Dr. Hogan studies the cultures, words, and images of contemporary Spain and Latin America. Within such diverse cultural production, she is most fascinated by the articulations of power, observing how symbols and narratives travel and shape-shift across texts, temporalities, and terrains. Her research specializes in contemporary Iberian cultural production with particular interest in the child and the patriarchal corpse as biopolitical figures, gynocentric filmic representations of and by women, and the uses of comedy and satire for social justice. Dr. Hogan’s broader areas of inquiry span time, place, discipline, and media from 17th century Spain to contemporary Latin American and involve transnational screen arts, intercultural pedagogy, and videographic criticism.
As Undergraduate Program Director, Dr. Hogan partners with MLLI colleagues to promote linguistic diversity, global and intercultural competence at UMBC. She is a member of UMBC’s inaugural cohort (2022-23) of the Mellon-funded Breaking the M.O.L.D. (Mellon/Maryland Opportunities for Leadership Development). Alongside National Humanities Alliance colleagues in March 2023, she advocated for increased humanities support on Capitol Hill. Hogan has also served as a Mid-Atlantic delegate to the Modern Language Association’s Assembly and on UMBC’s Dresher Center for the Humanities Advisory Board. Overall, Dr. Hogan’s professional, humanistic activities center on amplifying diverse voices in teaching and scholarship.
Public Writing: on Iberian and Latin American Cinemas,
RECENT COURSES TAUGHT
Film and Society in Spain
Film and Society in Latin America
The Biopolitics of the Children of Franco in Film and Literature
The Dark Comedy in the Arts of Spain
Contemporary Spanish Literature
Humanities Seminar (co-taught) on Political Childhood and Children’s Political Citizenship in Western Culture
300-level Advanced Spanish Language
300-level Textual Analysis
SELECTED ARTICLES AND CHAPTERS
García Puente, María and Erin K. Hogan, “Projecting the Lights and Shadows of the Peninsular Audiovisual Industry Post-CIMA: Dialogues with Emerging Women Filmmakers.” Atlánticas. Revista Internacional de Estudios Feministas, 7.1 (2022): 131-59. https://doi.org/10.17979/arief.2022.7.1.7829 [written in Spanish]
García Puente, María and Erin K. Hogan, “Interview of Margarita Ledo Andión.” Atlánticas. Revista Internacional de Estudios Feministas, 7.1 (2022): 168-83. https://doi.org/10.17979/arief.2022.7.1.8867 [conducted in Spanish]
“Specular Comedies of Manslaughter by Inés París and Marta Díaz de Lope Díaz.” Journal of Gender and Sexuality Studies / Revista de estudios de género y sexualidades 46.1-2 (2020): 215–236. www.jstor.org/stable/10.14321/jgendsexustud.46.1-2.0215
García Puente, María and Erin K. Hogan, “An Island of Their Own: Queer Homes and Feelings in For 80 Days (Goenaga & Garaño 2010 Basque Country, Spain),” In Inusuales: hogar, sexualidad y política en el cine hispano, Ed.s Jorge González del Pozo and Inela Selimović, Madrid: Iberoamericana (2020): 63-90. [written in Spanish]
“Girls and Dolls: The Biopolitics of Gender and Race in Lucía Puenzo’s Wakolda
(2013),” The Comparatist 42 (2018): 248-265.
“Don Quixote, Sweded by Michel Gondry in Be Kind Rewind (2008),” Open Cultural Studies, 1.1 (2017): 454-467. Retrieved 5 Jan. 2018, from doi:10.1515/culture-2017-0042
“The Street Smarts of Children from Peronist Cinema’s Toscanito and Adrianita to Crónica de un niño solo (Favio 1965).” El ojo que piensa 14 (January-June 2017): 7-19. [written in Spanish]
“Listening to the Pain of Others: Transnational Trauma in Isabel Coixet’s The Secret Life of Words (2005),” In Scars and Wounds: Film and Legacies of Trauma, Palgrave MacMillan (2017): 149-167.
“A Politics of Listening in Isabel Coixet’s Escuchando al juez Garzón/Listening to Judge Garzón (2011),” International Journal of Iberian Studies 29.1 (2016): 65-79.
“Queering Post-war Childhood: Black Bread (Pa negre, Agustí Villaronga, Spain 2010).” Hispanic Research Journal Screen Arts IV 17.1 (March 2016): 1-18.
“’She must have another language’: the Otherness of Childhood in Paraíso inhabitado by Ana María Matute.” Otherness in Hispanic Culture. Newcastle upon Tyne: Cambridge Scholars Publishing, 2014. 350-364.
“The Voice, Body and Ventriloquism of Marisol in Tómbola (Lucía, 1962).” Studies in Spanish and Latin-American Cinemas 10.1 (2013): 101-115.
“Boyhood, Abuse, and Adult Intervention in The 400 Blows (Truffaut 1959), Small Change (Truffaut 1976), and Pellet (Mañas 2000).” Red Feather Journal: An International Journal of Children’s Visual Culture 4.1 (2013): 28-43.
“A Humoristic Look at the Housing Problem in Contemporary Spanish Cinema: El pisito (Ferreri 1959) and La comunidad (De la Iglesia 2000).” Proceedings of II International Conference on History, Literature, and Art in Spanish and Portuguese-language cinema: from it’s Origins to the 21st century’s Technological Revolution, June 26-28, 2013. Ed. Emma Camarero Calandria and María Marcos Ramos. Salamanca: Universidad de Salamanca, 2013. 205-215.
“The Disasters of the Civil War: from Goya to the empirical exercise of childhood perception in They Still Draw Pictures!” in Idealism, Rationalism and Empiricism in Hispanic Culture. Ed. Ricardo de la Fuente Ballesteros. Valladolid: Universitas Castellae (2013). [written in Spanish]
“Tomando partido: Soccer and Political Opposition in O Ano em Que Meus Pais Saíram de Férias (Cao Hamburger 2006) and Paisito (Ana Díez 2008).” Transnationality in the Luso-Hispanic World (Fall 2012).
“In hard times consult proverbs/ En tus apuros y afanes, pide consejo a los refranes: Popular Wisdom in Mateo Alemán’s Guzmán de Alfarache,” Proverbium 25 (2008): 111-127.