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Klappentext During the historic 1967 festival of Latin American Cinema in Vina del Mar! Chile! a group of young filmmakers who wanted to use film as an instrument of social awareness and change formed the New Latin American Cinema. Nearly three decades later! the New Cinema has produced an impressive body of films! critical essays! and manifestos that uses social theory to inform filmmaking practices. This book explores the institutional and aesthetic foundations of the New Latin American Cinema! giving equal recognition to the self-defining consciousness of the movement and to the social! political! and cultural conditions that made its growth possible. Zuzana Pick maps out six areas of inquiry - history! authorship! gender! popular cinema! ethnicity! and exile - and explores them through detailed discussions of nearly twenty films and their makers from Argentina! Bolivia! Brazil! Chile! Colombia! Cuba! and Mexico - including Camila (Maria Luisa Bemberg)! The Guns (Ruy Guerra)! and Frida (Paul Leduc). From these investigations! she traces the complex interrelation between the supranational goals of the movement and the national tendencies that have also shaped the movement's ideology. She documents how the New Latin American Cinema has effectively used film as a tool to change society! to transform national expressions! to support international differences! and to assert regional autonomy. Zusammenfassung This book explores the institutional and aesthetic foundations of the New Latin American Cinema. Inhaltsverzeichnis Preface and AcknowledgmentsIntroduction. The New Latin American Cinema: A Continental Project1. Convergences and Divergences History and InstitutionsPioneers and Early ManifestationsBirth of a MovementState Intervention and GrowthTurning Point and Consolidation2. Creativity and Social Intervention Authorship and Cultural MilitancyThe Discovery of Self and Other: The BrickmakersThe Authority of Daily Life: Up to a PointThe Collective and the Nation: The Hour of the Furnaces3. Gendered Identities and Femininity Women Filmmakers and Representations of GenderMachismo and Gender: A Man, When He Is a ManExperiences of Femininity: Mujer transparenteReviewing Women’s History: CamilaIdentity and Representation: Frida: Naturaleza viva4. Popular Memory and the Power of Address Popular Cinema and Social ClassSocial Inquiry and Los inundadosThe Sertao and Cinema NÔvo: The GunsPopular Memory and The Courage of the People5. Cultural Difference and Representation Ethnicity and MestizajeThe Dialectics of Race and Class: One Way or AnotherMetaphor and Difference: IracemaThe Aesthetics of Carnival: QuilomboImmigration and Identity: Gaijin: The Road to Liberty6. Exile and Displacement Exile: Discourse and RepresentationThe Politics of the Personal: Unfinished DiarySpectacle and the Displaced Body: Tangos: The Exile of GardelPhantasmagoria and Displacement: The Three Crowns of the SailorConclusion. The New Latin American Cinema: A Modernist Critique of ModernityNotesBibliographyIndex...
