The Film Archipelago : Islands in Latin American Cinema

How do the islands and archipelagos of the New World figure in Latin American cinema? Comprising 15 essays and a critical introduction, The Film Archipelago: Islands in Latin American Cinema addresses this question by examining a series of intersections between insular spaces and filmmaking in Latin America. The volume brings together international scholars and filmmakers to consider a diverse corpus of films about islands, films that take place on islands, films produced in islands, and films that problematise islands. The book explores a diverse range of films that extend from the Chilean documentaries of Patricio Guzmán to work on the Malvinas/Falkland Islands, and films by Argentine directors Gustavo Fontán and Lucrecia Martel. Chapters focus on Rapa Nui (Easter Island), the Mexican Islas Marías, and the Panamanian Caribbean; on ecocritical, environmental and film historical aspects of Brazilian and Argentine river islands; and on Cuban, Guadeloupean, Haitian, and Puerto Rican contexts. The Film Archipelago argues that the islands and archipelagos of Latin American cinema constitute a critically interesting, analytically complex, and historically suggestive angle to explore issues of marginality and peripherality, remoteness and isolation, and fragility and dependency. As a whole, the collection demonstrates to what extent the combined insular and archipelagic lens can re-frame and re-figure both longstanding and recent discussions on the spaces of Latin American cinema. Cover Contents List of Contributors Acknowledgements Introduction: Islands in Latin American cinema: Film(ing) archipelagos Antonio Gómez and Francisco-J. Hernández Adrián  Part 1 Islands at the end of the world 1 Deserted islands for the nation: Empty land- and seascapes in three Argentine films of the Malvinas/Falkland Islands Jason A. Bartles 2 Marooned testimony: Chilean islandscape and the politics of memory in Sebastián Silva’s Magic Magic (2013) William R. Benner 3 Memory islands: Repeating traumas in Patricio Guzmán’s Nostalgia de la luz (2010) and El botón de nácar (2015) Amanda Holmes 4 Insular spaces: A documentary and an affective ethno-mapping of the Rapa Nui culture Irene Depetris Chauvin Part 2 Liminal islands 5 Social reformation and the edges of sovereignty: Fernando Soler’s La hija del penal (1949) and Emilio Fernández’s Islas Marías (1951) Ignacio M. Sánchez Prado 6 Exposed insularities: Islands, capitalism and waste in Jorge Furtado’s Ilha das Flores (1989) Axel Pérez Trujillo 7 Islands in Lucrecia Martel’s Nueva Argirópolis (2010): Eroding and fracturing the national map Natalia D’Alessandro 8 Gustavo Fontán’s films: On faces, spectres, fragments of matter  Laura M. Martins Part 3 Antillean relations on screen 9 The duplicitous empire: Ambiguous representations of Puerto Ricans and Japanese-Americans in Herbert I. Leeds’s Mr. Moto in Danger Island (1939) Naida García-Crespo 10 An archipelago of crossed gazes: Intersections of documentary media practices in Cuba and Puerto Rico Juan Carlos Rodríguez 11 ‘Irreducible memories’ of Caribbeanness: Mariette Monpierre’s Le Bonheur d’Elza (2011) Sheila Petty 12 Documenting lifestyle migration: Anayansi Prado’s Paraíso for Sale (2011)  Carolyn Fornoff 13 Raoul Peck’s archipelagic cinema: Island contestations of the international order in Assistance mortelle (2013) Jana Evans Braziel Part 4 Reimagining islandscapes 14 Notes on an island film: A journey to Martín García Edgardo Dieleke 15 Letters from the islands: A visual essay Antonio Traverso Index "How do the islands and archipelagos of the New World figure in Latin American cinema? Comprising sixteen essays and a critical introduction, The Film Archipelago : Islands in Latin American Cinema addresses this by examining a series of intersections between insular spaces and filmmaking in Latin America. The volume brings together international scholars and filmmakers to consider a diverse corpus of films about islands, films that take place on islands, films produced in islands, and films that problematize islands. The book explores a diverse range of films that extend from the Chilean documentaries of Patricio Guzmán to work on the Malvinas/Falkland Islands, and films by Argentine directors Gustavo Fontán and Lucrecia Martel. Chapters focus on Rapa Nui (Easter Island), the Mexican Islas Marías, and the Panamanian Caribbean, and on ecocritical, environmental and film historical aspects of Brazilian and Argentine river islands ; on Haitian, Puerto Rican, and Guadeloupean contexts ; and on the complex location of the San Andrés, Providencia and Santa Catalina archipelago in Colombian media archives. The Film Archipelago argues that the islands and archipelagos of Latin American cinema constitute a critically interesting, analytically complex, and historically suggestive angle to explore issues of marginality and peripherality, remoteness and isolation, fragility and dependency. As a whole, the collection demonstrates through a series of rigorous and nuanced analyses to what extent the combined insular and archipelagic lens can re-frame and re-figure both longstanding and recent discussions on the spaces of Latin American cinema"-- Provided by publisher How do the islands and archipelagos of the New World figure in Latin American cinema? Comprising 15 essays and a critical introduction, The Film Archipelago: Islands in Latin American Cinema addresses this question by examining a series of intersections between insular spaces and filmmaking in Latin America. The volume brings together international scholars and filmmakers to consider a diverse corpus of films about islands, films that take place on islands, films produced in islands, and films that problematise islands. The book explores a diverse range of films that extend from the Chilean documentaries of Patricio Guzman to work on the Malvinas/Falkland Islands, and films by Argentine directors Gustavo Fontan and Lucrecia Martel. Chapters focus on Rapa Nui (Easter Island), the Mexican Islas Marias, and the Panamanian Caribbean; on ecocritical, environmental and film historical aspects of Brazilian and Argentine river islands; and on Cuban, Guadeloupean, Haitian, and Puerto Rican contexts. The Film Archipelago argues that the islands and archipelagos of Latin American cinema constitute a critically interesting, analytically complex, and historically suggestive angle to explore issues of marginality and peripherality, remoteness and isolation, and fragility and dependency. As a whole, the collection demonstrates to what extent the combined insular and archipelagic lens can re-frame and re-figure both longstanding and recent discussions on the spaces of Latin American cinema