipelagos, and from the Falklands or Malvinas in the South Atlantic to Easter Island in the Pacific Ocean. Building on a solid tradition of approaches to spaces in Latin American and other transnational cinemas, the proposed collection mobilizes contemporary theories of space and place to focus on the islands and archipelagos of Latin American cinema.
We propose a wide-ranging critical examination of the conceptual field of island environments in film from or about Latin America. As a spatial and conceptual category, the island suggests a range of cultural, geopolitical, economic, and historical processes that are tied to the invention of the Americas. Discursive and imaginative uses of islands have been important in the construction of national consciousness across Latin America, contributing to the development of transnational filmic imaginaries in the course of the 20 th and 21 st centuries. Through a sustained critical effort, we envision an edited volume that charts, explores, and questions the diverse politics and traditions, aesthetic positions and current cinematic practices that surround Latin American island visualities.
We welcome essays that explore visual representations of islands in Latin America, study imaginary spaces of insularity in Latin American feature or documentary films, and contribute to the conceptualization of the island as a topographical, political, and theoretical approach to Latin American cinema.
Possible topics include, but are not limited to: • archipelagic and island visualities in Latin American regional, national and transnational cinemas • carceral island narratives • colonial encounters and subversions of encounter narratives • creolization and post-creolization • documentary and ethnographic approaches to Latin American islands
A special programme of visual art, film and discussions to mark the occasion of the centenary of the Russian Revolution of 1917, and examine the global implications of revolution today.
This special programme of screenings and discussions examines the paradoxes of revolutionary cycles over the last 100 years. It foregrounds the global reach of revolutionary events, moving from Latin America to the Middle East, from China to the former Soviet Union, from North Africa to Europe.
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Co-organized by Claudia Milian (Duke University, US) and
Francisco-J. Hernández Adrián (Durham University, UK)
Durham University Institute of Advanced Study, 14-16 June 2017
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The 57th edition of the International Cartagena Film Festival – FICCI- presents a program that seeks to be a bridge and haven for cultural exchange in the Caribbean region. The Caribbean has been hosting FICCI every year, imbuing it with its charm, cultural diversity, contradictions, and multiple and rich narratives. This special program, CARIBBEAN CINEMAS: VISIONS OF RUIN, THE SUBMERGED AND THE EMERGING, will present a landscape of productions made in different countries in which the Caribbean is much more than a geographical or cultural area, it has become a multilayered, extraterritorial and universal experience.
CARIBBEAN CINEMAS: VISIONS OF RUIN, THE SUBMERGED AND THE EMERGING was curated by Francisco-J. Hernández Adrián, the director of the masters program in Visual Arts and Culture at the Center for Visual Arts and Culture of the University of Durham, England who holds a doctorate from New York University (NYU). Hernandez has focused his research on insular and Caribbean cultures. This program will bring viewers closer to the conflicting imaginaries and narratives that characterize the Caribbean, both through experiences and cultural thinking: island/ continent; inside/ outside; plantation/ port city; insular experience/ cosmopolitan vision; tourist paradise/ sociocultural hell; tropical cabaret/ sociopolitical rigidity. A Caribbean scarred by its contact, at times tragic or oppressive, with the earth, the sea and the air.
FICCI is the Caribbean's own celebration, as it carries in its essence the culture of this region which has expanded throughout the world. Although it is hosted by the city of Cartagena, it embraces the richness of the Caribbean, in which nature is both a nurturing force, but also one that can furiously destroy everything within its wake; it can lead to ruins, and sink realities, but it has also been witness to a complex social and political history of racial mixtures, migrations, dictatorships and revolutions. Witness to an intense mobility and a permanent stillness. Multiple stories and universes that merge, material poverty, the endless creativity of its people, and many other realities, coexist in the Caribbean.
This program will feature eight productions, as diverse as this region. The Cuban and Latin American classic Memorias del Subdesarrollo [Memories of Underdevelopment] (1968) by Tomás Gutierrez Alea, which will be screened in its restored version, presents an ironic and lucid view on Cuban society and the revolutionary energy of the 60s from the perspective of an isolated bourgeois. Caballos [Horses] (Cuba, in 2015), Fabian Suarez's opera prima, revisits the historical and aesthetic experience of Gutiérrez Alea's masterpiece from a new perspective.
To broaden the landscape and the discussion on the Caribbean today, three recent productions will be screened: Meurtre à Pacot [Murder at Pacot, 2014] by Haitian filmmaker Raoul Peck, in which a man attempts to reinvent his life after the great earthquake that shocked the country; Beira-Mar (Seashore, Brazil, 2015) by Filipe Matzembacher and Marcio Reolon is a coming-of-age film that follows the amorous exploration of two youths; and the Mexican documentary Ruinas tu reino [Ruins your realm, 2016] by Pablo Escoto, which follows a group of fishermen as they go on a round trip through the Gulf of Mexico.
Additionally, the program will feature the Dominican documentary Jeffrey (Dominican republic and France, 2016) by Yanillys Pérez, which talks about the harsh realities of child poverty. Also, from the Colombian Caribbean, the film Keyla (2016), directed by Viviana Gómez Echeverry will have its world premiere. The movie was filmed in the island of Providencia, seen from the perspective of an adolescent and feminine universe of losses and re-encounters.
Finally, and giving way to a suggestive insular counterpoint, this program will also feature the award-winning Taiwanese film Stray Dogs (2013), which tells the story of an alcoholic father and his two children as they try to improve their lives in an environment that goes from forests and rivers to the streets of a city devastated by capitalism.