New Transnationalisms in Contemporary Latin American Cinemas / / Dolores Tierney.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2018
• VerfasserIn: Tierney, Dolores,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2018
• Year of Publication: 2022
• Language: English
• Series: Traditions in World Cinema : TWC
• Physical Description: 1 online resource (296 p.) :; 24 B/W illustrations
• Other title: Frontmatter --; CONTENTS --; ACKNOWLEDGEMENTS --; FIGURES --; TABLES --; TRADITIONS IN WORLD CINEMA --; INTRODUCTION: THE CULTURAL POLITICS OF TRANSNATIONAL FILMMAKING --; MEXICO: INTRODUCTION --; Introduction --; 1. ALEJANDRO GONZÁLEZ IÑÁRRITU: MEXICAN DIRECTOR WITHOUT BORDERS --; 2. ‘FROM HOLLYWOOD AND BACK’: ALFONSO CUARÓN’S ADVENTURES IN GENRE --; 3. GUILLERMO DEL TORO’S TRANSNATIONAL POLITICAL HORROR: CRONOS (1993), EL ESPINAZO DEL DIABLO (THE DEVIL’S BACKBONE 2001) AND EL LABERINTO DEL FAUNO (PAN’S LABYRINTH 2006) --; BRAZIL: INTRODUCTION --; 4. FERNANDO MEIRELLES AS TRANSNATIONAL AUTEUR --; 5. REVOLUTIONARY ROAD MOVIES: WALTER SALLES’ DIARIOS DE MOTOCICLETA (MOTORCYCLE DIARIES 2004) AND ON THE ROAD (2012) --; ARGENTINA: INTRODUCTION --; 6. JUAN JOSÉ CAMPANELLA: HISTORICAL MEMORY AND ACCOUNTABILITY IN EL SECRETO DE SUS OJOS (THE SECRET IN THEIR EYES 2009) --; EPILOGUE: GRAVITY (ALFONSO CUARÓN 2013), BIRDMAN (ALEJANDRO G. IÑÁRRITU 2014), THE REVENANT (G. IÑÁRRITU 2015) AND CRIMSON PEAK (GUILLERMO DEL TORO 2015) --; SELECT FILMOGRAPHY --; BIBLIOGRAPHY --; INDEX
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781474431118; 9783110780437
• DOI: 10.1515/9781474431118?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Dolores Tierney.

A fresh perspective on the hugely successful Latin American films released at the turn of the 21st centuryIn the late 1990s and early 2000s Latin American films like Amores perros, Y tu mamá también and Cidade de Deus enjoyed an unprecedented level of critical and commercial success in the world market. Benefitting from external financial and/or creative input, these films were considered examples of transnational cinema. Through a textual analysis of six filmmakers (Alejandro González Iñárritu, Alfonso Cuarón, Guillermo del Toro, Fernando Meirelles, Walter Salles and Juan José Campanella), this book examines these transnational films and the subsequent wave of commercially successful ‘deterritorialised’ films by the same directors. It argues that although films produced within the structures of the United States film industry may have been commercially successful, they are not necessarily apolitical or totally divorced from key notions of national or continental identity. Bringing a new perspective to the films of Latin America’s transnational auteurs, this is a major contribution towards understanding how different genres function across different cultures.