Acceso usuarios
Ignacio López-Calvo 
Chicano/Latino Homoerotic Writing (2006)); Jewish studies (Latin American Jewish Cultural Production (2009)); urban photography (Urban Photography in Argentina: Nine Artists of the Post-Dictatorship Era (2007); Argentine, Mexican, and Guatemalan Photography: Feminist, Queer, andPost-Masculinist Perspectives (2014); Picturing the Barrio: Ten Chicano Photographers (2017); The City as Photographic Text: Urban Documentary Photography of Sao Paulo (2021); film studies (Gender and Society in Brazilian Cinema (1999); Mexico City in Contemporary Mexican Cinema (2002); Latin American Documentary Filmmaking (2013)); and graphic narrative (El Eternauta, Daytripper, and Beyond: Graphic Narrative in Argentina and Brazil [2016]). With Mexico as the first Latin American country to accept Japanese immigrants, the first considerable migration began in 1897 when twenty-eight "colonos" along with six other free immigrants, financially supported by their government and promoted by Viscount Enomoto Takeaki, emigrated to the southern state of Chiapas to grow coffee there, as part of a mission aimed at helping the Japanese economy and imperialist projects. [...]the manga responds to a previous ethnical commitment, delivering a veiled sociopolitical denunciation of injustice and corruption. If, as Stuart Hall suggests, "identities are the names we give to the different ways we are positioned by, and position ourselves within, the narratives of the past" (225), knowing this particular history of the first statesponsored Japanese immigration to Latin America has the potential of shaping not only Japanese Mexican identity but also Mexican identity in general, since they are both malleable and in constant negotiation. [...]Ueno, the writer and character, together with the manga artist Sakuya, are lending their voice to this group of countrymen and their descendants who had been, for the most part, forgotten by history.
