Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-mkpzs Total loading time: 0 Render date: 2024-12-27T21:50:13.499Z Has data issue: false hasContentIssue false

26 - Cultural Encounters in Contemporary Latin American Cinema

Intersections of Transnationality

from Part IV - Application

Published online by Cambridge University Press:  18 February 2020

Guido Rings
Affiliation:
Anglia Ruskin University, Cambridge
Sebastian Rasinger
Affiliation:
Anglia Ruskin University, Cambridge
Get access

Summary

Sarah Barrow’s chapter explores several examples from contemporary Latin American cinema as case studies to address some of the terms and issues that are raised by the notion of transnational cinematographic (dis)connections, and to capitalize on the productive intersection of ideas and debates that have begun to emerge in this area. Analyses of important films from Chile, Mexico and Peru that have crossed borders from many logistical and conceptual perspectives, are deployed to highlight some of the many ways that we might better understand the way that film culture explores, highlights, disrupts and interrogates notions of intercultural communication.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Alvaray, L. (2018). Transnational networks of financing and distribution: International co-productions. In D’Lugo, M., Lopez, A. and Podalsky, L., eds., The Routledge Companion to Latin American Cinema. Oxford: Routledge, pp. 251–78.Google Scholar
Anderson, B. (1983). Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso.Google Scholar
D’Lugo, M. (2003). Amores perros/Love’s a Bitch. In Elena, A. and Díaz López, M., eds., The Cinema of Latin America. London: Wallflower Press, pp. 221–9.Google Scholar
D’Lugo, M., Lopez, A. and Podalsky, L., eds. (2018). The Routledge Companion to Latin American Cinema. Oxford: Routledge.Google Scholar
De La Garza, A. (2006). Mexico on Film: National Identity & International Relations. Bury St Edmunds, UK: Arena Books.Google Scholar
Ezra, E. and Rowden, T., eds. (2006). Transnational Cinema: The Film Reader. London: Routledge.Google Scholar
González Iñárritu, A. (2000). Amores perros. Mexico: Altavista Films and Zeta Film.Google Scholar
Higbee, W. and Song, Hwee L. (2010). Concepts of transnational cinema: towards a critical transnationalism in film studies. Transnational Cinemas, 1(1), 721.Google Scholar
Hjort, M. (2005). Small Nation, Global Cinema: The New Danish Cinema. Minneapolis: University of Minnesota Press.Google Scholar
Hjort, M. (2009). On the plurality of cinematic transnationalism. In Durovicová, N. and Newman, K., eds., World Cinema, Transnational Perspectives. London: Routledge, pp. 1233.Google Scholar
Hjort, M. and Mackenzie, S., eds. (2000). Cinema and Nation. London: Routledge.Google Scholar
Iordanova, D. (2014). Unseen cinema: notes on small cinemas and the transnational. In Desser, D., Giukin, L. and Falkowska, J., eds., Small Cinemas in Global Markets: Genres, Identities, Narratives. Washington, DC: Lexington Books, pp. 259–60.Google Scholar
Iordanova, D. (2016). Choosing the transnational. Frames Cinema Journal, 9. https://framescinemajournal.com/article/choosing-the-transnational/ (last accessed 10 November 2018).Google Scholar
Kantaris, G. (2003). The young and the damned: street vision in Latin American cinema. In Hart, S. and Young, R., eds., Contemporary Latin American Cultural Studies. London: Routledge, pp. 177–89.Google Scholar
Kaspar, S. (2013). Interview by email with author, 15–19 August 2013.Google Scholar
Llosa, C. (2009). La teta asustada. Spain and Peru: Catalan Institute for Cultural Companies et al. Released in English in 2010 as The Milk of Sorrow.Google Scholar
Prout, R. (2010). Golden bears, amulets, and old wives’ tales? JGCinema.com: cinema and globalization. http://orca.cf.ac.uk/11098/ (last accessed 2 January 2019).Google Scholar
Ross, M. (2014). Machuca. In Barrow, S., Haenni, S. and White, J., eds., The Routledge Encyclopedia of Films. London: Routledge, pp. 321–3.Google Scholar
Roy, C.-S. (2009). Claudia Llosa: l’espoir d’un cinéma péruvien. Séquences: la revue de cinéma, 260, 12.Google Scholar
Rueda, C. (2015). Memory, trauma, and phantasmagoria in Claudia Llosa’s ‘La teta asustada’. Hispania, 98(3), 442–51.Google Scholar
Shaw, D. (2013). Deconstructing and reconstructing transnational cinema. In Dennison, S., ed., Contemporary Hispanic Cinema: Interrogating the Transnational in Spanish and Latin American Film. Woodbridge, UK: Tamesis, pp. 4765.Google Scholar
Shaw, D. (2015). The Three Amigos: The Transnational Filmmaking of Guillermo del Toro, Alejandro González Iñárritu, and Alfonso Cuarón. Manchester: Manchester University Press.Google Scholar
Shaw, D. and de la Garza, A. (2010). Introducing transnational cinemas. Transnational Cinemas, 1(1), 36.Google Scholar
Smith, P. J. (2012). Transnational cinemas: the cases of Mexico, Argentina and Brazil. In Nagib, L., Perriam, C. and Dudrah, R., eds., Theorizing World Cinema. London: I.B. Tauris, pp. 6376.Google Scholar
Tierney, D. (2009). Alejandro González Iñárritu: director without borders. New Cinemas: Journal of Contemporary Film, 7(2), 101–17.Google Scholar
Tierney, D. (2018). New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh: Edinburgh University Press.Google Scholar
Vecchio, R. (2010). Why to root against ‘The Milk of Sorrow’s’ Oscar nomination. Peruvian Times, 5 February. www.peruviantimes.com/05/why-to-root-against-the-milk-of-sorrows-oscar-nomination/4784/ (last accessed 2 January 2019).Google Scholar
Wolf, S. (2010). No turning back. Sight and Sound, 20(9), 1417.Google Scholar
Wood, A. (2004). Machuca. Chile, Spain, UK and France: Wood Producciones and Tornasol Films.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×