SPA 275 Latin American Cinema

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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.

The volume recognizes the recent "new cinemas" in Argentina, Brazil, Chile, and Mexico, and, at the same time, provides a much deeper understanding of the contemporary moment by commenting on the aesthetic trends and industrial structures in earlier periods.

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Women are noticeably marginalized from the Latin American film industry, with lower budgets and inadequate distribution, and they often rely on their creativity to make more interesting films. This book highlights the voices and stories of some of these directors from Brazil, Chile, Argentina, and Mexico.

1. Introduction - 2. Child Death in Buenos Aires viceversa, La vendedora de rosas and La mujer sin cabeza - 3. Children's Journeys: Central do Brasil, Viva Cubaand Cochochi - 4. The Childhood of a National Hero: José Martí: el ojo del canario - 5. The Child in Post-dictatorship Southern Cone Film - 6. Unruly Bodies: La rabia and El último verano de la boyita - 7. Transnational Mobility, Authenticity and the Child: Alamar.

Rural boyhoods in Brazil and Colombia -- Children and "bare life" under military dictatorship -- Childhood, movement and play -- Part two. Privileged girlhoods and processes of transition -- "I'm no street urchin!" -- Indigenous girlhoods in Brazil and Colombia -- Conclusion

Coached feelings and political re-socializations in Paula Markovitch's El premio (2011) / Inela Selimović - "El sitio más cómodo y propicio para vigilar la otra": spaces of childhood in the work of Norah Lange / Camilla Sutherland - Reaching childhood, unlearning the transition: the space of memory in Alejandro Zambra's novel Ways of going home (Chile, 2011) / Philippa Page - An infantile witness in the new Bolivia: Juan Carlos Valdivia's Zona sur (2009) / Peter Baker - Peruvian wounds: children and violence in the fiction cinema of the Chaski Group, Gregorio (1984) and Juliana (1988) / Sarah Barrow - The diary of a young Cuban girl: Nieve Guerra in Todos se van (Wendy Guerra 2006; Sergio Cabrera 2014) / Erin K. Hogan

"Sheds light on emergent Latin America cinema that addresses the politics of environmental destruction, the uneveness of climate change consequences, and new ways of visualizing the world beyond the human"-- Provided by publisher.

Restoring names, stories, and voices for cinematographic maids: toward a new poetics of domestic service in recent Argentine films / Maria Julia Rossi - Moving beyond maternalism: negotiating models of womanhood in La Nana, Cama adentro, and Hilda / Elizabeth Osborne - Leftovers no more: affect, food, and power in recent Latin American films on domestic work / Karina Elizabeth Vázquez - Serious camp: Juan Gabriel's queer repertoire in ¿Qué le dijiste a Dios? / Olivia Cosentino - Defamiliarizing the maid: Alicia Scherson's play / Susana Domingo Amestoy - Beyond tropes: otherness and the identity of the Brazilian maid in Domésticas-O Filme and Doméstica / Maurício Sellmann-Oliveira - Partial affection: The place(s) of female domestic workers in recent Brazilian cinema / Carlos Cortez Minchillo - Domestic labor and the crisis of care in La tierra y la sombra and La sirga / Marcelo Carosi - Domestic matters: Hollywood and the politics of representing la doméstica in Babel and Cake - Sofia Ruiz-Alfaro

1. Introduction -2.Human Rights and the Shadow of Chile’s Dictatorship: Patricio Guzmán and the Poetics of a Cinematic Landscape -3. Rewriting the History of the Urban Revolutionary: Documentary Film and Human Rights Activism in Post-Dirty War Society -4. Human Rights Abuses and State Violence in Prison Films by Hector Babenco -5. Territories, Existence and Identities: Indigenous Peoples in Argentine Films -6. The Right to Nature: Contested Landscapes and Indigenous Territoriality in Martírio (2016) -7. Urban Occupations: Cinema and the Struggle for the Right to Housing -8. The Art of the Social Movement Corrective: On Redeeming the Human Rights Narrative in También la lluvia and Our Brand is Crisis -9. Transnational Finance on the Road to the Andes: Societal Ruptures and Poisoned Deals in La deuda/Oliver’s Deal (2015) - 10. A Woman’s Right to Move: The Politics of Female Walking in Latin American Cinema - 11. Intersectionality as a Human Rights Issue in Contemporary Latin American Queer Cinema.

1. Contemporary Latin American Cinema and Resistance to Neoliberalism: Mapping the Field (Claudia Sandberg) -2. Southern Hegemonies and Metaphors of the Global South in También la Lluvia (Alfredo Martínez-Expósito) -3. Neoliberal Masculinities in Contemporary Peruvian Cinema: Octubre and El limpiador (Rosana Díaz-Zambrana) -4. New Geographies of Class in Mexican and Brazilian Cinemas: Post Tenebras Lux and Que horas ela volta? (María Mercedes Vázquez Vázquez) -5. Paraíso ¿Cuánto pesa el amor?: Challenging the Neoliberal in Mexican Cinema (Niamh Thornton) -6. Güeros: Social Fragmentation, Political Agency, and the Mexican Film Industry under Neoliberalism (Jacobo Asse Dayán) -7. Negotiating Neoliberal Demands on Contemporary Cinema: The Role and Influence of the Socially Committed Film Producer in Peru (Sarah Barrow) -8. Larraín’s No: A Tale of Neoliberalism (María Paz Peirano) -9. Crowdfunding Images of Colombia and Ecuador: International Collaborations and Transnational Circulation in a Neoliberal Context (Carolina Rocha) --10. Argentine Cinema in the Age of Digitization: Between Foreign Dominance and Discussion of Benefits (Andrea Morán and Miguel Fernández Labayen) -11. Social Cinema in Neoliberal Times: The Macabre Baroque in the Films of Pablo Larraín (Walescka Pino-Ojeda) -12. Between Armed Conflict, Social Awareness, and the Neoliberal Market: The Case of Alias María (Carlos de Oro) -13. Maximiliano Schonfeld’s Films of the Volga Germans in Entre Ríos: About the Neoliberal Devil in Argentine Cinema (Claudia Sandberg) -14. Community Film in Southern Greater Buenos Aires: Emerging Voices and the Economy of Film as Resistance to Neoliberalism (Andrea Molfetta).