Experimental Latin American Cinema : : History and Aesthetics / / Cynthia Tompkins.

• Superior document: Title is part of eBook package: De Gruyter University of Texas Press eBook-Package Backlist 2000-2013
• VerfasserIn: Tompkins, Cynthia,
• Place / Publishing House: Austin : : University of Texas Press, , [2021]; ©2013
• Year of Publication: 2021
• Language: English
• Physical Description: 1 online resource

While there are numerous film studies that focus on one particular grouping of films—by nationality, by era, or by technique—here is the first single volume that incorporates all of the above, offering a broad overview of experimental Latin American film produced over the last twenty years. Analyzing seventeen recent films by eleven different filmmakers from Argentina, Brazil, Cuba, Mexico, Paraguay, and Peru, Cynthia Tompkins uses a comparative approach that finds commonalities among the disparate works in terms of their influences, aesthetics, and techniques. Tompkins introduces each film first in its sociohistorical context before summarizing it and then subverting its canonical interpretation. Pivotal to her close readings of the films and their convergences as a collective cinema is Tompkins’s application of Deleuzian film theory and the concept of the time-image as it pertains to the treatment of time and repetition. Tompkins also explores such topics as the theme of decolonization, the consistent use of montage, paratactically structured narratives, and the fusion of documentary conventions and neorealism with drama. An invaluable contribution to any dialogue on the avant-garde in general and to filmmaking both in and out of Latin America, Experimental Latin American Cinema is also a welcome and insightful addition to Latin American studies as a whole.

Table of Contents

Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- INTRODUCTION Mise-en-Scène, a Seemingly International Staging -- PART ONE. A NEONOIR SKEW TO THE ACTION-IMAGE -- CHAPTER ONE. A SHIMMERING SUTURE: Fabián Bielinsky’s Epileptic El aura -- CHAPTER TWO. SLIPPERY CRIMINAL PLEASURES Intermediality and Voyeurism in Jorge Furtado’s O homem que copiava -- CHAPTER THREE. ENDLESS QUEST Chasing Sex, Lies, and Money at the Gates of Hell in Heitor Dhalia’s O cheiro do ralo -- PART TWO. ROAD MOVIES -- CHAPTER FOUR. THE PARADOXICAL EFFECT OF THE DOCUMENTARY: Walter Salles’s Central do Brasil -- CHAPTER FIVE. TWIN PIQUES: The Double Discourse of Carlos Sorín’s El camino de San Diego -- CHAPTER SIX. ORPHANS’ SOLIDARITY: María Victoria Menis’s El cielito -- PART THREE. DRAMA -- CHAPTER SEVEN. SCULPTING TIME: Inés de Oliveira Cézar’s Como pasan las horas -- CHAPTER EIGHT. THE PAST ENGULFS THE PRESENT: Josué Méndez’s Días de Santiago -- PART FOUR. EXPERIMENTAL AUTEURISM -- CHAPTER NINE. WHETHER OR NOT TO END ONE’S LIFE: Carlos Reygadas’s Japón -- CHAPTER TEN. CRIME AND SELF-INFLICTED PUNISHMENT: Carlos Reygadas’s Batalla en el cielo -- PART FIVE. EXPERIMENTAL AUTEURISM AND INTERTEXTUALITY -- CHAPTER ELEVEN, THE MIRACLE OF FEMALE BONDING IN PATRIARCHAL SOCIETY: Carlos Reygadas’s Stellet licht -- CHAPTER TWELVE. CYCLICAL SCAPEGOATING: Inés de Oliveira Cézar’s Extranjera -- CHAPTER THIRTEEN. THE IRREVOCABLE NATURE OF CURSES: Inés de Oliveira Cézar’s El recuento de los daños -- CHAPTER FOURTEEN. SPLINTERED MIRRORS, ECHOES, AND REVERBERATIONS: Fernando Pérez Valdés’s Madrigal -- PART SIX. EXPERIMENTAL PSEUDO-DOCUMENTARY -- CHAPTER FIFTEEN. ROOM WITH A VIEW: Fernando Pérez Valdés’s Suite Habana -- CHAPTER SIXTEEN. LIFE IS AND IS NOT: Paz Encina’s Hamaca paraguaya -- CONCLUSION Possible Futures -- NOTES -- BIBLIOGRAPHY -- INDEX