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The New Latin American Cinema: A Continental Project
University of Texas Press, 1993 eISBN: 978-0-292-79980-6 | Paper: 978-0-292-76549-8 | Cloth: 978-0-292-76545-0 Library of Congress Classification PN1995.9.S6P5 1993 Dewey Decimal Classification 302.2343098
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC
ABOUT THIS BOOK
During the 1967 festival of Latin American Cinema in Viña del Mar, Chile, a group of 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. 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, including Camila (María Luisa Bemberg), The Guns (Ruy Guerra), and Frida (Paul Leduc). These investigations document how the New Latin American Cinema has used film as a tool to change society, to transform national expressions, to support international differences, and to assert regional autonomy. See other books on: Film | Latin America | Motion pictures | Pick, Zuzana M. | Political aspects See other titles from University of Texas Press |
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The New Latin American Cinema: A Continental Project
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC
University of Texas Press, 1993
eISBN: 978-0-292-79980-6
Paper: 978-0-292-76549-8
Cloth: 978-0-292-76545-0
eISBN: 978-0-292-79980-6
Paper: 978-0-292-76549-8
Cloth: 978-0-292-76545-0
During the 1967 festival of Latin American Cinema in Viña del Mar, Chile, a group of 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. 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, including Camila (María Luisa Bemberg), The Guns (Ruy Guerra), and Frida (Paul Leduc). These investigations document how the New Latin American Cinema has used film as a tool to change society, to transform national expressions, to support international differences, and to assert regional autonomy.
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC
