Based on dialogues and the collection of documentary material in seven countries of three sub-regions during a decade, Andrea Ivanna Gigena addresses in this essay the feminist politicization in Latin America and the Caribbean / Abya Yala in its relation with the women of the "Plural Indigenous Movement". She reflects on the historical conditions and genealogical constructions on which we are currently discussing or disputing the question of the subject of feminism.

Film constitutes a powerful cultural tool that operates in multiple ways in the rescue of memories, as well as in the collective reparation and interdisciplinary conceptualization of traumatic experiences in communities devastated by systematic violations of their fundamental rights. It reviews and makes perceptible the prolongations of silenced or legitimized political violence both in the individual and in the social fabric disrupted by disturbing traces that disrupt existence and coexistence.

The central subject of the book is the conflict unleashed by the authorship of autobiographies written by people of African descent, enslaved in the Americas, during the 18th and 19th centuries. The book deals with the cases of three male and one female author whose testimonial narratives have been widely disseminated since they were written: Olaudah Equiano, Mary Prince, Juan Francisco Manzano and Mahomma Gardo Baquaqua.

In Latin America, 60% of the population is under 30 years of age. This demographic fact, in itself, demonstrates the importance of youth and adolescents in the region. However, the young people represented in public and media discourses are often criminalized, infantilized and shown, in a reductive way, as problematic people or groups destined for consumption.

To propose today a book on horizontality as a methodological perspective of work in social sciences and humanities implies to see with the spatial metaphor that the word invokes: between a background of vision at the same height of all and a predilection of future, of objective that is crossed out in advance by its own sign: the horizon is always beyond.

So far in the 21st century, Latin America has undergone processes of crisis and change in the context of strong social participation. Popular responses to these crises, and their impact on political cultures, allow for a broader understanding of continental political processes at a time of new political and social reconfigurations..

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Centrar el interés en el mundo del trabajo en Cuba y los procesos relacionados con su estructuración y desarrollo, desde una perspectiva de las Ciencias Sociales, es el noble objetivo que persiguen los compiladores de este significativo texto.

Violence and conflict are structures that appear continuously in the history of Latin America and have also become drivers of social change. From the time of Latin American independence, violence was manifested as a product of both colonial inheritance and inequality, as well as the confrontation of new political projects inspired from Europe and adapted locally. These unresolved conflicts dragged on from the 19th century to the 21st century, readapting themselves as a product of new conflicts generated by Modernity.

"Paisajes en transición" (Landscapes in transition) is the result of a sensorial exploration with eyes, notebook and cameras through territories and places of extermination in contemporary Mexico, as well as the ways in which they are intervened and re-signified by those who were traversed by violence, but who are not resigned to the passivity of the victim. In the midst of the pandemic that has installed a state of exception to the whole world, the story of this other emergency emerged, more deeply rooted and less visible.

The productions analyzed here are characterized, as is natural, by varied cinematographic planes, some more poetic than others, but in all of them there is a direct participation of the body and subjectivity in the processes they narrate, places where data persist that a sociological statistical count is not enough. All these women have produced poetics of interference filmed sparingly, with few resources and stripped of stridency.