The New Latin American cinema : a continental project
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Bibliographic Information
The New Latin American cinema : a continental project
（Texas film studies series）
University of Texas Press, 1993
- : pbk
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Note
Includes bibliographical references (p. [229]-241) and index
Description and Table of Contents
- Volume
-
ISBN 9780292765450
Description
"This work takes Latin American film scholarship to a new level of critical, conceptual, and methodological sophistication. Zuzana Pick frames key questions through a judicious, even inspired choice of films. Her interpretations are superb. Perceptive, analytically broad-ranging, critically compelling, they set a new standard for the field." --julianne burton-carrajal, editor of cinema and social change in latin america: conversations with filmmakers During the 1967 festival of Latin American Cinema in Vina 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 (Maria 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.
- Volume
-
: pbk ISBN 9780292765498
Description
During the 1967 festival of Latin American Cinema in Vina 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 (Maria 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.
Table of Contents
Preface and Acknowledgments
Introduction. The New Latin American Cinema: A Continental Project
1. Convergences and Divergences
History and Institutions
Pioneers and Early Manifestations
Birth of a Movement
State Intervention and Growth
Turning Point and Consolidation
2. Creativity and Social Intervention
Authorship and Cultural Militancy
The Discovery of Self and Other: The Brickmakers
The Authority of Daily Life: Up to a Point
The Collective and the Nation: The Hour of the Furnaces
3. Gendered Identities and Femininity
Women Filmmakers and Representations of Gender
Machismo and Gender: A Man, When He Is a Man
Experiences of Femininity: Mujer transparente
Reviewing Women's History: Camila
Identity and Representation: Frida: Naturaleza viva
4. Popular Memory and the Power of Address
Popular Cinema and Social Class
Social Inquiry and Los inundados
The Sertao and Cinema Novo: The Guns
Popular Memory and The Courage of the People
5. Cultural Difference and Representation
Ethnicity and Mestizaje
The Dialectics of Race and Class: One Way or Another
Metaphor and Difference: Iracema
The Aesthetics of Carnival: Quilombo
Immigration and Identity: Gaijin: The Road to Liberty
6. Exile and Displacement
Exile: Discourse and Representation
The Politics of the Personal: Unfinished Diary
Spectacle and the Displaced Body: Tangos: The Exile of Gardel
Phantasmagoria and Displacement: The Three Crowns of the Sailor
Conclusion. The New Latin American Cinema: A Modernist Critique of Modernity
Notes
Bibliography
Index
by "Nielsen BookData"