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2 results

  • Chapter 24 - Mexican Transnational Cinema in the Twenty-First Century

  • from Part V - Latin American Literature in Global Markets
  • Edited by Mónica Szurmuk, Universidad Nacional de San Martín and National Scientific and Technical Research Council, Argentina, Debra A. Castillo, Cornell University, New York
  • Book:
    Latin American Literature in Transition 1980–2018
    Published online:
    24 November 2022
    Print publication:
    08 December 2022, pp 372-386

  • Summary

    Is it possible to continue talking about a national cinema at a time when production crews and financing are integrated internationally? How to deal with dichotomies of the national/international, domestic/foreign, interior /exterior, local /global, and other very close notions like identity, citizenship, and migration? In this chapter, I propose a discussion on the impact that artists generate in their environments when they expand global imagery, and how this happens thanks to the differences and diversity they make visible. I focus on two contemporary cases linked to Mexican cinema and one more that dialogues with the first. These are Roma (Cuaron, 2018) and the Guillermo del Toro exhibition En casa con mis monstruos (At Home with Monsters, 2017, 2019), as well as Coco (Unkrich and Molina, 2017). I invite overcome the idea of the nation as a delimited space. But also I argue how the transnational perspective does not entirely explain certain phenomena of territorialization and cultural deterritorialization. The notion of “multiple identities” will be useful for my arguments.

  • The “Aliens” in Post-Yugoslav Cinema

  • Rimantė Jaugaitė
  • Journal:
    Nationalities Papers / Volume 52 / Issue 1 / January 2024
    Published online by Cambridge University Press:
    31 August 2022, pp. 22-39
    Print publication:
    January 2024
    • Article
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  • This research explores how the post-Yugoslav film-makers, in particular Nebojša Slijepčević, Goran Dević, and Srđan Keča, investigate the dilemma of ethnic identity and face the cultural division in the post-conflict societies. The article aims to discuss cinematic representations of the other and conduct a deeper textual analysis of the film Srbenka (2018), in comparison to After the War (2006) and Imported Crows (2004). Also, the article bridges the gap between more conceptual literature on transnational cinema (Stephen Crofts, Steven Rawle, Saša Vojković), nationalism studies (Benedict Anderson, Rogers Brubaker, V.P. (Chip) Gagnon Jr.), as well as history (Tara Zahra) and more empirical analysis providing examples from the contemporary post-Yugoslav cinema. Therefore, the article demonstrates how applying theories from different disciplines enrich film analysis when investigating the otherness.