Brazilian Women's Filmmaking: From Dictatorship to Democracy. By Leslie L. Marsh. Urbana: University of Illinois Press, 2012. Pp. 248. Notes. Bibliography, Index. $85.00 cloth; $28.00 paper.

Abstract

REVIEWS 571 710:). While the intent of the vaccination program regulations is to encourage people to participate, the effect is to discourage people not only from getting vaccinations but also from using the clinic at all. I-Ian/ey’s work is not meant to be a study of the ethnomedicai system itself. Rather, it is an excelient study of language use in health care. The emphasis is on the social rela- tions and communication in medical encounters and how they affect resource utiliza~ tion and healing, with the aim of uncovering the cultural and linguistic factors that complicate cross-cultural meciical care, rather than revealing Maya medical beliefs and practices. Nevertheless, more detail on the syncretism reflected in and practiced by Miriam, the nurse and Maya healer would have sharpened the analysis. Although he shows that her healer role is considered by the Maya to be a divine or a spiritual gift mandated from birth, and her manner of communication during the consultation fol- lows a Maya pattern rather than a biomedical one, the analysis would better illustrate this syncretism if there were more information concerning what it is about her beliefs or practices that derives from her training as a nurse vs. her training as an ajkun. A suggested next step would be to expand the “ethnography of polyphony” method- ology to incorporate the behaviors that accompany the verbal interaction, such as light- ing candles, burning incense, spraying with holy water, massaging, pulsing, praying, using the stethoscopc——any physical examination that might occur during the consul- tation. This would provide a type of choreography to accompany the score. Harvey makes a significant contribution, both tnethodologieally to linguistics and com- munication studies and substantively to Maya studies. It should be of interest to grad- uate students and scholars in both of these areas. Rutgers Univmity SHEILA COSMINSKY Camden, New ferxey Bmzilimz Women’: Filmma/dug: From Dz'cmto1'.r/aip to Democracy. By Leslie L. Marsh. Urbana: University of Illinois Press, 2012. Pp. 248. Notes. Bibliography, Index. $85.00 cloth; $28.00 paper. Women have long had an important presence in Brazilian cinema as actors, directors, and producers. Starting in the late 1910s and continuing into the early 1950s, Carmen Santos, the founder of the Brasil Vita studios, starred in several films and produced numerous others, including major works by film pioneer Humberto Mauro. Gilda de Abreu followed suit in the 19405 and 195 Os, directing or scripting such films as O Iibrio and Comgio Mmteruo. The late 1950s and early 1960s witnessed the emergence of major new female actors; however, women tended to remain in front of the camera during the period dominated by the Cinema Novo movement and not in directing or producing. It was only in the 1970s that the number of women directors began to increase, and that is where Leslie L. Marsh’s book begins in its attempt to provide a sense of films directed by women from that time until the mid 2000s.