Esta tese aborda a circulação no Brasil de versões em espanhol produzidas por estúdios de Hollywood nos primeiros anos do cinema sonoro. Procuramos identificar nestes filmes algumas representações que os produtores norte-americanos vincularam à identidade latina. Temos o Rio de Janeiro e São Paulo como recorte geográfico, a partir da pesquisa histórica de recepção nas revistas Cinearte e A Scena Muda e nos jornais Correio da Manhã e O Estado de São Paulo. Entre 1930 e 1935, esses periódicos mencionaram uma série de produções hollywoodianas em língua espanhola, que nossas revistas consideraram inferiores aos filmes originais em inglês devido à barreira da língua e aos padrões de qualidade cinematográficos estabelecidos. Visamos demonstrar como a recepção das versões pela imprensa carioca e paulistana marcou o distanciamento que alguns grupos de nossa elite cultural projetavam em relação à América Latina, bem como um espelhamento nos Estados Unidos, afirmando uma relação imperialista pela via da cultura. / This dissertation approaches the circulation in Brazil of the Spanish-language versions produced by Hollywood Studios in the early years of sound cinema and aim to identify in these films some representations of Latinidad made by American producers. The cities of Rio de Janeiro and Sao Paulo constitute the geographic approach. The magazines Cinearte and A Scena Muda, and the newspapers Correio da Manhã and O Estado de São Paulo were the main reference for the historical research. Between 1930 and 1935 these journals mentioned some Hollywood Spanish-language productions, which Brazillian magazines considered worse than the original English-language films because of the language barrier and the established film quality standards. This work aims to demonstrate how the reception of the Spanish-language versions by the Brazilian press marked the distancing that some groups of Brazil´s cultural elite projected towards Latin America, as well as a mirroring in the United States. It marks an imperialist relation through culture.

This essay is an extension of the topics I have been investigating while creating art pieces. Through these endeavors, I have been able to see and feel references that enrich me and my personal library, which I have missed from institutions. I hope this essay can be of help to those in need of it or serve as a reminder that having dual identities is beautiful and should be celebrated, not oppressed.   I find myself struggling to write this abstract. How can I make it fair to tell you what is coming in my essay? I do not like to reduce myself, and that is why summarizing my work into a short story is a struggle. I do not see myself as something that can be summarized into a short story. I grew up in a household filled with storytelling   As I write this abstract, I find it challenging to give a fair idea of what to expect. What I can say is that the essay consists of struggles and inner battles of trying to fit in by fläta samman language, culture and art.   When and where, how and why I feel how I feel.   A consciousness of when I am Latina, and when I am Swedish. In this investigation I found help from thinkers such as Sara Ahmed, Gloria Anzaldúa, Virgilio Elizondo, Paulina de los Reyes and artists such as Elías Adasme, Alfredo Jaar, Victor Grippo, Jonathas de Andrade, Rodrigo Castro Hueche.   You could say that the text is about: diaspora, mellanförskap, photography, art, feminism - not white feminism, rasism, home, politics, abuelas, food, ….and I am OK with that!     However, I will say that this essay seeks to explore the struggles and inner battles of trying to fit in. It aims to connect language, culture, and art, using the concept of 'fläta samman' (weaving together) to unravel these issues. My consciousness of being both Latina and Swedish is a significant focus of this investigation, and I draw inspiration from the works of Sara Ahmed, Gloria Anzaldúa, Virgilio Elizondo, Paulina de los Reyes, and artists such as Elías Adasme, Alfredo Jaar, Victor Grippo, Jonathas de Andrade, and Rodrigo Castro Hueche.

This thesis deals with the musical and dance style known as "Salsa" which roots can be traced to the Caribbean of Latin America. In this work, salsa is investigated as a global phenomenon in the local context of Prague and at the same time as a commercialized product. In terms of salsa as a global phenomenon, the work deals with the characteristics of salsa as a social dance in the local context and tries to trace its social functions. In addition to the effects of the commercialization and tropicalized ideas of salsa and Latin American cultures on its form, the thesis also touches on topics such as internal negotiation and external construction of Latin American identity (latinidad), which are related to salsa as a global phenomenon and its commercialization. The work is based on several months of ethnographic research and semi- structured interviews conducted mainly with salseros from Latin America, the Czech Republic and others, not only European countries. Key words: salsa, social dance, global phenomenon, commercialization, product, commodification of culture, Latin American identity, latinidad , tropicalization, imagination