New Transnationalisms in Contemporary Latin American Cinemas (Traditions in World Cinema)

Several Latin American films ('Amores Perros', 'Y Tu Mama Tambien', 'Cidade de Deus', 'Central do Brasil', 'Nueve Reinas', 'El Hijo de la Novia') enjoyed an unprecedented level of critical and commercial success in the world film market. These films were considered transnational as they benefited from substantial external capital or creative. Followed in the 2000s by a series of equally critical and/or commercially successful 'deterritorialised' films by some of the same directors, Alejandro Gonzalez Inarritu, Alfonso Cuaron, Guillermo del Toro, Fernando Meirelles, Walter Salles the incipient transnationalism of the first films and the directors' position in international cinema was confirmed. This book incorporates the Latin America/Hollywood and Indiewood vector of filmmaking into its study of the region's transnationalised filmmaking. It argues that although undoubtedly 'commercial', films produced either within, or under the structures of Hollywood are not necessarily apolitical nor totally divorced from key notions of national or continental identity. Tierney shows that it is the auteurist nature of many of these deterritorialised transnational films which plays a key role in their ability to engage with issues of national and continental identity and to forge a transnational tradition beyond the geospatial limits of the region. To support its arguments about the transnational trend, the book uses textual analysis and industrial case studies looking both at the five directors who have most publically interacted and, in their own ways influenced, the trend as well as those of other filmmakers who are also involved in it. In the late 1990s and early 2000s Latin American films __Amores perros, Diarios de motocicleta, El hijo de la novia, Y tu mamá también__, and __Cidade de Deus__ enjoyed unprecedented critical and commercial success in global markets. Benefiting from external financial and/or creative input, these films were considered examples of transnational cinema. This book examines the six transnational directors (Iñárritu, Cuarón, del Toro, Meirelles, Salles and Campanella), who made these and the subsequent commercially successful and mostly ‘deterritorialized’ films (__21 Grams, Babel, Biutiful, El espinazo del Diablo, El laberinto del fauno, Blindness, The Constant Gardener, Children of Men, On the Road, El secreto de sus ojos__). Arguing against criticism in which these films’ commercial (Hollywood) and transnational features efface the authorial sensibilities of these directors and make them irrelevant to Latin American trends and politics, this book shows how they engage with national, continental and hemispheric politics and identity. Bringing a new perspective to the transnational films of Latin America’s transnational auteurs, including the recent __Gravity, The Revenant, Birdman__, and __Crimson Peak__, this book facilitates understanding how different genres function across cultures. "In the late 1990s and early 2000s Latin American films like Amores perros, Diarios de motocicleta, Y tu mamá también and Cidade de Deus enjoyed an unprecedented level of critical and commercial success in global markets. Benefiting from external financial and/or creative input, these films were considered examples of transnational cinema. Through a textual analysis of six filmmakers (Alejandra González Iñárritu, Alfonso Cuarón, Guillermo del Toro, Fernando Meirelles, Walter Salles and Juan José Campanella), this book examines these and other transnational films including the subsequent wave of commercially successful 'deterritorialised' films by the same directors. It argues that although the films produced within the parameters of the United States film industry may have been commercially successful, they are not necessarily apolitical nor totally divorced from key notions of national or continental identity. Bringing a new perspective to the films of Latin America's transnational auteurs, New Transnationalisms in Contemporary Latin American Cinemas is a major contribution towards understanding how different genres function across different cultures."--Page 4 de la couverture "In the late 1990s and early 2000s Latin American films like Amores perros, Diarios de motocicleta, Y tu mamá también and Cidade de Deus enjoyed an unprecedented level of critical and commercial success in global markets. Benefiting from external financial and/or creative input, these films were considered examples of transnational cinema. Through a textual analysis of six filmmakers (Alejandra González Iñárritu, Alfonso Cuarón, Guillermo del Toro, Fernando Meirelles, Walter Salles and Juan José Campanella), this book examines these and other transnational films including the subsequent wave of commercially successful 'deterritorialised' films by the same directors. It argues that although the films produced within the parameters of the United States film industry may have been commercially successful, they are not necessarily apolitical nor totally divorced from key notions of national or continental identity. Bringing a new perspective to the films of Latin America's transnational auteurs, New Transnationalisms in Contemporary Latin American Cinemas is a major contribution towards understanding how different genres function across different cultures."--Page 4 of cover In the late 1990s and early 2000s Latin American films like Amores perros, Diarios de motocicleta, Y tu mamá también and Cidade de Deus enjoyed an unprecedented level of critical and commercial success in global markets. Benefiting from external financial and/or creative input, these films were considered examples of transnational cinema. Through a textual analysis of six filmmakers (Alejandra González Iñárritu, Alfonso Cuarón, Guillermo del Toro, Fernando Meirelles, Walter Salles and Juan José Campanella), this book examines these and other transnational films including the subsequent wave of commercially successful 'deterritorialised' films by the same directors. It argues that although the films produced within the parameters of the United States film industry may have been commercially successful, they are not necessarily apolitical nor totally divorced from key notions of national or continental identity. Bringing a new perspective to the films of Latin America's transnational auteurs, New Transnationalisms in Contemporary Latin American Cinemas is a major contribution towards understanding how different genres function across different cultures--back cover In the late 1990s and early 2000s Latin American films like Amores perros, Y tu mam tambin 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 Gonzlez Irritu, Alfonso Cuarn, Guillermo del Toro, Fernando Meirelles, Walter Salles and Juan Jos 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 Americas transnational auteurs, this is a major contribution towards understanding how different genres function across different cultures. Contents Acknowledgements List of Figures List of Tables Traditions in World Cinema Introduction: The Cultural Politics of Transnational Filmmaking Mexico: Introduction 1. Alejandro González Iñárritu: Mexican Director Without Borders 2. ‘From Hollywood and Back’: Alfonso Cuarón’s Adventures in Genre 3. Guillermo del Toro’s Transnational Political Horror: Cronos (1993), El espinazo del diablo (The Devil’s Backbone 2001) and El laberinto del fauno (Pan’s Labyrinth 2006) Brazil: Introduction 4. Fernando Meirelles as Transnational Auteur 5. Revolutionary Road Movies: Walter Salles’ Diarios de motocicleta (Motorcycle Diaries 2004) and On the Road (2012) Argentina: Introduction 6. 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 Filmography Bibliography Index 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 brings a new perspective to the films of Latin America's transnational auteurs Through a textual analysis of six filmmakers (Alejandro Gonzalez Iñarritu, Alfonso CuarÃ3n, Guillermo del Toro, Fernando Meirelles, Walter Salles and Juan Jose Campanella), this book brings a new perspective to the films of Latin America's transnational auteurs.