David Rojinsky - Viewing Photography in Post-Dictatorship Latin America: Visual Interruptions, 1997-2016

Cover illustration: Still from El da que me quieras by Leandro Katz 2022. Used with permission

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None of this books content has appeared in the form it takes here. However, earlier versions of some sections were previously published in the following articles:

Urban Photography as Counter-Memorial in Urruzolas Miradas ausentes.Journal of Romance Studies (Vol. 13.3) (2013): 3243.

Lucila Quietos Filiacin (2017) and the End[s] of Post-Dictatorship Photography. A Contracorriente Vol. 14, Num. 3 (Spring 2017): 171199.

Reconciling Myth with Photographic Histories in Leandro Katzs El da que me quieras. Bulletin of Spanish Visual Studies (2020): 130.

Wherever possible I have made use of published English translations of primary and secondary sources, but in those cases where none existed, I translated the original texts. All mistakes are hence very much my own. I also accept full responsibility for the ethical implications of translating Latin American cultural production into Anglophone academic discourse even as I have done my best (here and elsewhere) to avoid or, at the very least, to reflect upon the potential for academic colonialism in English-language studies of this kind.

I am grateful to all the academics, artists, filmmakers, photographers, and curators who contributed examples of their work and/or authorisation for fair use and/or whom, in some cases, I had the pleasure of interviewing in person but also via Skype or Zoom, for obvious reasons: Leandro Katz, Juan ngel Urruzola, Daniel Hernndez Salazar, Lucila Quieto, Claudio Prez, Claudia Barril of Pelculas del Pez, Eugenio Dittborn, Paulina Varas, Luis Navarro, Merete Kjaer at INSITE, Dani Yako, (and despite not doing justice to their work here) Susana de Sousa Dias, Ins Ulanovsky, and Helen Zout.

Many thanks to the dynamic production team at Palgrave Macmillan, especially Camille Davies and Rubina Infanta Rani.