ABSTRACT This paper is a first approach to the complex panorama faced by audiovisual views that interrogate categories such as identity, equality and diversity. In the first part, a summarised review of Colombian legislation on cinematography is presented in order to analyse how it defines—and limits—the notion of national identity and explores possible routes for the integration of community cinema within that field. The second part addresses the two concepts that the analysis addresses: symbolic violence and structural violence, examined through cases that reveal how they operate in the formation, production, distribution and exhibition processes. Finally, the third part develops a reflection on two disruptive routes of Colombian audiovisual that shift between integration and the denial of a dominant logic, yet share decisive features: they both seek to expand audiences beyond those defined by distributors, protected by current legislation; they question the hegemonic models in the audiovisual field and propose interdisciplinary forms and diverse narratives that shift from the industry's traditional starting point.

The data that support the findings of this study are available from the corresponding author upon reasonable request.

ABSTRACT Cuba is the oldest and most consolidated autocracy in the Americas. Its Revolution in 1959, the charisma of Fidel Castro, the single‐party system and the US embargo have made the island an exceptional case. However, recent developments such as popular protests, limited reforms, emigration or socio‐economic decline are bringing about some political changes. Within a peculiar autocratic continuity since the Cuban Revolution, the presidency of Miguel Díaz‐Canel corresponds to some characteristics of new authoritarianism which will be examined in this article, focusing on the idea of three intra‐autocratic transitions: (1) from an authoritarian revolutionary regime to totalitarianism, (2) from totalitarian to post‐totalitarianism and (3) towards new authoritarianism that preserves some features of the past.

The data that support the findings of this study are available from the corresponding author upon reasonable request.

ABSTRACT This article examines the institutionalisation of indigeneity in Bolivia under the governments of Evo Morales (2006–2019) as a central component of the MAS project of crafting state hegemony. We trace the emergence of what we call the indio institucionalizado from the social mobilisations of the 1990s and 2000s through the Constitutional Assembly and the consolidation and fall of Morales and the MAS. We argue that this state‐sanctioned form of indigeneity was crucial to the MAS's efforts to incorporate, channel and domesticate indigenous political autonomy, while also illuminating elements of the crisis that engulfed the end of Morales's presidency and the MAS as the intended political instrument of social movements. More broadly, the article demonstrates how indigeneity operates as a terrain of struggle and as a key subjectivity in processes of state transformation and hegemonic construction.

ABSTRACT This article recognises the notable absence of queerness in narrative cinema made in Colombia, while surveying how feature films have offered types of LGBTIQ+ representations that have been entangled with debatable, inconsistent or, more recently, with exceptional discourses. Informed by multidisciplinary approaches from queer/ cuir studies, film studies and decolonial thought, this text seeks to provide the readership with a useful state of affairs as of today on how queerness is addressed through narrative cinema in Colombia, and to continually problematise and rethink what ‘queer’ means within the Colombian and Latin American contexts. By tracing the available corpus, the article exposes what we have chosen to name ‘queer/ cuir moments,’ acknowledging there is still much to be done within the film industry to be able to suggest a robust queer/cuir strand. Nonetheless, the article also acknowledges how those moments have preceded a more recent era of self‐aware filmmakers that put forward LGBTIQ+ questions on the big screen in the Colombian context. The 21st‐century initiatives the article considers have paved the way for ‘que(e)rencias’—political acts of affection, enunciation and intervention—where queerness seemingly activates an unexplored prism via narrative films made in Colombia.

ABSTRACT This article contributes to the understanding of contemporary party politics in Latin America by measuring and analysing the electoral victories of new parties since the third wave of democratisation. Drawing on an original dataset of democratic presidential elections from 1980 to 2024, the study reveals that, beginning in 2015, there has been an unprecedented surge in presidential elections won by newly created parties. The article advances a twofold explanation for this phenomenon: the decline of the remaining traditional parties and the unsustainable nature of the new parties that have secured electoral victories in recent years. Together, these processes have generated a cumulative dynamic through which personal short‐lived parties increasingly come to dominate Latin American elections.