Professor Andrea Noble, BA Cantab, PhD Birmingham
(email at firstname.lastname@example.org)
Andrea Noble is a Latin Americanist with research interests in visual culture studies -- particularly film and photography -- and Mexican cultural history. Her work to date has engaged with a range of methodological approaches, including those derived from feminist and gender studies, cultural memory, history of the emotions, reception and spectatorship, semiotics, and visual anthropology. There are two strands to her current research and writing projects:
The first is provisionally called 'Tears in Mexico: A cultural History of Emotions and Motivations' and explores public acts of weeping in Mexico, ranging from 'la noche triste', when Hernán Cortés, fleeing from the Aztecs, is supposed to have sat down under a cypress tree and wept, through the extravagant tears that Pancho Villa shed beside the tomb of Francisco Madero in December 1914, to José López Portillo's last address to the nation in September 1982, when he wept in front of the TV cameras and nationa. By homing in on emblematic moments of weeping, the aim is to probe the 'feeling rules' in operation at given historical moments, raising questions related to power, gender, class, morality, etc. This project has been funded by a Marie Curie International Outgoing Fellowship (2013-2015) and involves two years based at the Instituto de Investigaciones Estéticas at the Universidad Nacional Autónoma de México.
The second is called Cold War Camera and is an international collaboration with Professor Thy Phu of Western University, Canada. It explores questions of visuality – of what can (and cannot) be seen, known, and felt – that stand at the center of the cultural politics of the Cold War and its legacies. Prosecuted on multiple fronts, and in diverse modalities, the global Cold War is characterized by its unevenly distributed material reality, and imaginative and affective structures that vary according to location. In some sites, such as the United States, lacking material reality, a heightened state of fear and anxiety was imaginatively and affectively produced in order to justify policy and spending decisions to prosecute the war. Meanwhile, however, in non-metropolitan locations across the globe -- from Chile to North Korea – vicious civil wars and extreme violence took place in front of people’s very eyes, and, to differing degrees, the ‘eyes of the world’ – equally generating imaginative and affective effects. In short, we may think we know what the Cold War looks like: it’s the 'mushroom cloud' of nuclear annihilation, Korda’s portrait of Che Guevara, or the East German soldier jumping over the barbed wire to West Berlin. However, visual culture is more than just a colorful backdrop to history; it also integrally shapes the way in which this history was, and continues to be, seen, known, experienced and felt. www.inthedarkroom.org
Postgraduate Supervision: Andrea is keen to supervise most topics within the general fields of her research interests. Topics she has supervised or is currently supervising include: the cinematography of Gabriel Figueroa; photography and the memory of political violence in Argentina and Peru; photography, women and war in the Americas; photography, race and visual rights; representations of the other in documentary media in France; masculinity and violence in 'golden-age' Mexican cinema.
Public Engagement : Andrea has spoken about her research on film and photography across a range of public venues and media, including Cornerhouse (Manchester); the British Musuem; The Royal Court; The Photographers' Gallery; Impressions Gallery, The British Academy, the Fototeca Nacional, El Museo Nacional de la Revolución, BBC Radio 3. In March 2012 she was selected to participate as a jury member on the panel to select the best Ibero-American feature film at Latin America's premier Festival Internacional de Cine de Guadalajara (http://www.ficg.mx/).
- Noble, A. (2010). Photography and Memory in Mexico: Icons of Revolution. Manchester: Manchester University Press.
- Noble, Andrea. (2005). Mexican National Cinema. London, New York: Routledge.
- Noble Andrea (2000). Tina Modotti: Image, Texture, Photography. Albuquerque: University of New Mexico Press.
- Long, J. J., Noble, Andrea. & Welch, Edward. (2008). Photography: Theoretical Snapshots. London: Routledge.
- Noble, A & Hughes, A (2003). Phototextualities: Intersections of Photography and Narrative. Albuquerque: University of New Mexico Press.
Essays in edited volumes
- Noble, Andrea (2013). The Politics of Emotion in the Mexican Revolution: The Tears of Pancho Villa. In Latin American Popular Culture: Politics, Media, Affect. Kantaris, Geoffrey & O'Bryen, Rory Tamesis. 249-270.
- Young, Richard & Holmes, Amanda (2010). Zapatistas in Mexico City and the Performance of Ethnic Citizenship. In Cultures of the City: Mediating Identities in Urban Latino/o America. Pennsylvania: University of Pittsburgh Press. 183-198.
- Noble, Andrea (2009). Family Photography and the Global Drama of Human Rights. In Photography: Theoretical Snapshots. Long, Jonathan, Noble, Andrea & Welch, Edward Routledge. 63-79.
- Noble, Andrea. (2006). If Looks Could Kill: Image Wars in María Candelaria. In Screening World Cinema: A Screen Reader. Catherine Grant. & Annette Kuhn. London: Routledge. 72-85.
- Noble, Andrea. (2005). Photography, Memory, Disavowal: the Casasola Archive. In Images of power: Iconography, Culture and the State in Latin America. Andermann, J. & Rowe, W. New York Oxford: Berghahn Books. 195-216.
Journal papers: academic
- Noble (Published). History, Modernity and Atrocity in Mexican Visual Culture. Bulletin of Spanish Studies 92(3): 391.
- (2011). El llanto de Pancho Villa. Archivos de la Filmoteca 68: 39-59.
- Andrea Noble (2010). Recognizing Historical Injustice through Photography: Mexico 1968. Theory, Culture & Society 27(7-8): 184-213.
- Noble, A. (2008). Travelling Theories of Family Photography and the Material Culture of Human Rights in Latin America. Journal of Romance Studies 8(1): 43-59.
- Noble, Andrea. (2006). Seeing through ¡Que viva Mexico!: Eisenstein's Travels in Mexico. Journal of Iberian and Latin American Studies 12(2-3): 173-187.
- (2006). Vino todo el pueblo: Notes on Monsiváis, Mexican Movies and Movie-Going. Bulletin of Latin American Research 25(4): 506-511.
- Noble, Andrea. (2004). Visual Culture and Latin American Studies. The New Centennial Review 4(2): 219-238.
Available for media contact about:
- Visual culture: Mexican Revolution
- Language, Literature & the Arts: Mexican film and photography