This book charts a comparative history of Latin America's national cinemas through ten chapters that cover every major cinematic period in the region: silent cinema, studio cinema, neorealism and art cinema, the New Latin American Cinema, and contemporary cinema. Schroeder Rodríguez weaves close readings of approximately fifty paradigmatic films into a lucid narrative history that is rigorous in its scholarship and framed by a compelling theorization of the multiple discourses of modernity. The result is an essential guide that promises to transform our understanding of the region's cultural history in the last hundred years by highlighting how key players such as the church and the state have affected cinema's unique ability to help shape public discourse and construct modern identities in a region marked by ongoing struggles for social justice and liberation.
Contents Acknowledgments Introduction Organization of the Book Latin America's Multiple Modernities PART ONE. SILENT CINEMA 1. Conventional Silent Cinema A Cinema by and for Criollos Periodization Actualities (1897-1907) Transition (1908-15) Feature Narrative Cinema (1915-30) Film d'art * Religious Films * Popular Entertainment Films * The Legacy of the Silent Period 2. Avant-Garde Silent Cinema A Cinema Against the Grain Sao Paulo, A Sinfonia da Metropole (1929) * Ganga Bruta (1933) * !Que viva Mexico! (1931) * Limite (1929) An Avant-Garde Moment PART TWO. STUDIO CINEMA 3. Transition to Sound Latin American Studios Latin American Studio Cinema as a Vernacular of Hollywood's International Style Hispanic Films and the Consolidation of Hollywood's International Style The Day You Love Me (1935) Alternatives to Hollywood's International Style Fernando de Fuentes's Trilogy of the Mexican Revolution 4. Birth and Growth of an Industry The Musical Birth of an Industry Out on the Big Ranch (1936) Argentinean Cinema's Golden Age Prisioneros de la tierra (1939) * Closed Door (1939) Social Comedies The Impact of the Good Neighbor Policy on Latin American Cinema The Mexican School of Cinema Maria Candelaria (1943) * Rio Escondido (1947) Studio Cinema and Peronism God Bless You (1948) The Corporatism of Latin American Studio Cinema 5. Crisis and Decline of Studio Cinema From Good Neighbors to Cold War Containment Parody as Symptom of the Crisis of Studio Cinema Aventurera (1950) Documentary and Newsreel Production During the Studio Era The Legacy of Studio Cinema PART THREE. NEOREALISM AND ART CINEMA 6. Neorealism and Art Cinema Emergence of a Cinephile Culture Convergence of Neorealism and Art Cinema in Latin America Luis Bunuel Los olvidados (1950) * This Strange Passion (1953) Vera Cruz Studio and Its Aftermath Rio, 40 Graus (1955) and Rio, Zona Norte (1957) Leopoldo Torre Nilsson's Gothic Trilogy (1957-61) The Legacy of Neorealism and Art Cinema PART FOUR. NEW LATIN AMERICAN CINEMA 7. New Latin American Cinema's Militant Phase Documentary Foundations Epic Projections Black God, White Devil (1963) * The Hour of the Furnaces (1968) * The Battle of Chile (1975-79) Transition to a Neobaroque Praxis Memories of Underdevelopment (1968)* Lucia (1968) * One Way or Another (1974) 8. New Latin American Cinema's Neobaroque Phase The Colonial Roots of the Latin American Neobaroque Frida Still Life (1983) * The Last Supper (1976) * La nacion clandestina (1989) Theory of the New Latin American Cinema Arc of the New Latin American Cinema PART FIVE. CONTEMPORARY CINEMA 9. Collapse and Rebirth of an Industry Neoliberal Restructuring A Melorealist Cinema The Marketing of Nostalgia Strawberry and Chocolate (1993) * Central Station (1998) * Amores perros (2000) 10. Latin American Cinema in the Twenty-First Century Suspenseful Narratives for Precarious Times !Y tu mama tambien! (2001) The Rise of the Woman Director Lucrecia Martel's Salta Trilogy (2001-8) * The Milk of Sorrow (2009) From Nostalgia to Suspense Conclusion: A Triangulated Cinema Appendix: Discourses of Modernity in Latin America Notes Index
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