Table of Contents

Notes on Contributors viii

Acknowledgments xiv

Introduction 1
Maria M. Delgado, Stephen M. Hart, and Randal Johnson

Part I The Film Industry: Funding, Production, Distribution, Exhibition 19

1 Television and the Transformation of the Star System in Brazil 21
Randal Johnson

2 Stardom in Spanish America 36
Leah Kemp

3 Audiovisual Sector Incentives and Public Policy in Selected Latin American Countries 54
Steve Solot

4 Film, the Audiovisual, and New Technology in Latin America: Public Policy in the Context of Digital Convergence 71
Roque Gonzalez Translated by Franny Brogan and Randal Johnson

5 Film Funding Opportunities for Latin American Filmmakers: A Case for Further North–South Collaboration in Training and Film Festival Initiatives 85
Tamara L. Falicov

6 The Film Festival Circuit: Identity Transactions in a Translational Economy 99
Mar Diestro‐Dopido

Part II Continental Currents: Documenting and Representing Identities 115

7 Latin American Documentary: A Political Trajectory 117
Michael Chanan

8 The Politics of Landscape 133
Jens Andermann

9 From Postmodernity to Post‐Identity: Latin American Film after the Great Divide 150
Geoffrey Kantaris

10 Indigenous Filmmaking in Latin America 167
Charlotte Gleghorn

11 What Is the Child for Latin American Cinema? Spectatorship, Mobility, and Authenticity in Pedro Gonzalez Rubio’s Alamar (2009) 187
Deborah Martin

12 Affect, Nostalgia, and Modernization: Popular Music in Twenty‐First‐Century Mexican and Chilean Cinema 201
Duncan Wheeler

Part III National Cinemas: Initiatives, Movements, and Challenges 217

13 Memories of Cuban Cinema, 1959–2015 219
Joel del Rio and Enrique Colina Translated by Stephen M. Hart

14 Politics, Memory and Fiction(s) in Contemporary Argentine Cinema: The Kirchnerist Years 238
Maria M. Delgado and Cecilia Sosa

15 Neoliberalism and the Politics of Affect and Self‐Authorship in Contemporary Chilean Cinema 269
Joanna Page

16 Popular Cinema/Quality Television: A New Paradigm for the Mexican Mediascape 285
Paul Julian Smith

17 Alumbramento, Friendship, and Failure: New Filmmaking in Brazil in the Twenty‐First Century 294
Denilson Lopes Translated by Stephen M. Hart

18 The Reinvention of Colombian Cinema 307
Juana Suarez

19 Rendering the Invisible Visible: Reflections on the Costa Rican Film Industry in the Twenty‐First Century 325
Liz Harvey

Part IV New Configurations: Travel, Technology, Television 341

20 The Horizontal Spread of a Vertical Malady: Cosmopolitanism and History in Pernambuco’s Recent Cinematic Sensation 343
Lucia Nagib

21 Artists’ Cinema in Brazil 357
Andre Parente Translated by Randal Johnson

22 Brazilian Film and Television in Times of Intermedia Diversification 375
Esther Hamburger

23 A Mexican in Hollywood or Hollywood in Mexico? Globalized Culture and Alfonso Cuaron’s Films 392
German Martinez Martinez

24 Latin American Cinema’s Trojan Horse 408
Stephen M. Hart and Owen Williams

Part V The Interview Corner: Pragmatics and Praxis 431

25 “Finding the right balance”: An Interview with Martin Rejtman 433
Maria M. Delgado

26 “Escaping from an ordinary world into a more epic one”: An Interview with Alvaro Brechner 446
Maria M. Delgado

27 “The capacity to create mystery”: An Interview with Pablo Larrain 459
Maria M. Delgado

28 “A story might be similar from different places, but the language of representation is not”: An Interview with Jeannette Paillan 473
Charlotte Gleghorn

29 “Meeting points”: An Interview with Mariana Rondon and Marite Ugas 487
Maria M. Delgado

30 “Film is about connecting”: An Interview with Diego Luna 499
Maria M. Delgado

31 “The bridge between the others and us”: An Interview with Alejandro Gonzalez Inarritu 509
Damon Wise

Index 519

About the Author

Maria M. Delgado is Professor and Director of Research at The Royal Central School of Speech and Drama, University of London, and has served as a programme advisor to the London Film Festival since 1997. Recent publications include Spanish Cinema 1973–2010 (2013) and A History of Theatre in Spain (2012). She is a regular contributor to Sight & Sound and a range of BBC Radio programmes.

Stephen M. Hart is Professor of Latin American Film, Literature and Culture at University College London. He is also general editor of Tamesis and founder-director of the Centre of César Vallejo Studies. His publications include Gabriel García Márquez (2016), Latin American Cinema (2015), and A Companion to Latin American Literature (2007).

Randal Johnson is Distinguished Professor of Brazilian Literature and Cinema at the University of California, Los Angeles. He is the author of Manoel de Oliveira (2007), Antônio das Mortes (1998), The Film Industry in Brazil: Culture and the State (1987), and Cinema Novo x 5: Masters of Contemporary Brazilian Film (1984).

Reviews

"This superb collection sheds important light on the recent shifts in understanding of the geopolitical and commercial (re)positioning of Latin American cinema in the global marketplace, tracking the vibrant and fast-paced circuits of commerce, affect and soft power with nuance and verve. The scholarship is illuminating, often compelling, as it engages with stardom, performance, nostalgia, memory and politics and mobilizes discussion on the importance of the digital turn and the ineluctable pull between the local and the global whilst also taking stock of new directions both in theory and practice. A discrete section of interviews with directors is a most welcome inclusion in what is an indispensable book for those who want an informed analysis of the contemporary landscape in Latin American cinema." Dr Sarah Wright, Reader in Hispanic Studies, Royal Holloway, University of London "A richly informed and probing analysis of one of the world's most dynamic film-making regions. Indispensable" Demetrios Matheou, film critic and author of The Faber Book of New South American Cinema An essential and highly readable study that investigates cinematic languages of Latin America's vibrant film scene to provide a curated collection on resurgent methodologies of fictional storytelling and documentaries. This extremely useful resource maps the current state of production, distribution, and exhibition, and the political trajectories of the cinema of Latin America. Particularly invaluable is the inclusion of interviews with key players from the moving image sector of that region. Nico Marzano,