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The Cinema of Latin America is the first volume in the new 24 Frames series of studies of national and regional cinema. In taking an explicitly text-centered approach, the books in this series offer a unique way of considering the particular concerns, styles and modes of representation of numerous national cinemas around the world. This volume focuses on the vibrant practices that make up Latin American cinema, a historically important regional cinema and one that is increasingly returning to popular and academic appreciation. Through 24 individual concise and insightful essays that each consider one significant film or documentary, the editors of this volume have compiled a unique introduction to the cinematic output of countries as diverse as Brazil, Argentina, Cuba, Mexico, Bolivia, Chile and Venezuala. The work of directors such as Luis Buñuel, Thomas Guiterrez Alea, Walter Salles, and Alfonso Arau is discussed and the collection includes in-depth studies of seminal works as such Los Olvidados, The Hour of the Furnaces, Like Water For Chocolate, Foreign Land, and Amoros Perros.
Conventional silent cinema -- Avant-garde silent cinema -- Transition to sound -- Birth and growth of an industry -- Crisis and decline of studio cinema -- Neorealism and art cinema -- New Latin American cinema's militant phase -- New Latin American cinema's Neobaroque phase -- Collapse and rebirth of an industry -- Latin American cinema in the twenty-first century -- Conclusion : a triangulated cinema -- Appendix : discourses of modernity in Latin America
During the 1967 festival of Latin American Cinema in Viña del Mar, Chile, a group of filmmakers who wanted to use film as an instrument of social awareness and change formed the New Latin American Cinema. Nearly three decades later, the New Cinema has produced an impressive body of films, critical essays, and manifestos that uses social theory to inform filmmaking practices. This book explores the institutional and aesthetic foundations of the New Latin American Cinema. Zuzana Pick maps out six areas of inquiry—history, authorship, gender, popular cinema, ethnicity, and exile—and explores them through detailed discussions of nearly twenty films and their makers, including Camila (María Luisa Bemberg), The Guns (Ruy Guerra), and Frida (Paul Leduc). These investigations document how the New Latin American Cinema has used film as a tool to change society, to transform national expressions, to support international differences, and to assert regional autonomy.
From El Megano and Black God, White Devil to City of God and Babel, Latin American films have a rich history. In this concise but comprehensive account, Stephen M. Hart traces Latin American cinema from its origins in 1896 to the present day, along the way providing original views of major films and mini-biographies of major film directors. Describing the broad contours of Latin American film and its connections to major historical developments, Hart guides readers through the story of how Hollywood dominance succumbed to the emergence of the Nuevo Cine Latinoamericano and how this movement has led to the “New” New Latin American Cinema of the twenty-first century. He offers a fresh analysis of the effects of major changes in film technology, revealing how paradigm shifts such as the move to digital preceded new cinematographic techniques and visions. He also looks closely at the films themselves, examining how filmmakers express their messages. Finally, he considers the decision by a group of directors to film in English, which enhanced the visibility of Latin American cinema around the world. Featuring 120 illustrations, this clear, cogent guide to the history of this region’s cinema will appeal to fans of Central Station and Like Water for Chocolate alike.
V. 1. Theory, practices, and transcontinental articulations -- v. 2. Studies of national cinemas. Includes bibliographical references and indexes.
The Daily Planet is a long-awaited selection of Patricia Aufderheide's most important critical essays, updated and organized thematically to demonstrate the breadth of her thinking on media and film, public telecommunications policy, and contemporary society. The result is a pithy and provocative exploration of "the culture of daily life under capitalism". Here, Aufderheide demonstrates criticism that is both activist and analytical. She probes the processes that shape our culture by examining diverse subjects, including the struggle to create quality children's television programming, the meaning of Paul Harvey, the evolution of the war film over the past thirty years, and the ways journalism is changed by the Internet and other new technologies. Throughout, Aufderheide foregrounds democratic values, displaying the penetrating insights that have made her a leading public intellectual and commentator on contemporary culture.
A Companion to Latin American Cinema offers a wide-ranging collection of newly commissioned essays and interviews that explore the ways in which Latin American cinema has established itself on the international film scene in the twenty-first century. Features contributions from international critics, historians, and scholars, along with interviews with acclaimed Latin American film directors Includes essays on the Latin American film industry, as well as the interactions between TV and documentary production with feature film culture Covers several up-and-coming regions of film activity such as nations in Central America Offers novel insights into Latin American cinema based on new methodologies, such as the quantitative approach, and essays contributed by practitioners as well as theorists
The chapters in this book show the important role that political documentary cinema has played in Latin America since the 1950s. Political documentary cinema in Latin America has a long history of tracing social injustice and suffering, depicting political unrest, intervening in periods of crisis and upheaval, and reflecting upon questions about ideology, cultural identity, genocide and traumatic memory. This collection bears witness to the region's film culture's diversity, discussing documentaries about workers' strikes, riots, and military coups against elected governments; crime, poverty, homelessness, prostitution, children's work, and violence against women; urban development, progress, (under)development, capitalism, and neoliberalism; exile, diaspora and border cultures; trauma and (post)memory. The chapters focus on documentaries made in Argentina, Brazil, Chile, Cuba, Mexico, and Venezuela, as well as on the work of Latino and diasporic Latin American political documentarians. The contributors to the anthology reflect the cultural and linguistic diversity of current Latin American film scholarship, with some writing in Spanish and Portuguese from Argentina and Brazil (with their original works especially translated), and others writing in English from Australia, Europe, and the USA. This book was originally published as a special issue of Social Identities.
Proposes new critical directions in Latin American film. Framing Latin American Cinema embraces multiple modes of scholarship, juxtaposing feature films and documentaries, and locating cinema within larger cultural debates. Considering works from Argentina, Brazil, Cuba, Colombia, Guatemala, Mexico, and Venezuela, the contributors address a range of topics including studies of directors like Roman Chalbaud and Fernando Perez, examinations of viewer patterns and critical tendencies, and analyses of Mexican melodrama, revolutionary films, and such internationally acclaimed works as Dona Herlinda and A Place in the World.
In this engaging book, Maria Chiara D’Argenio delineates a turn in recent Latin American filmmaking towards inter/cultural feature films made by non-Indigenous directors. Aimed at a global audience, but played by Indigenous actors, these films tell Indigenous stories in Indigenous languages. Over the last two decades, a growing number of Latin American films have screened the Indigenous experience by combining the local and the global in a way that has proved appealing at international film festivals. Locating the films in composite webs of past and present traditions and forms, Indigenous Plots in Twenty-First Century Latin American Cinema examines the critical reflection offered by recent inter/cultural films and the socio-cultural impact, if any, they might have had. Through the analysis of a selection of films produced between 2006 and 2019, the book gauges the extent to which non-Indigenous directors who set out to engage critically with colonial legacies and imaginaries, as well as with contemporary Indigenous marginalization, succeed in addressing these concerns by ‘unthinking’ and ‘undoing’ Western centrism and coloniality. Drawing on a wide range of disciplines and considering the entire cinematic process – from pre-production to the films’ production, circulation and critical reception – Indigenous Plots in Twenty-First Century Latin American Cinema makes the case for a holistic cultural criticism to explain the cultural and political work cinema does in specific historical contexts.