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Full Description
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. Benefitting 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.
Contents
AcknowledgementsList of ImagesList of TablesIntroduction: The Cultural Politics of Transnational Filmmaking; Mexico1: Alejandro González Iñárritu: Mexican Director Without Borders2: From Hollywood and Back: Alfonso Cuarón's Adventures in Genre3: Transnational Political Horror in Cronos (1993), El espinazo del Diablo (The Devil's Backbone 2001) and El laberinto del fauno (Pan's Labyrinth 2006); Brazil4: Fernando Meirelles as Transnational Auteur5: Revolutionary Road Movies: Walter Salles' Diarios de motocicleta (Motorcycle Diaries, 2004) and On the Road (2012); Argentina6: 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 FilmographyBibliography
