The new Latin American cinema: a continental project

Abstract

Preface and Acknowledgments Introduction. The New Latin American Cinema: A Continental Project 1. Convergences and Divergences History and Institutions Pioneers and Early Manifestations Birth of a Movement State Intervention and Growth Turning Point and Consolidation 2. Creativity and Social Intervention Authorship and Cultural Militancy The Discovery of Self and Other: The Brickmakers The Authority of Daily Life: Up to a Point The Collective and the Nation: The Hour of the Furnaces 3. Gendered Identities and Femininity Women Filmmakers and Representations of Gender Machismo and Gender: A Man, When He Is a Man Experiences of Femininity: Mujer transparente Reviewing Women's History: Camila Identity and Representation: Frida: Naturaleza viva 4. Popular Memory and the Power of Address Popular Cinema and Social Class Social Inquiry and Los inundados The Sertao and Cinema Novo: The Guns Popular Memory and The Courage of the People 5. Cultural Difference and Representation Ethnicity and Mestizaje The Dialectics of Race and Class: One Way or Another Metaphor and Difference: Iracema The Aesthetics of Carnival: Quilombo Immigration and Identity: Gaijin: The Road to Liberty 6. Exile and Displacement Exile: Discourse and Representation The Politics of the Personal: Unfinished Diary Spectacle and the Displaced Body: Tangos: The Exile of Gardel Phantasmagoria and Displacement: The Three Crowns of the Sailor Conclusion. The New Latin American Cinema: A Modernist Critique of Modernity Notes Bibliography Index

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