New Trends in Argentine and Brazilian Cinema (Book)

As part of a raft of neoliberal economic reforms in the early 1990s, Brazilian president Fernando Collor de Mello and Argentine president Carlos Menem eliminated long-standing state financial support for cinema. National film production, distribution and exhibition were deeply affected by the absence of the entire structure and legislation on which they had relied for decades. By the mid-1990s, however, new laws were passed reestablishing subsidies and credit lines – and allowing for a rebirth of national cinema in both countries.

This comprehensive and accessible volume surveys Brazilian and Argentine cinematic production from its subsequent dramatic rebirth to the present. It addresses not only the commercially successful films but also the effects of globalization and cultural policies on public incentives for filmmaking. An indispensable resource for students of film and cultural studies, New Trends in Argentine and Brazilian Cinema is moreover an exciting glimpse into a momentous period in recent cinematic history.

Category: Film Studies

Edition

Carolina Rocha is professor of Spanish at Southern Illinois University Edwardsville. She specializes in Latin American film and literature. She is the author of Argentine Cinema and National Identity (1966–1976) and Masculinities in Contemporary Argentine Popular Cinema (Palgrave, 2012). She has also co-edited several volumes: Violence in Argentine Literature and Film with Elizabeth Montes Garces; New Trends in Argentine and Brazilian Cinema with Cacilda Rêgo; and Representing History, Gender and Class in Spain and Latin America, Children and Adolescents in Film and Screening Minors in Latin American Cinema with Georgia Seminet. She was a Fulbright scholar to Liverpool in 2014.

Cacilda M. Rêgo is an associate professor at Utah State University.

 
I. Introduction
 
II. General Considerations 
 
Chapter 1: The Fall and Rise of Brazilian Cinema – Cacilda Rêgo
 
Chapter 2: Globo Filmes, Sony and the Pre-Sold Promise: Commercial Filmmaking in the Brazilian Retomada – Courtney Brannon-Donoghue
 
Chapter 3: Close Strangers: The Role of Regional Cultural Policies in Brazilian and Argentinean New Cinemas – Marina Moguillansky
 
Chapter 4: Contemporary Argentine Cinema during Neoliberalism – Carolina Rocha
 
Chapter 5: New Visions of Patagonia: Video Collectives and the Creation of a Regional Movement in Argentina’s South – Tamara Falicov
 
III. Citizens and New Types of Citizenship, Class 
 
Chapter 6: Leaving and Letting Go in Live-in-maid – Ana Ros
 
Chapter 7: Electoral Normalcy and Social Anomaly: the Nueve reinas/Nine Queens paradigm and reformulated Argentine cinema, 1989-2001 – Ana Laura Lunish
 
Chapter 8: Staging Class and Ethnicity in Lucrecia Martel’s La ciénaga – Ana Peluffo
 
Chapter 9: Landscape and the Artist’s Frame in Lucrecia Martel’s La ciénaga and La niña santa – Amanda Holmes
 
Chapter 10: Transactional Fictions: (Sub)urban Realism in the Films of Caetano and Trapero – Beatriz Urraca
 
Chapter 11: Police and Policing in Recent Argentine Cinema – James Scorer
 
Chapter 12: The productive web of Brazil's urban über-dramas – Piers Armstrong
 
Chapter 13: Fernando Meirelles’s City of God: The Representation of Racial Resentment and Violence in the New Brazilian Social Cinema – Vanessa Fitzgibbon
 
IV. Gender/Genre 
 
Chapter 14: The Dystopian City: Gendered Interpretations of the Urban in Um Céu de Estrelas (Tata Amaral, 1996) and Vagón Fumador (Verónica Chen, 2001) – Charlotte Gleghorn
 
Chapter 15: Reimagining Rosinha with Andrucha Waddington and Elena Soarez: Nature, Woman, and Sexuality in the Brazilian Northeast from Popular Music to Cinema – Jack Draper III
 
Chapter 16: The Laughter Contract: Filmed History and Image Demolition in Carlota Joaquina, Princess of Brazil – Regina Felix
 
Chapter 17: Brazilian Women’s Filmmaking before and after the Retomada – Leslie Marsh
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