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Ecuadorian cinema has been largely overlooked in film scholarship, usually being limited to brief descriptions in Latin American compendiums. Ecuadorian cinema for the 21st century would be the first major publication in English to fill this gap. It provides a thorough account of film activities during the new millennium, while also referring to the country’s previous film history. Specifically, this book discusses the so-called ‘mini-boom” in Ecuadorian cinema, and its relation to industry structures, film policy, and the context of Socialism for the 21st century, hence the chosen terminology of “Ecuadorian cinema for the 21st century”. What makes this project distinctive, aside from the originality of its content, is its transdisciplinary methodology. As a means to frame the textual analysis of selected films, this book discusses theories on national cinemas, memory, political ideology, and production practices, in an interdisciplinary approach that can be emulated in later projects. For this purpose, the book is divided into five chapters, in addition to a brief introduction and conclusion. Each chapter relies on specific case studies to discuss local narratives and documentaries, whether state sponsored or privately funded, centring primarily on films that premiered in commercial theatres between 2006 and 2016.
Ecuadorian cinema has been largely overlooked in film scholarship, usually being limited to brief descriptions in Latin American compendiums. Ecuadorian cinema for the 21st century would be the first major publication in English to fill this gap. It provides a thorough account of film activities during the new millennium, while also referring to the country's previous film history. Specifically, this book discusses the so-called 'mini-boom" in Ecuadorian cinema, and its relation to industry structures, film policy, and the context of Socialism for the 21st century, hence the chosen terminology of "Ecuadorian cinema for the 21st century". What makes this project distinctive, aside from the originality of its content, is its transdisciplinary methodology. As a means to frame the textual analysis of selected films, this book discusses theories on national cinemas, memory, political ideology, and production practices, in an interdisciplinary approach that can be emulated in later projects. For this purpose, the book is divided into five chapters, in addition to a brief introduction and conclusion. Each chapter relies on specific case studies to discuss local narratives and documentaries, whether state sponsored or privately funded, centring primarily on films that premiered in commercial theatres between 2006 and 2016. Dr María Fernanda Miño Puga is an Associate Lecturer at the University of St Andrews, Department of Film Studies, UK. She specialises in contemporary Ecuadorian cinema and indigenous film and media, with previous publications on documentary and collective memory. She holds a PhD from the University of Saint Andrews and this is her first monograph
A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text.
Contemporary Holocaust cinema exists at the intersection of national cultural traditions, aesthetic conventions, and the inner logic of popular forms of entertainment. It also reacts to developments in both fiction and documentary films following the innovations of a postmodern aesthetic. With the number of witnesses to the atrocities of Nazi Germany dwindling, medialized representations of the Holocaust take on greater cultural significance. At the same time, visual responses to the task of keeping memories alive have to readjust their value systems and reconsider their artistic choices.
The connections between culture and sustainability have been in the public agenda since the 20th century. However, whilst global sustainability programmes at international institutional levels are yet to recognise the role of culture in their sustainability policies, the bid (albeit failed) in the early 2000s to formally add “culture” to the trilogy of sustainability pillars (economic, social, and environmental) mobilised a new discourse for the reframing of cultural policy narrative, which in turn urged a reassessment of methods of cultural management reflecting the same concerns among the sector’s grassroots. The idea of sustainability and culture working together and their envisioned role in future-proofing society and human development captured the imagination of cultural commentators, policy makers and practitioners alike, keen to fulfil these principles “out there”—in cultural organizations and events mega and small, in cities and regions, local and global. The papers in this Special Issue reflect this appeal. This publication covers a wide selection of issues related to sustainable cultural management, which means that it can be recommended to a varied audience. First of all, it can be recommended to managers experienced in cultural management, where success is measured more by the degree of mission accomplishment and the social benefits achieved rather than by profit. Another group comprises the employees of cultural organizations who want to improve their knowledge of sustainable cultural management. This Special Issue can also be recommended to artists, researchers, students, state and local government employees, founders and patrons of art, and all those who want to understand the importance of sustainable cultural management.
Spanishness in the Spanish Novel and Cinema of the 20th-21st Century is an exploration of the general concept of “Spanishness” as all things related to Spain, specifically as the multiple meanings of “Spanishness” and the different ways of being Spanish are depicted in 20th-21st century literary and cinematic fiction of Spain. This book also represents a call for a re-evaluation of what being Spanish means not just in post-Franco Spain but also in the Spain of the new millennium. The reader will find treatments of some of the crucial themes in Spanish culture such as immigration, nationalisms, and affiliation with the European Union as well as many others of contemporary relevance such as time, memory, and women studies that defy exclusivist and clear-cut single notions of Spanishness. These explorations will help contextualize what it means to be Spanish in present day Spain and in the light of globalization while also dissipating stereotypical notions of Spain and Spanishness.
Over the last decade, audiences worldwide have become familiar with highly acclaimed films from the Romanian New Wave such as 4 Months, 3 Weeks and 2 Days (2007), The Death of Mr. Lazarescu (2005), and 12:08 East of Bucharest (2006). However, the hundred or so years of Romanian cinema leading to these accomplishments have been largely overlooked. This book is the first to provide in-depth analyses of essential works ranging from the silent period to contemporary productions. In addition to relevant information on historical and cultural factors influencing contemporary Romanian cinema, this volume covers the careers of daring filmmakers who approached various genres despite fifty years of Communist censorship. An important chapter is dedicated to Lucian Pintilie, whose seminal work, Reconstruction (1969), strongly inspired Romania's 21st-century innovative output. The book's second half closely examines both the 'minimalist' trend (Cristian Mungiu, Cristi Puiu, Corneliu Porumboiu, Radu Muntean) and the younger, but no less inspired, directors who have chosen to go beyond the 1989 revolution paradigm by dealing with the complexities of contemporary Romania.
This insightful book introduces the most important trends, people, events, and products of popular culture in Latin America and the Caribbean. In recent times, Latin American influences have permeated American culture through music, movies, television, and literature. This sweeping volume serves as a ready-reference guide to pop culture in Central America, South America, and the Caribbean, focusing on Mexico, Brazil, Venezuela, Argentina, Haiti, Cuba, the Dominican Republic, Jamaica, and Costa Rica, among other areas. The work encourages hands-on engagement with the popular culture in these places, making such suggestions as Brazilian films to rent or where to find Venezuelan music on the Internet. To start, the book covers various perspectives and issues of these regions, including the influence of the United States, how the idea of machismo reflects on the portrayal of women in these societies, and the representation of Latino-Caribo cultures in film and other mediums. Entries cover key trends, people, events, and products from the beginning of the 20th century to the present day. Each section gives detailed information and profound insights into some of the more academic—and often controversial—debates on the subject, while the inclusion of the Internet, social media, and video games make the book timely and relevant.
Framed by critical globalisation theory and David Harvey’s ‘co-revolutionary moments’ as a theory of social change, this book brings together a multi-disciplinary team of researchers to empirically analyse how socialism is being constructed in contemporary Latin America and the Caribbean, and beyond. This book uses the case of the Bolivarian Alliance for the Peoples of Our America - Peoples’ Trade Agreement (ALBA-TCP) to invite to a re-thinking of resistance to global capitalism and the construction of socialism in the 21st century. Including detailed theory-based ethnographic case studies from Bolivia, Cuba, El Salvador, Nicaragua, Venezuela and the USA, the contributors identify social and structural forces at different levels and scales to illuminate politics and practices at work. Centred around the themes of democracy and justice, and the more general reconfiguration of the state-society relations and power geometries at the local, national, regional and global scales, ALBA and Counter-Globalization is at the forefront in the trend of interdisciplinary approaches to the study of social phenomena of global relevance. Counter-Globalization and Socialism in the 21st Century will be of interest to students and scholars of Latin American politics, global governance, global regionalisms and rising powers.
Available Open Access under CC-BY-NC licence. Ongoing conflicts between neoliberal and post-neoliberal politics have resulted in growing social instability in Latin America. This book explores the cultural dynamics of neoliberalism and anti-neoliberal resistance in Latin America as a complex set of interrelated cultural forms, examining the ways in which neoliberalism has transformed public discourses of self and social relationships, popular cultures and modes of everyday experience. Contributors from an international range of different disciplinary perspectives look at how Latin Americans construct subjectivities, build communities and make meaning in their everyday lives in order to analyse the discourses and cultural practices through which a societal consensus for the pursuit of neoliberal politics may be established, defended and contested.