Laura Senio Blair
Associate Professor of Spanish
Areas of expertise
20th and 21st Century Hispano American Narrative and Drama. Chilean Narrative, Drama and Film. Hispanic Film.
Ph.D., University of Kansas, Lawrence 2002
MA, University of Colorado, Boulder 1994
BA, Whitman College 1992
Associate Professor of Spanish
August 01, 2002 - present
Universidad Catolica de la Santisima Concepcion
March 01, 2012 - August 10, 2012
20th and 21 Century Chilean Literature, Drama and Film
Southern Cone Literature, Theatre, Film and Cultural Studies
Hispanic Road Movies
Filming Exile: Chilean Documentaries
Bordering Adolescence: Latin American Youth in Road Films La misma luna and Sin nombre
After the success of Y tu mamá también (Mexico, Alfonso Cuarón 2001) and Diarios de motocicleta (Brazil, Walter Salles 2004), many Latin American road movies followed suit by borrowing Hollywood’s filmic blueprint for expressing young adult rebellion against constrictive social norms and oppressive social circumstances. Latin American film critics pursued the trend, studying close versions of the formula that featured the outlaw-couple-on-the-run: the identity quest of young adults and their search for freedom. Nevertheless, few critics have analyzed the narrativity of these road adventures, Latin American or otherwise, when said outlaws are not young adults but children or adolescents. In La misma luna (2007) and Sin nombre (2009), two recent road films concerning illegal immigration across the US-Mexico border, Mexican director Patricia Riggen (1970) and Californian director Cary Fukunaga (1977), respectively, re-appropriate and transform the established characteristics of the old Hollywood genre and in doing so revitalize the road film’s objective and reach. By moving the road movie trope from its point of origin—from “Sunset Boulevard” to “South of the Border”—and highlighting the purpose and agency that their young protagonists develop and sustain throughout their travels north, these films foreground the literal and metaphorical borders that undocumented and unaccompanied minors risk their lives to cross. Riggen and Fukunaga veer away from the law-breaking zeal typically exhibited by road film protagonists by evoking the innocence commonly ascribed to children and presenting unsullied images of their faces that work in sharp contrast to the inhospitable and dangerous borderlands they navigate. By reshaping the characteristics of the Hollywood genre, these directors move beyond depicting mainstream youth culture and coming-of-age experiences, reminding their audience of a too often forgotten part of the immigrant experience: unaccompanied minors and their illegal entrance into the United States.
“Across Continents and Seas: The Filmic Works of Angelina Vázquez” in Nomadías: El cine de Marilú Mallet, Valeria Sarmiento y Angelina Vázquez. Eds. Catalina Donoso and Elizabeth Ramírez. Iniciativa Bicentenario de la Universidad de Chile y de Santander Universidades-Universidad de Warwick. Forthcoming January 2015.
“Bordering Adolescence: Latin American Youth in Road Films La misma luna and Sin nombre” in Screening Minors in Latin American Cinema. Eds. Carolina Rocha and Georgia Seminet. Lanham: Lexington Books, 2014. 119-131.
"Angelina Vázquez y el lente circular del exilio: (re)fundar la identidad chilena por el medio fílmico." Aisthesis: Pontifica Universidad Catolica de Chile 54.2 (2013): 223-236. http://www.scielo.cl/scielo.php?script=sci_arttext&pid=S0718-71812013000200012&lng=es&nrm=iso&tlng=es
"Driving Class Conflict: Taxis and Taxistas in Contemporary Chilean Cinema." Letras Hispanas 8.1 (2012) 21-31.
"Chilean Theatre: 1900-Present," "Fernando Alegria," "Carlos Droguett," "Ergon Wolff," "Sergio Vadonovic." World Literature in Spanish: An Encyclopedia. Eds. Maureen Ihrie and Salvador A. Oropesa. Westport: ABC-CLIO, 2011.
"Residual Effects: The Recurring Theme of Incest in Contemporary Chilean Women's Narrative." Letras femeninas 36.2 (2010) 183-198.
"A Retrospective on Chilean Film." Program Notes for the Cine las Americas Hispanic Film Festival in Austin, April 2009.
"Bridges Between the Divide: The Female Body in Y tu mama tambien and Machuca." Studies in Hispanic Cinema 4.1 (2007): 47-62.
"Betwixt and Between: Finding Home Again in Chilean Returnee Literature." The Latin Americanist 50.1 (2006): 7-23.
"New ways of thinking about Home: Alberto Fuguet's Representation of the Return." Monograph Series from the NAAAS and Affiliates. NAASA National Convention: Houston, 2005: 1119-1132.
Follow me on Academia. edu: https://southwestern.academia.edu/LauraSenioBlair
Seminars & Presentations
Renegotiating Gendered and Racialized (Excluded) Subjectivities in Times of Neoliberal Crises into the Track: Gender and Feminist Studies for the LASA2015 Congress taking place May 27 –30 in San Juan, Puerto Rico
"Retrospectiva Chilena. Nomadías: Directoras Chilenas en el Exilio/ Chilean Retrospective. Nomads: Chilean Directors in Exile.” 20th Festival International de Cine de Valdivia (2013): 99-109. <http://issuu.com/australab/docs/catalogo_webpdf_2>
“A Retrospective on Chilean Film.” Program Notes for the Cine las Americas Hispanic Film Festival in Austin, April 2009. <http://www.cinelasamericas.org/film-festival/43-news/27-chile-guest-country-at-cine-las-americas-2009>
Honors & Awards
National Endowment for the Humanities Summer Seminar "Jewish Buenos Aires" July 2014; Fulbright Scholar Recipient (2012); American Scandinavian Foundation Fellow (2009-2010); P.E.O. Scholar Award for Academic Achievement in Graduate Studies (1997-1998); Rotary Ambassadorial Scholarship Award for International Studies (1994-1995).
Groups & Affiliations
MLA, AILCFH, SCMLA, SCOLAS, LASA, ADF, PCA