Consuming Visions explores the relationship between cinema and writing in early twentieth-century Brazil, focusing on how the new and foreign medium of film was consumed by a literary society in the throes of modernization. Maite Conde places this relationship in the specific context of turn-of-the-century Rio de Janeiro, which underwent a radical transformation to a modern global city, becoming a concrete symbol of the country's broader processes of change and modernization.

In Public Spectacles of Violence Rielle Navitski examines the proliferation of cinematic and photographic images of criminality, bodily injury, and technological catastrophe in early twentieth-century Mexico and Brazil, which were among Latin America's most industrialized nations and later developed two of the region's largest film industries. Navitski analyzes a wide range of sensational cultural forms, from nonfiction films and serial cinema to illustrated police reportage, serial literature, and fan magazines, demonstrating how media spectacles of violence helped audiences make sense of the political instability, high crime rates, and social inequality that came with modernization.

Zita Nunes argues that the prevailing narratives of identity formation throughout the Americas share a dependence on metaphors of incorporation and, often, of cannibalism. From the position of the incorporating body, the construction of a national and racial identity through a process of assimilation presupposes a remainder, a residue. Nunes addresses works by writers and artists who explore what is left behind in the formation of national identities and speak to the limits of the contemporary discourse of democracy. Cannibal Democracy tracks its central metaphor's circulation through the work of writers such as Mario de Andrade, W. E. B. Du Bois, and Toni Morrison and journalists of the black press, as well as work by visual artists including Magdalena Campos-Pons and Keith Piper, and reveals how exclusion-understood in terms of what is left out-can be fruitfully understood in terms of what is left over from a process of unification or incorporation.

Beyond National Identity traces changes in Andean artists' vision of indigenous peoples as well as shifts in the critical discourse surrounding their work between 1920 and 1960. Through case studies of works by three internationally renowned Ecuadoran artists, Camilo Egas, Eduardo Kingman Riofrío, and Oswaldo Guayasamín Calero, Beyond National Identity pushes the idea of modernism in new directions--both geographically and conceptually--to challenge the definitions and boundaries of modern art.

Making a vital contribution to the understanding of Latin American modernism, Esther Gabara rethinks the role of photography in the Brazilian and Mexican avant-garde movements of the 1920s and 1930s. In this richly illustrated study, Gabara introduces the concept of a modernist "ethos" to illuminate the intertwining of aesthetic innovation and ethical concerns in the work of leading Brazilian and Mexican literary figures, who were also photographers, art critics, and contributors to illustrated magazines during the 1920s and 1930s. Through their "errant modernism," avant-garde writers and photographers critiqued the colonial history of Latin America and its twentieth-century formations.

Saudades do Brasil presents 180 of the more than 3,000 photographs Lévi-Strauss took in Brazil between 1935 and 1939.