Includes bibliographical references and indexes.
|Statement||edited by Michael T. Martin.|
|Series||Contemporary film and television series|
|Contributions||Martin, Michael T.|
|LC Classifications||PN1993.5.L3 N48 1997|
|The Physical Object|
|Pagination||2 v. ;|
|ISBN 10||0814327052, 0814327060|
|LC Control Number||96046741|
New Latin American Cinema, Volume 1 Theories, Practices, and Transcontinental Articulations Edited by Michael T. Martin Subjects: By WSU Faculty, Film Theory and Criticism, Filmmakers, Latin American Studies, World Cinema. Series: Contemporary Approaches to Film and Media Series. As López () points out, “the New Latin American Cinema is a political cinema committed to praxis and to the socio-political investigation and transformation of the underdevelopment that characterizes Latin America.” (p. ) It is not our intention to argue against this kind ofAuthor: Sergio Roncallo, Juan Carlos Arias-Herrera. In his impressively well-researched Latin American Cinema: A Comparative History, Paul A. Schroeder Rodríguez shows how cinema has been at the intersection of politics and modernity in Latin America and remained an important form of cultural and social media in the region, from silent films to present-day book is a tour de force that explores the cultural, economic, and artistic Cited by: 4. A fresh perspective on the hugely successful Latin American films released at the turn of the 21st century. In the late s and early s Latin American films like Amores perros, Y tu mamá también and Cidade de Deus enjoyed an unprecedented level of critical and commercial success in the world market. Benefitting from external financial and/or creative input, these films were considered.
Latin American cinema refers collectively to the film output and film industries of Latin American film is both rich and diverse, but the main centers of production have been Argentina, Brazil and American cinema flourished after the introduction of sound, which added a linguistic barrier to the export of Hollywood film south of the border. 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 . From El Megano and Black God, White Devil to City of God and Babel, Latin American films have a rich this concise but comprehensive account, Stephen M. Hart traces Latin American cinema from its origins in to the present day, along the way providing original views of major films and mini-biographies of major film : Reaktion Books, Limited. Mapping the historical and cultural contexts of film practices in Latin America, this two-volume collection of programmatic statements, esays and interviews is devoted to the study of a theorized, dynamic and unfinished cinematic movement. Forged by Latin America's post-colonial environment of underdevelopment and dependency, the New Latin American Cinema movement has sought to .
Forged by Latin America's post-colonial environment of underdevelopment and dependency, the New Latin American Cinema movement has sought to inscribe itself in Latin America's struggles for cultural and economic autonomy. This volume comprises essays on the development of the New Latin American Cinema as a comparative national project. Recent critically and commercially acclaimed Latin American films such as XXY, Contracorriente, and Plan B create an affective and bodily connection with viewers that elicits in them an emotive and empathic relationship with queer identities. Referring to these films as New Maricón Cinema, Vinodh Venkatesh argues that they represent a distinct break from what he terms Maricón Cinema, or a. Book Description: This book charts a comparative history of Latin America's national cinemas through ten chapters that cover every major cinematic period in the region: silent cinema, studio cinema, neorealism and art cinema, the New Latin American Cinema, and contemporary cinema. not offending Latin American sensibilities. The founder of university film studies in Cuba in the s, és Rodríguez, wrote of a film of the time, Under the Texas Moon, as 'openly offensive to Mexican women, the projection of which in a moviehouse in the Latin section of Cited by: 4.