Eric Paul Roorda
On August 29, 1916, the USS Memphis wrecked on the coast of Santo Domingo, Dominican Republic. A series of enormous waves drove the heavy armored cruiser ashore, killing forty-five sailors. The fact that the death toll was not much higher is owed to the heroic efforts of Dominicans to rescue the survivors of the shipwreck. This was despite the fact that the US Marine Corps had invaded their country three months before, initiating an occupation with unwonted violence. The US Marine occupation of the Dominican Republic would last for eight years, compiling a record of brutality inflicted on the civilian population that Senate hearings documented in excruciating detail. In the aftermath of the traumatic occupation, the shipwreck of the USS Memphis itself, rusting away in plain sight along the seaside boulevard in the Dominican capital city, became symbolic of US imperialism. The dictator Rafael Trujillo, a Marine protégé who seized power in 1930, pointed to the wreck as a relic of the days before US domination, contrasting it with the happy days after national sovereignty had been attained under his own strong rule. In order to implement the Good Neighbor Policy, an effort to expunge the negative legacy of the era of intervention and occupation known as “Gunboat Diplomacy,” President Franklin D. Roosevelt ordered the removal of the wreck of the Memphis after taking office in 1933. The wreck’s removal finally took place in 1937.
Daniel Alex Richter
Cinema began in Uruguay with the exhibition of foreign films by visiting representatives of the Lumière brothers in 1896 before the first Uruguayan film was produced and shown in 1898. From the early period of Uruguayan cinema to the end of the 20th century, Uruguayan national cinema struggled to exist in the estimation of critical observers. Considering these periods of growth and stagnation, this history of Uruguayan cinema seeks to shed light on the industry’s evolution by focusing on exhibition, production, and spectatorship. This essay explores Uruguay’s national film productions, transnational businesses in shaping local film exhibition, the growth of mass publics and critical spectatorship, and the significance of political filmmaking in understanding the evolution of Latin American cinema during the 1960s. The history of Uruguayan cinema during the 20th century also provides a lens for understanding the political, social, and cultural histories of a country that has struggled to live up to its reputation as South America’s “most democratic” nation.
Natalia Sobrevilla Perea
The wars of Spanish-American independence were a series of military campaigns that took place in the Americas between 1809 and 1825, which resulted in the creation of more than a dozen republics in the territories that had previously been part of the Hispanic monarchy. Triggered in the short term by the Napoleonic invasion of the Spanish peninsula in 1808, there were more deep-seated reasons, however, that led to the collapse of an empire that had existed for three hundred years. Classic historiography has stressed the importance of the Bourbon Reforms that brought to the fore the contradictions within the Hispanic monarchy and gave rise to a sense of proto-nationalism. These interpretations have given much importance to the role of the Enlightenment and the fear brought by possible social revolution. Some authors consider that these wars were the result of the Americans’ long-held contempt for Europeans. These views consider that struggle for liberation had begun much earlier, possibly as far back as the 1780s, inspired by the American and French Revolutions. More recent historiography has highlighted the war that engulfed Spain itself between 1808 and 1814 as the crucial event that led to fighting in the Americas. This event is seen as not just the trigger for the events to unfold, unleashing conflicts that had been simmering for much longer, but what shook to the ground the archaic but surprisingly durable composite Hispanic monarchy.
This article will discuss the main events that caused the wars, the moments each national historiography has identified as the ones linked to the independence of their particular region, as well as the events themselves. It begins by looking at the historical antecedents, including the Bourbon Reforms, the American, French, and Haitian revolutions, and at the Napoleonic invasion of the Spanish peninsula. It then discusses the creation of juntas in the Americas and how the confrontation between different jurisdictions resulted in war. The article discusses who were the people involved in the wars and the main events that took place.
In the first half of the 20th century, Uruguay was a relatively educated, democratic, and politically progressive South American country, and women there used old and new media for professional and political ends. Radical, Catholic, and liberal feminist women all utilized print media to promote their views and build support for their respective causes in publications aimed at both female and general audiences. Anarchist feminist María Collazo, for example, edited an important publication, La Batalla, from 1915 to approximately 1927. By the late 1920s, radio was an emerging mass medium, and women activists, journalists, and others sought to make their voices heard, literally and figuratively, on its airwaves. Starting in 1935, those airwaves included Radio Femenina, the first all-woman format radio station in the Western Hemisphere. One of the voices heard on Radio Femenina was Dra. Paulina Luisi, Uruguay’s leading feminist activist, who became a powerful voice of both the Socialist Party and the politics of the Popular Front in the late 1930s and early 1940s.
Susie S. Porter
From la Adelita to the suffragette, from la chica moderna to the factory girl dressed in red shirt and black skirt—the colors of the anarchist—women’s mobilization in the midst of Mexican Revolution was, to a large degree, rooted in their workforce participation. The evolution of gendered occupational segregation of the workforce, sex-typing of occupations, and gendered wage differentials marked women’s experiences and the way they organized to take control of their lives and to shape working conditions and politics. While women’s employment nationwide contracted during the period 1890–1930, it was nevertheless a moment of significant cultural change in the recognition of women’s work outside of the home. Women shifted public debates over their right to work and mobilized around the issues of maternity leave, equal pay for equal work, and respect for seniority. Across the workforce, women fought for the application of the rights afforded by the Mexican Constitution (1917) and then, in the 1930s, by federal labor law. By the fact of their work and because of their activism, women shifted the conversation on the rights of women—single or married, mothers or not, and regardless of personal beliefs or sexual morality—to dignity at work and the right to combine a life of work with other activities that informed their lives and fulfilled their passions.