While the strength of contemporary Latin American cinema is recognized worldwide, less is known of the cinema of Indigenous communities in the region, a territorial expanse known as Abya Yala. Even so, and even as these Indigenous filmmakers face ongoing challenges--including persecution, state violence, and a lack of infrastructure or funding--they have still managed to flourish over the past four decades, using cinema as a powerful tool for promoting advocacy and fostering self-determination. How do these filmmakers disrupt foundational narratives about their communities, and how does their cinema articulate Indigenous knowledges or provoke a rethinking of society, history, and planetary wellness?Frames of Resistance attempts to answer these questions as it counters the perception of Indigenous cinema in Latin America as an isolated and marginal practice. Instead, it positions this cinema as a sophisticated expression of Indigenous worldviews while delivering a comprehensive look at its origins, trends, and regional differences. Amalia I. Córdova Hidalgo examines how Indigenous filmmakers make their cultural vitality visible on the screen as she explores the development of collectives, analyzes select works, and uncovers the links between these filmmakers and global cinema. She foregrounds first-person accounts of this movement through new translations of excerpts from these films, as well as the speeches, interviews, and pronouncements by filmmakers at live events. The result is a book that builds upon Indigenous principles of organization and reciprocal ways of being with proposals for teaching practices, circulating these films, and ensuring long-term access to this important body of work.

Table of Contents:
Introduction Chapter 1: For a Cinema of Abya Yala Chapter 2: From the Four Directions: The Rise of "Indigenous Video" in Abya Yala Chapter 3: The Puma and the Jaguar: Indigenous Imaginaries across Abya Yala Chapter 4: The Eagle and the Condor: Indigenous Cinema and Its Spaces of Performance Chapter 5: Following the Path of the Serpent: CLACPI Methodologies Chapter 6: An Invisible Archive Chapter 7: Toward a Global Indigenous Cinema