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The New Latin American Cinema: A Continental Project

University of Texas Press

The New Latin American Cinema: A Continental Project Overview

During the historic 1967 festival of Latin American Cinema in Vina del Mar, Chile, a group of young 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, giving equal recognition to the self-defining consciousness of the movement and to the social, political, and cultural conditions that made its growth possible. 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 from Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, and Mexico - including Camila (Maria Luisa Bemberg), The Guns (Ruy Guerra), and Frida (Paul Leduc). From these investigations, she traces the complex interrelation between the supranational goals of the movement and the national tendencies that have also shaped the movement's ideology. She documents how the New Latin American Cinema has effectively used film as a tool to change society, to transform national expressions, to support international differences, and to assert regional autonomy.

The New Latin American Cinema: A Continental Project Table Of Content

Preface and Acknowledgments
Introduction. The New Latin American Cinema: A Continental Project 1
1 Convergences and Divergences 13
History and Institutions 14
Pioneers and Early Manifestations 16
Birth of a Movement 19
State Intervention and Growth 24
Turning Point and Consolidation 29
2 Creativity and Social Intervention 38
Authorship and Cultural Militancy 39
The Discovery of Self and Other: The Brickmakers 41
The Authority of Daily Life: Up to a Point 47
The Collective and the Nation: The Hour of the Furnaces 55
3 Gendered Identities and Femininity 66
Women Filmmakers and Representations of Gender 67
Machismo and Gender: A Man, When He Is a Man 70
Experiences of Femininity: Mujer transparente 75
Reviewing Women's History: Camila 82
Identity and Representation: Frida: Naturaleza viva 89
4 Popular Memory and the Power of Address 97
Popular Cinema and Social Class 98
Social Inquiry and Los inundados 103
The Sertao and Cinema Novo: The Guns 110
Popular Memory and The Courage of the People 117
5 Cultural Difference and Representation 126
Ethnicity and Mestizaje 127
The Dialectics of Race and Class: One Way or Another 130
Metaphor and Difference: Iracema 137
The Aesthetics of Carnival: Quilombo 144
Immigration and Identity: Gaijin: The Road to Liberty 150
6 Exile and Displacement 157
Exile: Discourse and Representation 158
The Politics of the Personal: Unfinished Diary 161
Spectacle and the Displaced Body: Tangos: The Exile of Gardel 167
Phantasmagoria and Displacement: The Three Crowns of the Sailor 176
Conclusion. The New Latin American Cinema: A Modernist Critique of Modernity 186
Notes 199
Bibliography 229
Index 243

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