Salomé Aguilera Skvirsky received her doctorate in Film Studies from the University of Pittsburgh, and an undergraduate degree in English from the University of Pennsylvania. Before coming to UIC, she held a postdoctoral fellowship in the Department of Cinema and Media Studies at the University of Chicago. Her research interests include Latin American cinema, documentary film, film theory, ethnographic film, race and representation, and melodrama. Her publications include “The Postcolonial City Symphony Film and the ‘Ruins’ of Suite Habana,”Social Identities: Journal for the Study of Race, Nation and Culture 19:3-4 (2013); “Quilombo and Utopia: The Aesthetic of Labor in Linduarte Noronha’s Aruanda (1960),” Journal of Latin American Cultural Studies, 20:3 (2011); “The Price of Heaven: Remaking Politics in All that Heaven Allows, Ali: Fear Eats the Soul, and Far from Heaven,” Cinema Journal 47:3 (2008). Currently, she is working on a book-length manuscript titled “The Aesthetic of Labor: Work, Toil, and Utopia in Latin American Political Cinema” about the aesthetics and politics of, what might be called, the “process film genre” (i.e. a genre of films about production processes like pottery-making or salt mining) in Latin American and world film history.