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In 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. Benefiting 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. Dolores Tierney is Senior Lecturer in Film Studies at the University of Sussex. Cover image: The Motorcycle Diaries, Walter Salles, 2004 (c) Film Four/Senator Film/The Kobal Collection Cover design: [EUP logo] edinburghuniversitypress.com ISBN 978-0-7486-4573-2 Barcode
List of contents
Acknowledgements
List of Images
List of Tables
Introduction: The Cultural Politics of Transnational Filmmaking; Mexico
1: Alejandro González Iñárritu: Mexican Director Without Borders
2: From Hollywood and Back: Alfonso Cuarón's Adventures in Genre
3: Transnational Political Horror in Cronos (1993),
El espinazo del Diablo (The Devil's Backbone 2001) and
El laberinto del fauno (Pan's Labyrinth 2006); Brazil
4: Fernando Meirelles as Transnational Auteur
5: Revolutionary Road Movies: Walter Salles'
Diarios de motocicleta (Motorcycle Diaries, 2004) and
On the Road (2012); Argentina
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
About the author
Dolores Tierney is Senior Lecturer in Film Studies at the University of Sussex. She has published widely on Latin American film and television including a monograph Emilio Fernández (2007), two co-edited anthologies, Latsploitation, Exploitation Cinema and Latin America (2009) and The Transnational Fantasies of Guillermo del Toro (2014). She has also written articles for Screen, Quarterly Review of Film and Video, New Cinemas, Studies in Hispanic Cinemas and Film, Fashion and Consumption.
Summary
This book incorporates the Latin America/Hollywood and Indiewood vector of filmmaking into its study of the region's transnationalized filmmaking, using textual analysis and industrial case studies.
