This thesis is a historical and visual analysis of the United Farm Workers’ (UFW) newspaper El Malcriado and their reimagination of the Mexican Revolution narrative to visualize the farm worker movement in the U.S. The UFW newspaper was launched during the origins of the Delano Grape Strike in 1965 to galvanize the masses. Artwork by the Mexican printing collective Taller de Gráfica Popular (TGP), photography from the Mexican Revolution, and caricatures by Chicano artists Andrew “Andy” Zermeño communicated the goals of the union through allegory, symbolism, and satire. The first two volumes of El Malcriado reproduced prints from the 1940s by the TGP on the cover, which served as revolutionary allegories to visualize a transnational struggle that connected the UFW labor movement and agribusiness in the U.S. with the history of pre-colonial Mexico, Mexican Revolution, and hacienda system. Photography of Mexican generals Emiliano Zapata and Francisco “Pancho” Villa were used as symbols of revolution and leadership, but especially with Zapata, as a symbol for land rights and agrarian justice. Andy Zermeño used caricature and satire to visualize the unjust conditions and power dynamics of the farm worker, foreman, and farm owner—characters that would later be performed under the productions of playwright Luis Valdez by the farm workers themselves. I argue that the radical reimaginings of the Mexican Revolution on the pages of El Malcriado empower the farm workers to visualize their movement during the pivotal era if the Delano Grape Strike and identify not only their cultural origins, but also their connection with a larger global agrarian struggle and fight for workers’ rights.

Damage Report is a series of four short 16-millimeter films, projected simultaneously in an installation, each of which focuses on one of the four elements--air, water, earth, and fire. The geographic focus is the so-called "Biotech Beach" area around La Jolla, California where scientists and emergency managers assess the risks of natural hazards--fires, earthquakes, weather patterns, climate change--through simulations.

The project calls attention to the paradox of our intensifying search for control over the elements in an era in which we have become a geological force: the "anthropocene."

Each element has its corresponding site, which together form a square on the map of San Diego County:

--a downtown weather forecasting startup originating in UCSD's Scripps Institution of Oceanography,

--a hydraulics lab nestled in the latter's idyllic beachside campus,

--the University's inland earthquake simulator at Englekirk Center, and

--a fire training center in the County's "Heartland," El Cajon.

Each film deals with a test, or series of procedures by which a given element is simulated in a controlled setting: a laboratory, an office, or an outdoor training ground.

In this dissertation, I trace the Taller de Gráfica Popular’s (TGP) influence on the Chicano and Black art movements of the 1960s and 70s. I argue that the influence of the TGP seen in the 1960s is not a simple reemergence of the TGP’s forms and content, but rather a radical transnational activation of the Old Left’s avant-garde works and politics to be galvanized by the New Left’s artists and activists. I demonstrate the radicality of the TGP images by tracing its impact on artists who used the message to challenge imperialist, capitalist, and racist structures, which resulted in attempts by dominant institutions to erase its message. It is within this censorship that the TGP images and subsequent Chicano and African American works operate outside the mainstream and instead move into the realm of the avant-garde. Subsequently, alternative publications and networks become sites of resistance for the politically vanguard works. My research methodology combines formal and social analysis with archival research of graphic works, alternative publications, personal correspondence, and written and oral interviews. Chapter one situates the project within the field of art history, particularly with scholars working with narratives of transnationalism, trans-America, and hemispheric studies, as well as the history of avant-garde printmaking and art networks within Mexican, Chicano, and African American art histories. Chapter two traces the TGP’s history in the U.S. and describes the challenges and successes of transnational leftist artists during the first half of the twentieth century. Chapter three analyzes the reemergence of TGP graphics in the Chicano Movement, as well as its subsequent influence on Chicano artists and activists. Chapter four revisits the contributions of African American artist Elizabeth Catlett to the TGP, follows the impact of Catlett’s call to African American artists to create a new transnational art movement, and analyzes the solidarity efforts between Chicano and Black artists and activists during the 1960s and 1970s. Chapter fives concludes by resituating the TGP and the work of Chicano and Black radical artists into the global avant-garde archive, while tracing contemporary artists who are still influenced by the TGP’s legacy.

This dissertation explores a genealogy of late dissident/ethnographic surrealist production in avant-garde film, literature, and theory from an international perspective. Taking as its starting point the critical works of the artist Pierre Klossowski (1905–2001), understood through his (concealed) reception in film theory via the philosophers Jean-François Lyotard and Gilles Deleuze, this project weaves into this history a set of later examples through the specific cases of the Italian poet and filmmaker Pier Paolo Pasolini and the Mexican artist, theater director, and filmmaker Juan José Gurrola. Both artists, I argue, are crucial for re-imagining the reception of the critical works of Klossowski, his colleague Georges Bataille, Antonin Artaud, and the larger dissident surrealist group associated with the Collège de Sociologie and the journal and secret society of Acéphale. In this study, I confine my approach to a set of problems posed by each of these figures: Klossowski (and Bataille) via Lyotard, Pasolini, and Gurrola. I propose an alternative film theoretical discourse in distinction to the now classical arguments of psychoanalytic film theory, as well as both realist and formalist notions of film economy. My methodology combines a close reading of cinema and theoretical texts. As well, I offer an extension of this work by means of archival research on the films of Juan José Gurrola, featuring an in-depth consideration of his landmark experimental film-action Robarte el Arte (1972), whose answer to the question regarding the articulation of an original film language is, I argue, crucial for our understanding of the medium, as well as for the historical periods under question and the contemporaneous debates on film semiotics.