Experimental latin american cinema

Free ebooks ==> www.Ebook777.com www.Ebook777.com Experimental Latin American Cinema Book 1.indb i 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com THIS PAGE INTENTIONALLY LEFT BLANK www.Ebook777.com EXPERIMENTAL LATIN AMERICAN CINEMA HISTORY AND AESTHETICS by Cynthia Tompkins University of Texas Press Book 1.indb iii Austin 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com Copyright © 2013 by the University of Texas Press All rights reserved Printed in the United States of America First edition, 2013 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O Box 7819 Austin, TX 78713-7819 http://utpress.utexas.edu/about/book-permissions The paper used in this book meets the minimum requirements of ANSI/NISO Z39.48-1992 (R1997) (Permanence of Paper) Library of Congress Cataloging-in-Publication Data Tompkins, Cynthia, 1958– Experimental Latin American cinema : history and aesthetics / by Cynthia Margarita Tompkins — 1st ed p cm Includes bibliographical references and index ISBN 978-0-292-74415-8 (cloth : alk paper) Experimental films—Latin America—History and criticism I Title PN1993.5.L3T75 2013 791.43098—dc23 2012024686 doi:10.7560/744158 www.Ebook777.com Book 1.indb iv 11/29/12 10:23 AM For Cami and Jimmy Book 1.indb v 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com THIS PAGE INTENTIONALLY LEFT BLANK www.Ebook777.com CONTENTS ix Acknowledgments Introduction Mise-en-Scène, a Seemingly International Staging PART ONE A NEONOIR SKEW TO THE ACTION-IMAGE 49 60 74 Chapter One A Shimmering Suture: Fabián Bielinsky’s Epileptic El aura Chapter Two Slippery Criminal Pleasures: Intermediality and Voyeurism in Jorge Furtado’s O homem que copiava Chapter Three Endless Quest: Chasing Sex, Lies, and Money at the Gates of Hell in Heitor Dhalia’s O cheiro ralo PART TWO ROAD MOVIES 91 106 123 Chapter Four The Paradoxical Effect of the Documentary: Walter Salles’s Central Brasil Chapter Five Twin Piques: The Double Discourse of Carlos Sorín’s El camino de San Diego Chapter Six Orphans’ Solidarity: María Victoria Menis’s El cielito PART THREE DRAMA 139 146 Book 1.indb vii Chapter Seven Sculpting Time: Inés de Oliveira Cézar’s Como pasan las horas Chapter Eight The Past Engulfs the Present: Josué Méndez’s Días de Santiago 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com viii Experimental Latin American Cinema PART FOUR EXPERIMENTAL AUTEURISM 159 168 Chapter Nine Whether or Not to End One’s Life: Carlos Reygadas’s Japón Chapter Ten Crime and Self-Inflicted Punishment: Carlos Reygadas’s Batalla en el cielo PART FIVE EXPERIMENTAL AUTEURISM AND INTERTEXTUALITY 177 186 196 206 Chapter Eleven The Miracle of Female Bonding in Patriarchal Society: Carlos Reygadas’s Stellet licht Chapter Twelve Cyclical Scapegoating: Inés de Oliveira Cézar’s Extranjera Chapter Thirteen The Irrevocable Nature of Curses: Inés de Oliveira Cézar’s El recuento de los daños Chapter Fourteen Splintered Mirrors, Echoes, and Reverberations: Fernando Pérez Valdés’s Madrigal PART SIX EXPERIMENTAL PSEUDO-DOCUMENTARY 221 232 245 251 265 287 Chapter Fifteen Room with a View: Fernando Pérez Valdés’s Suite Habana Chapter Sixteen Life Is and Is Not: Paz Encina’s Hamaca paraguaya Conclusion Possible Futures Notes Bibliography Index www.Ebook777.com Book 1.indb viii 11/29/12 10:23 AM ACKNOWLEDGMENTS I thank Arizona State University for providing research funds to present preliminary versions of the material included in this book at local, national, and international venues I am grateful to audiences in Arizona (Council for Latin American Studies and Association of Spanish Professors—ADEUU, 2010), Utah (International Association of Feminine Literature and Culture Conference—AILCFH, 2006), San Diego (American Association of Teachers of Spanish and Portuguese—AATSP, 2007), and San Francisco (National Popular Culture Association and American Culture Association, 2007) Feedback and comments at international venues was crucial in rethinking the theoretical approach My appreciation extends to colleagues in London and Cambridge, England (Visual Synergies conference, 2006); Seville, Spain; Córdoba (Facultad de Lenguas, 2007) and Buenos Aires, (Argentine Association of Film and Media Studies, ASECA Argentina, 2009); Rio de Janeiro (Latin American Studies Association, 2009); and Morelia, Mexico (Permanent Seminar on Film Analysis, SEPANCINE conference, 2009) I am especially appreciative for the interaction and feedback provided by students and faculty at the eight-hour workshop offered at the first regional conference of the Brazilian Society of Cinema and Audiovisual Studies—SOCINE, Universidade Federal de São Carlos, Brazil, May 2011 I am extremely grateful to Inés de Oliveira Cézar, Fernando Book 1.indb ix 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com 280 Experimental Latin American Cinema Minh-ha, Trinh T When the Moon Waxes Red: Representation, Gender, and Cultural Politics New York: Routledge, 1991 Morewitz, Stephen J Domestic Violence and Maternal and Child Health: New Patterns of Trauma, Treatment, and Criminal Justice Responses New York: Kluwer Academic, Plenum, 2004 Mulvey, Laura Visual and Other Pleasures Bloomington: Indiana UP, 1989 Mutarelli, Lourenỗo O cheiro ralo Sóo Paulo: Devir Livraria, 2002 ——— “A estranha arte de produzir efeito sem causa.” IDE: Psicanálise e Cultura 31.47 (2008): 170–179 ——— O natimorto: Um musical silencioso São Paulo: Companhia das Letras, 2004 Nagib, Lúcia Brazil on Screen: Cinema Novo, New Cinema, Utopia New York: I B Tauris, 2007 ——— Introduction O Cinema da Retomada: Depoimentos de 90 cineastas dos anos 90 São Paulo: Editora 34, 2002 ——— World Cinema and the Ethics of Realism New York: Continuum, 2011 Naremore, James “Authorship.” In A Companion to Film Theory, ed Toby Miller and Robert Stam, 19–24 Malden, MA: Blackwell, 1999 ——— More than Night: Film Noir in Its Contexts Berkeley, Los Angeles, London: U of California P, 1998 Nichols, Bill Representing Reality: Issues and Concepts in Documentary Bloomington: Indiana UP, 1991 Nochteff, Hugo, and Martin Abeles Economic Shocks without Vision: Neoliberalism in the Transition of Socio-Economic Systems Lessons from the Argentine Case Frankfurt: Vervuert, 2000 Oliveira, Sandro de “Jorge Furtado.” In O Cinema da Retomada: Depoimentos de 90 cineastas dos anos 90, Lúcia Nagib, 209–212 São Paulo: Editora 34, 2002 Oricchio, Luis Zanin Cinemadenovo: Um balanỗo crớtico da Retomada Sóo Paulo: Editora Estaỗóo Liberdade, 2003 The Sertóo in the Brazilian Imaginary at the End of the Millennium.” In The New Brazilian Cinema, ed Lúcia Nagib, 139–156 London: I B Tauris, 2003 Orr, John Hitchcock and the 20th-Century Cinema London: Wallflower, 2005 Partyka, Betsy “Traditional Oral Techniques in the Fiction of Augusto Roa Bastos (1953–1974).” Chasqui 26.1 (1997): 93–101 Patterson, Enrique “Tres testimonios cinematográficos.” Encuentro de la Cultura Cubana 36 (Spring 2005): 181189 Pellegrini, Tõnia Despropúsitos: Estudos de cỗóo brasileira contemporõnea Sóo Paulo: Annablume Editora, 2008 Pelletieri, Osvaldo “Armando Discépolo: Entre el grotesco italiano y el grotesco criollo.” Latin American Theater Review 22.1 (Fall 1988): 55–71 Penchaszadeh, Victor B “Abduction of Children of Political Dissidents in Argentina and the Role of Human Genetics in Their Restitution.” Journal of Public Health Policy 13.3 (Autumn 1992): 291–305 www.Ebook777.com Book 1.indb 280 11/29/12 10:23 AM Bibliography 281 Pfeufer Khan, Robbie, “Women and Time in Childbirth and during Lactation.” In Taking Our Time: Feminist Perspectives on Temporality, ed Frieda Johles Forman and Caoran Sowton, 20–36 Oxford: Pergamon, 1989 Pick, Zuzana M The New Latin American Cinema: A Continental Project Austin: U of Texas P, 1993 Rafter, Nicole Shots in the Mirror: Crime Films and Society 2nd edition New York: Oxford UP, 2006 Rangil, Viviana Otro punto de vista: Mujer y cine en Argentina Rosario, Argentina: Beatriz Viterbo Editora, 2005 Redruello, Laura “El caso de Suite Habana: Diferencias genéricas.” Encuentro de la cultura cubana 36 (Spring 2005): 190–196 Reygadas, Carlos Interview by Peter Fraser “An Interview with Carlos Reygadas, Director of Battle in Heaven.” Close-Up Film, Oct 2005 http://www.close-upfilm com/2005/10/an-interview-with-carlos-reygadas-director-of-battle-in-heaven ——— Interview by Charlotte Higgins “I Am the Only Normal Director.” The Guardian, Aug 22, 2005 http://film.guardian.co.uk/interview/interviewpages /0,,1554105,00.html ——— Interview by Maximilian Le Cain “Battle in Heaven: An Interview with Carlos Reygadas.” Senses of Cinema 38 (Feb 7, 2006) http://www.sensesofcinema com/2006/feature-articles/reygadas Ríos, Ángel F Defensa del Chaco: Verdades y mentiras de una victoria Asunción: Archivo del Liberalismo, 1989 Rocca, Manuel, and Juan José Rossi Los chané-chiriguano: Arawak y guaraní Buenos Aires: Editorial Galerna, 2004 Rocco, Debora “’Colagem de linguagems: Re-midiaỗóo em O homen que copiava e Meu tio matou um cara de Jorge Furtado.” Analecta 9.1 (Jan.–June 2008): 2534 Rocha, Glauber Revoluỗóo Cinema Novo Sóo Paulo: Cosac Naify, 2004 Rodowick, D N Gilles Deleuze’s Time Machine Durham, NC: Duke UP, 1997 Rodríguez-Mangual, Edna M “Fictual Factions: On the Emergence of a Documentary Style in Recent Cuban Films.” Screen 49.3 (Autumn 2008): 298–315 Romero, Miranda “La nueva historia del cine mexicano: Dos visiones.” Cinémas d’Amerique Latine 14 (2006): 176–185 Romney, Jonathan “The Sheltering Sky.” Sight and Sound 18.1 (Jan 2008): 42–44 Roston, Tom “Art with Heart.” Premiere 11.4 (Dec 1998): 68 Rowlandson, William “The Journey into the Text: Reading Rulfo in Carlos Reygadas’s 2002 Feature Film ‘Japón.’ Modern Language Review 101.4 (Oct 2006): 1025–1034 Ruberto, Laura, and Kristi Wilson Introduction Italian Neorealism and Global Cinema, ed Laura Ruberto and Kristi Wilson, 1–24 Detroit: Wayne State UP, 2007 Rudnytsky, Peter L Freud and Oedipus New York: Columbia UP, 1987 Salles, Walter Interview by Geoff Andrew The Guardian Interviews at the BFI series The Guardian, Aug 26, 2004 http://www.guardian.co.uk/film/2004/aug/26 /features Book 1.indb 281 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com 282 Experimental Latin American Cinema Salazar Navarro, Salvador “Suite Habana, la ciudad de Fernando Pérez.” Caribbean Studies 36.2 (July-Dec 2008): 281–285 Sanjinés, Jorge, and Grupo Ukamau Teoría y práctica de un cine junto al pueblo Mexico City: Siglo XXI, 1979 Santos Moray, Mercedes “The Creative Work of Two Cuban Filmmakers: Tomás Gutiérrez Alea and Fernando Pérez.” Le Mouvement Social 219–220.2 (2007): 57–64 Schiraldi, Glenn R The Post-Traumatic Stress Disorder Sourcebook Los Angeles: Lowell House, 2000 Schofield Saeger, James Francisco Solano Lópes and the Ruination of Paraguay Lanham, MD: Rowman and Littlefield, 2007 Schrader, Paul “Notes on Film Noir.” In Film Genre Reader II, ed Barry Keith Grant, 213–226 Austin: U of Texas P, 1995 Schumann, Peter Historia del cine latinoamericano Trans Oscar Zambrano Buenos Aires: Editorial Legasa, 1987 Seger, Linda The Art of Adaptation: Turning Fact and Fiction into Film New York: Henry Holt, 1992 Semali, Ladislaus M., and Ann Watts Pailliotet “Introduction What Is Intermediality and Why Study It in U.S Classrooms?” In Intermediality: The Teacher’s Handbook of Critical Media Literacy, ed Ladislaus M Semali and Ann Watts Pailliotet, 1–29 Boulder, CO: Westview, 1999 Shaw, Deborah Contemporary Cinema of Latin America: 10 Key Films New York: Continuum, 2003 Shelton, Martin S Communicating Ideas with Film, Video, and Multimedia: A Practical Guide to Information Motion-Media Carbondale: Southern Illinois UP, 2004 Shiel, Mark Italian Neorealism: Rebuilding the Cinematic City London: Wallflower, 2006 Skoller, Donald Dreyer in Double Reflection Translation of Carl Th Dreyer’s Writings about the Film (Om Filmen) New York: Dutton, 1973 Silverman, Kaja The Acoustic Mirror Bloomington: Indiana UP, 1988 ——— Male Subjectivity at the Margins New York: Routledge, 1992 Silletta, Alfredo Las sectas invaden Argentina Buenos Aires: Puntosur, 1991 Singh, Devendra “Body Weight, Waist-to-Hip Ratio, Breasts, and Hips: Role in Judgments of Female Attractiveness and Desirability for Relationships.” Ethnology and Sociobiology 16.6 (Nov 1995): 483–507 Solanas, Fernando Ezequiel, and Octavio Getino Cine, cultura, y descolonización Buenos Aires: Siglo XXI, 1973 Sommer, Roy “Initial Framings in Film.” In Framing Borders in Literature and Other Media, ed Werner Wolf and Walter Bernhart, 383–406 Amsterdam: Rodopi, 2006 Sophocles Oedipus the King Trans Robert Bagg Amherst: U of Massachusetts P, 2004 www.Ebook777.com Book 1.indb 282 11/29/12 10:23 AM Bibliography 283 Spain, Daphne Gendered Spaces Chapel Hill: U of North Carolina P, 1992 Spivak, Gayatri Chakravorty Translator’s preface Of Grammatology, by Jacques Derrida, ix-lxxxvii Baltimore: Johns Hopkins UP, 1974 Stam, Robert “Beyond Fidelity: The Dialogics of Adaptation.” In Film Adaptation, ed James Naremore, 54–76 New Brunswick, NJ: Rutgers UP, 2000 ——— “The Hour of the Furnaces and the Two Avant-Gardes.” In The Social Documentary in Latin America, ed Julianne Burton, 250–266 Pittsburgh: U of Pittsburgh P, 1990 ——— “On the Margins: Brazilian Avant-Garde Cinema.” In Brazilian Cinema, ed Randal Johnson and Robert Stam, 306–327 East Brunswick, NJ: Associated University Presses, 1982 Stephens, Michael L Film Noir: A Comprehensive Illustrated Reference to Movies, Terms, and Persons Jefferson, NC: McFarland, 1995 Stiglitz, Joseph E Globalization and Its Discontents New York: W W Norton, 2002 Stock, Anne Marie “Imagining the Future in Revolutionary Cuba: An Interview with Fernando Pérez.” Film Quarterly 60.3 (Spring 2007): 68–75 Tal, Tzvi Pantallas y revolución: Una visión comparativa del Cine de Liberación y el Cinema Novo Buenos Aires: Ediciones Lumiere, 2005 Tarkovsky, Andrey Sculpting in Time: Reflections on Cinema Trans Kitty HunterBlair: London: Bodley Head, 1998 Thompson, Diane P The Trojan War: Literature and Legends from the Bronze Age to the Present Jefferson, NC: McFarland, 2004 Tierney, Dolores “La imagen digital en Cuba y en Colombia.” Cuadernos Hispanoamericanos 679 (Jan 2007): 45–54 Tompkins, Cynthia “A Deleuzian Approach to Carlos Reygadas’ Japón and Battle of Heaven.” Hispanic Journal 29.1 (Spring 2008): 155–169 ——— “A Deleuzian Approach to Carlos Reygadas’s Stellet Licht [Silent Light] (2008).” U of New Mexico Latin American and Iberian Institute Research Paper Series, no 51 (Nov 15, 2010) ——— “A Deleuzian Approach to Jorge Furtado’s O Homem que Copiava (2003) and Heitor Dhalia’s O Cheiro Ralo (2006).” Dissidences 6–7 (May 2010): 1–31 ——— “Fabián Bielinsky’s El aura [The Aura]: Neo-noir Inscription and Subversion of the Action Image.” Confluencia 24.1 (Fall 2008): 17–27 ——— “Montage in Fernando Pérez’ Suite Habana (2003).” Confluencia 26.2 (Spring 2011): 31–45 ——— “Paradoxical Inscription and Subversion of the Gendered Construction of Time, Space, and Roles in María Victoria Menis’ El cielito (2004) and Inés de Oliveira Cézar’s Como pasan las horas (2005) and Extranjera (2007).” Chasqui 38.1 (May 2009): 38–56 ——— “Walter Salles’s Central Brasil: The Paradoxical Effect of the Conventions of the Documentary.” Studies in Twentieth- and Twenty-First-Century Literature 33.1 (Winter 2009): 9–27 Book 1.indb 283 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com 284 Experimental Latin American Cinema Torrents, Nissa “Mexican Cinema Becomes Alive.” In Mediating Two Worlds: Cinematic Encounters in the Americas, ed John King, Ana M López, and Manuel Alvarado, 222–229 London: British Film Institute, 1993 Torres, Carlos Alberto The Church, Society, and Hegemony: A Critical Sociology of Religion in Latin America Trans Richard A Young Westport, CT: Praeger, 1992 Torres, Félix “Las armas de los comechingones.” Todo Es Historia 23.266 (Aug 1989): 18–27 Traverso, Antonio “Migrations of Cinema: Italian Neorealism and Brazilian Cinema.” In Italian Neorealism and Global Cinema, ed Laura E Ruberto and Kristi M Wilson, 165–186 Detroit: Wayne State UP, 2007 Van der Kolk, Bessel A., and Otto van der Hart “The Intrusive Past: The Flexibility of Memory and The Engraving of Trauma.” In Trauma: Explorations in Memory, ed Cathy Caruth, 158–182 Baltimore: Johns Hopkins UP, 1995 Vermeersch, Arthur “Usury.” New Advent http://www.newadvent.org/cathen/15235c htm Originally published in The Catholic Encyclopedia, vol 15; New York: Robert Appleton, 1912 Wager, Jans Dangerous Dames: Women and Representation in the Weimar Street Film and Film Noir Athens: Ohio UP, 1999 Warren, Harris Gaylord, and Katherine F Warren Paraguay and the Triple Alliance: The Postwar Decade, 1869–1878 Austin: Institute of Latin American Studies, 1978 West, Dennis Contemporary Brazilian Cinema Albuquerque: U of New Mexico Latin American and Iberian Institute, 1993 Wiarda, Howard J., with Esther M Skelley “Neoliberalism and Its Problems.” Dilemmas of Democracy in Latin America: Crises and Opportunity Lanham, MD: Rowman and Littlefield, 2005 Wolf, Sergio “The Aesthetics of the New Argentine Cinema: The Map Is the Territory.” In New Argentine Cinema: Themes, Auteurs, and Trends of Innovation, ed Horacio Bernardes, Diego Lerer, and Sergio Wolf, 29–39 Buenos Aires: Ediciones Tatanka, 2002 Wolf, Werner “Introduction: Frames, Framings and Framing Borders in Literature and Other Media.” Framing Borders in Literature and Other Media, ed Werner Wolf and Walter Bernhart, 1–40 Amsterdam: Rodopi, 2006 Wood, Jason 100 Road Movies London: British Film Institute, 2007 ——— Talking Movies: Contemporary World Filmmakers in Interview London: Wallflower, 2006 Xavier, Ismail “Brazilian Cinema in the 1990s: The Unexpected Encounter and the Resentful Character.” In The New Brazilian Cinema, ed Lúcia Nagib, 39–63 London: I B Tauris, 2003 Yorgos “Hamaca paraguaya (2006), Paz Encina.” La Linterna Mágica blog, July 5, 2008 http://seteart.blogspot.com/2008_07_01_archive.html www.Ebook777.com Book 1.indb 284 11/29/12 10:23 AM Bibliography 285 Young, Elliott “Between the Market and a Hard Place: Fernando Pérez’s Suite Habana in a Post-Utopian Cuba.” Cuban Studies 38.1 (2007): 26–49 Yúdice, George “Postmodernity and Transnational Capitalism in Latin America.” In On Edge: The Crisis of Contemporary Latin American Culture, ed George Yúdice, Jean Franco, and Juan Flores, 1–28 Minneapolis: U of Minnesota P, 1992 ˘iz˘ek, Slavoj The Metastases of Enjoyment London: Verso, 1994 Z Book 1.indb 285 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com THIS PAGE INTENTIONALLY LEFT BLANK www.Ebook777.com INDEX Abrams, Jerold J., 52–53 adaptation, 21, 82; as assimilation, 260; and Dhalia, 77–80; and Dreyer, 178; and Reygadas, 178, 182, 215–217; as suppression, 82; as translation, 77; as transmutation, 178 aesthetics of hunger, 15–16 Agresti, Alejandro: as auteur, 18; Buenos Aires viceversa, 199 Aguilar, Gonzalo Moisés, 120, 122 Aitken, Ian, Alonso, Lisandro: Los muertos, 247–249 Alvarado, Manuel, 21 Amiot, Julie, 182 Amorím, Vicente: Caminho das nuvens, 39 Anderson, Benedict Richard O’Gorman, 244 Andrew, Geoff, 103, 104 Aparicio, Francisco de, 191 Arau, Alfonso: Como agua para chocolate, 21–22 Argentina: authoritarianism in, 11; cinematic traditions of, 1–3, 5–6, 10–11, 17–19, 21, 246; co-productions in, 18; disappeared Book 1.indb 287 children and babies in, 18, 26, 200; economy of, 58, 115, 123, 126; ethos of, 19, 55, 106, 116, 203; fathering in, 128; film production in, 3, 5, 6, 17, 24; film schools in, 49; and foundational narrative, 116; gauchos in, 134; and the imaginary, 55, 116; immigrants in, 125; neoliberal policies of, 40, 134–35; and New Argentine Cinema, 2, 13–14, 19, 25, 43, 106, 119–120, 122, 193, 204, 246; racism in, 132; social critique of, 15, 16, 135, 148; state terror in, 17, 26, 196, 201, 203, 205; and tango films, 6; 24; trauma in, 205 Aristarain, Adolfo: Tiempo de revancha, 17 asynchrony, 238, 242 attentive recognition, 34 Aubert, Jean-Paul, 229 auteurs, 6, 17–18, 24, 30, 38, 41–43, 49, 159, 170, 173, 180, 183, 185, 193, 195, 201, 221 automatic recognition, 34–35 avant-garde, 2; first, 1, 3–5, 7, 24, 35, 41, 109, 230, 245; and montage techniques, 2, 4; second, 1, 19, 35, 246–247 Aymara, 132 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com 288 Experimental Latin American Cinema Babenco, Héctor: Pixote: a lei mais fraco, 104, 126 Badt, Karin Luisa, 178, 181 Bassi, Raúl, 129 Bataille, Georges, 86 Baudrillard, Jean, 63 Bauer, Tristán: Iluminados por el fuego, 148 Bauman, Zygmunt, 63, 65 Bazin, André, 33 Beattie, Keith, Beceyro, Raúl, Being-memory/world-memory, 36 Bemberg, María Luisa: Camila, 18; Yo, la peor de todas, 18 Bentes, Ivana, 15, 182 Bergson, Henri, 27; 34–36; and attentive recognition, 34; and automatic recognition, 34–35; and Being-memory/worldmemory, 36; and flashbacks, 35; and the interval, 27, 30; and the recollection image, 35–36; and the sensory-motor image, 34; and the virtual image, 35–36 Bernardes, Horacio, 19, 50, 193 Bianchi, Sergio: Quanto vale ou é por quilo?, 249 Bielinsky, Fabián: El aura, 7, 26, 29, 38, 49–59, 60, 72, 74, 245; as auteur, 49; Nueve reinas, 26, 49, 50, 58, 60 Birri, Fernando, 10, 23, 24, 104, 118, 126; Escuela Documental de Santa Fe 10, 23; Tire dié, 10, 104, 126 Borde, Raymonde, 52–53 Boulter, Jonathan, 86 Bourdieu, Pierre, 192 Brazil, cinematic traditions of, 1, 3–6, 11, 14–16, 19–20, 21, 24, 39, 40, 42, 60, 98, 104, 246, 248–249 See also Cinema da Retomada; Cinema Novo Brunetta, Gian Piero, 13 Bunda, 74–77, 81, 83–86 Buñuel, Luis: Los olvidados, 104, 126 Burin, Mabel, 128 Burton, Juliane, 9, 97–98 Cabecita negra, 129 Calderón de la Barca, Pedro, 218 Campanella, Juan José: El secreto de sus ojos, 25 Canals Frau, Salvador, 191 Carney, Raymond, 180–182 cartoons, 12; in O Homem que Copiava, 26, 30, 38, 60–73, 83 Caruth, Cathy, 148, 155, 156, 242 catharsis, 205 Cavalcânti, Alberto: avant-garde, 5, 7, 24; Rien que les heures, 4; Vera Cruz, Centro Sperimentale de Roma, 10, 12 Chaco War, 234, 243 Chadwick, John, 191 Chamie, Lina: A Via Lactea, 248 Chanan, Michael, 20–21, 230 chanchadas, 5, 6, 24 Charlone, César: El baño del papa, 120 Chopra-Gant, Mike, 37 Cinema da Retomada, 2, 14, 19–20, 25, 43, 87, 246 See also chanchadas; pornochanchadas Cinema Novo, 15–16, 20, 24, 40, 91, 104, 105, 246 See also Brazil, cinematic traditions of cinéma vérité, Cirlot, Juan Eduardo, 298 Clair, René, 217–218 Clarke, Paul, 162, 164, 166 clichés, consciousness of, 2, 33, 76, 87, 132, 144, 165, 166, 171, 174, 183, 185, 193, 202, 225, 227, 237, 263 close-ups, 28, 29, 32, 40, 57, 64, 84, 91, 95, 97–103, 105, 109, 117–118, 121, 128, 130–132, 170, 173, 194, 214, 221, 226–228, 230–231, 237–239, 241, 245 cognitive frames, 70–71, 77 Comechingón, 190–193 commodity fetishization, 68, 74 Conard, Mark T., 58 Conley, Tom, 38, 52 conspicuous consumption, 64–65 www.Ebook777.com Book 1.indb 288 11/29/12 10:23 AM Index co-productions: in Argentina, 18; in Brazil, 42; in Cuba, 20–21, 25; in Mexico, 22; in Paraguay, 22–23; in Peru, 23 Corralito, 58 Cottle, Thomas J., 127 Cowan, Noah, 104 crystal-image: cyclical, 127, 141; present and future, 36, 132–133, 184–185 Cuarón, Alfonso: Children of Men, 22; Harry Potter and the Prisoner of Azkaban, 22; Sólo tu pareja, 22; Y tu mamá también, 22, 40 Cuba: cinematic traditions of, 2–3, 10–13, 16–17, 20–21, 24–25, 27, 44, 105, 182, 206, 217, 218, 221, 230, 231, 246; and ICAIC, 11, 12, 20, 206 Cuzco School, 10 Darín, Ricardo, 50 Debord, Guy, 66 Del Carril, Hugo: Las aguas bajan turbias, Deleuze, Gilles, 2–3, 27–28, 30–36, 50, 55–57, 60, 64, 72, 74, 86, 91, 102, 122, 129–130, 132, 142, 154, 164–167, 171, 173–174, 184–185, 194, 218, 221, 230, 238–239, 241–242, 246, 249; and the action-image, 30–31, 35, 74, 129, 166, 174; and affectionimages, 30–31; and chronosigns, 35, 37; and close-ups: intensive expression, 32, 103, 230; and close-ups: reflexive expression, 32; and the crystal-image, 36, 132–133, 184–185; and dispersive situations, 2, 33, 119, 132, 144, 166, 174, 183, 185, 193, 201; and the ellipsis, 43, 173; and the fifth dimension, spirit, 32, 167, 173, 194; and the fourth dimension, 28, 32, 167, 194, 228; and the indirect reflexive relationship, 72; and the movementimage, 27–30, 31, 33, 35, 50, 55, 91, 94, 246, 249; and out-of-field, 28, 32–33, 238, 241; and peaks, 36, 67, 133, 184; and the perception-image, 30–31, 35; and the postwar image, 34, 37, 54, 91, 122, 174, Book 1.indb 289 289 182, 183, 201; and the recollection-image, 34, 35, 36, 133; and sheets of time, 36, 54, 67, 81, 133, 142, 184–185, 193; and spacetime, 30, 126, 139; and the time-image, 2, 28, 33–34, 54, 91, 94, 246 Del Toro, Guillermo: Cronos, 22; El espinazo del diablo, 22; El laberinto del fauno, 22, 160 Derrida, Jacques, 32, 69, 71, 86, 103, 109, 130, 166; and différance, 32, 69, 130; and iterability, 71, 172; and the supplement, 103, 109, 166 desaparecido, 244 See also disappeared children and babies Dhalia, Heitor: Cheiro ralo, 8, 26, 30, 39, 74–87, 245 Dialéctica del espectador, 17 différance, 32, 69, 130 Dimendberg, Edward, 38 Dimock, E George, 194 disappeared children and babies, 18, 26, 200 Dixon, Paul, 65 documentaries, 4, 5, 14, 22–24, 95, 104, 134, 221, 246; ethnographic, 10, 24; generic conventions of, 3, 8–10, 14, 22–23, 33, 40, 45, 91, 97–99, 101–103, 105–106, 122, 125, 128–129, 132, 126, 173, 234; and Grierson, 8, 10; neorealism in, 1, 3, 10, 13, 19, 33, 91, 103, 122, 125–126, 128, 132, 182, 185, 212, 246; observational, 10, 91, 98, 105, 221, 226, 229–230, 232, 234, 242, 244; pseudo-, 99, 101, 103, 119–145; semi-, 10 dream images, 35, 36, 129 Dreyer, Carl Theodor, 28, 32, 43, 173, 177–178, 180–182, 185; adaptation, 178; Ordet, 43, 177–178, 180, 185; La passion de Jeanne d’Arc, 32 dystopia, 22, 44, 105, 211, 214, 218 echolalia, 134 Eco, Umberto, Eisenstein, Sergei, 29, 226, 228, 246; and the avant-garde, 7; Battleship Potemkin, 5, 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com 290 Experimental Latin American Cinema 103; and graphic or spatial conflict, 7, 228, 246; and montage, 7, 14, 28, 35, 103, 226, 228, 246; and the rhythmic, tonal, intellectual, 7, 18, 226, 228–229, 231, 246; Strike, Elena, Alberto, 12 Elsaesser, Thomas, 94–95 EMBRAFILME, 19 Encina, Paz, 23, 28, 43, 44–45; Hamaca paraguaya, 8, 25, 27, 44, 153, 232–245, 248 Escuela Documental de Santa Fe, 10, 23 Etcheverry, Hugo, 4, 22–23 Euripides, 193–194; Iphigenia at Aulis, 44, 186 experimental film, 1–2, 4–5, 7–8, 18, 23, 28, 30, 41, 43, 50, 71, 77, 123, 131, 139, 147–149, 160, 185, 193, 195, 204, 205–206, 221, 232, 246, 245, 248–249 Falicov, Tamara, 19 Farcau, Bruce W., 243 fathering, 128 favelas, 5, 10, 104, 126, 249 Fellini, Federico, 35 Figueroa, Luis: Kukuli, 10 Fillmore, Charles J., 77 first avant-garde, 1, 3–5, 7, 19, 24, 35, 41, 109, 230 flashback: in Bielinsky, 55–57; in Furtado, 72; in Méndez, 149, 151; in trauma, 242 Flora, Charles M., 154 fourth dimension, 28, 32, 167, 194, 228 Frank, Nino, 52 Fraser, Peter, 165 French new wave, 2, 33, 41 French poetic realism, 14, 28, 29, 35, 37 Fresán, Juan: La nueva Francia, 107 Freud, Sigmund, 78, 86, 202, 203 Furtado, Jorge, 74; and cartoons, 38, 60–69, 70–73; O homem que copiava, 26, 30, 60–73, 83, 200 García Espinoza, Julio, 10, 12–13, 16–17 Gauchito Gil, 113, 115, 117, 121 Gaviria, Víctor: Rodrigo D no futuro, 104, 126; La vendedora de rosas, 104, 126 German expressionism, 5, 29, 35, 37, 55, 129 Getino, Octavio, 11, 16, 41–42; cine liberación, 11; La hora de los hornos, 11, 14, 120; and third cinema, 16 Giménez, Galia: María Escobar, 23 Glissant, Édouard, 203 golden section, 239 Gomes, Marcelo: Cinema, aspirinas e urubus, 40 Gómez, Sara: De cierta manera, 13, 20 González Iđárritu, Alejandro: Amores perros, 22; Babel, 22, 160; Biutiful, 22; 21 Grams, 22 Greek Bronze Age, 190, 192 Grierson, John, 8, 10 Griffith’s organic montage, 9, 28–29, 169 Grosz, Elizabeth, 127, 140 Grotesco criollo, 40, 109–110, 114, 120–122 Guaraní, 111, 118, 128, 131–132, 135, 232, 237, 241 Guerra, Ciro: Los viajes del viento, 247 Gutiérrez-Albilla, Julián, 95 Gutiérrez-Alea, Tomás, 10; Dialéctica del espectador, 17; Hasta cierto punto, 30; El mégano, 12; Memorias del subdesarrollo, 12, 13 Guzmán, Abigael, 146 habitus, 192 Hershfield, Joanne, Hess, John, 13 Hirsch, Foster, 38, 52–54 Hitchcock, Alfred, 2, 28, 31, 49, 55, 57–60, 66, 69, 73–74, 166; Rear Window, 60–61, 66 Hollywood model, 1–3, 14, 17, 22, 24–25, 29, 33, 35, 37, 38, 41–43, 49–50, 58, 60, 62, 79, 91, 129, 160, 167, 182, 194, 205, 247, 250 Holt, Jason, 73 homosexuality, 54 homosociality, 132, 203 Huyssen, Andreas, 147 www.Ebook777.com Book 1.indb 290 11/29/12 10:23 AM Index ICAIC (Instituto Cubano del Arte y la Industria Cinematográfica), 11, 12, 20, 206 See also Cuba: cinematic traditions of “imperfect cinema,” 16–17, 230 independent movies, 19, 23, 42, 247, 250 indigenous, 9, 19, 17, 23, 78, 116, 128, 129, 132, 160, 161, 174, 193; Aymara, 132; Comechingón, 190–193; Guaraní, 111, 118, 128, 131–132, 135, 232, 237, 241; Mapuche, 107; Olmec, 172 instrumental rationality, 62–63 intermediality, 38, 65, 70 intertextuality, 58, 65, 68–69, 73, 196, 217–218 interval, 1, 8, 27, 29–31, 35–36, 144, 164, 166, 169, 174, 183, 193, 196, 201, 205, 244, 246 Iphigenia at Aulis, 44, 186 Italian neorealism, 1, 2, 12, 33, 103, 119, 132, 182, 247; Centro Sperimentale de Roma, 10, 12 iterability, 71, 172 Jameson, Fredric, 66 Jemio, Diego, 232 Johnson, Randal, 6, 7, 15, 42; Cinema Novo x 5, 7, 15; and Robert Stam, 6, 15, 19 Jusid, Juan José: Asesinato en el senado de la Nación, 18 Kaiser-Lenoir, Claudia, 109, 121 Kemeny, Adalberto: Sinfonia da Metrópole, King, John, 6, 21 Kolker, Robert Phillip, 13, 109 Korstanje, Maximiliano, 117 Kukuli, 10 Kuleshov effect, 165 labor, expropriation of, 64, 83 LaCapra, Dominick, 155 Laderman, David, 39 Ladino, 174 Le Cain, Maximilian, 260, 281 Lefebvre, Henri, 184 Leitch, Thomas, 82 Book 1.indb 291 291 Levy, Emmanuel, 38, 52 Leys, Ruth, 156 Lima Barreto: O cangaceiro, Lipovetsky, Gilles, 65 Llosa, Claudia: Madeinusa, 23; La teta asustada, 23 Lombardi, Francisco: Muerte al amanecer, 23; Ojos que no ven, 23 López, Ana M., 13, 21 Lumet, Sydney: Pawnbroker, 77 Lustig, Rudolf Rex: Sinfonia da Metrópole, MacDowell, Claudio: Call of the Oboe, 22 Macrae, David, 231 magical realism, 21–22 “maialogical time,” 127–128, 141–143 Mapuche, 107 Maranghello, César, 18 Marcel, Mary, 203 Mauro, Humberto, 24; Ganga Bruta, McElroy, Isis Costa, 78 Meirelles, Fernando, 104, 126; Cidade de Deus, 104, 126 Meler, Irene, 128 melodrama, 6, 18, 37, 40, 91, 94–95, 100, 103, 105, 109–110, 115, 117, 160 Méndez, Josué, 8, 26; Días de Santiago, 41, 146–156, 246; Dioses, 23 Menis, Victoria, 25–26, 43, 141; El cielito, 8, 40, 123–135, 139, 143, 245 mestizo, 134, 193 Mexico, 18, 27, 54, 166, 174, 177–178, 185; cinematic traditions of, 1–3, 5–6, 11, 21–22, 24, 43, 243; co-productions of, 22; golden age of, 6, 21, 24; rancheras in, 6, 24 Michieli, Catalina Teresa, 191 Milne, Tom, 178 Minh-ha, Trinh T., 102 mise-en-abyme, 62, 77, 141, 170–171 mise-en-scène, 42, 79, 115, 180, 242 montage, 27, 31, 45; American/Griffith’s organic, 9, 28–29, 169; associative, 5, 207, 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com 292 Experimental Latin American Cinema 228–229, 231, 246; and the avant-garde, 2–3, 4–7, 44, 245; and Deleuze, 28–32; and dreams, 129–130; and Eisenstein, 7, 14, 28, 35, 103, 226, 228, 246; and the fixed camera, 232, 239, 241, 245; French poetic/sublime, 14, 28, 29, 35; and German expressionism, 5, 29, 35, 37, 55, 129; and graphic or spatial conflict, 7, 228, 246; paratactical, 1, 8, 11, 100, 101, 164, 218, 221, 245, 246; rhythmic, tonal, intellectual, 7, 18, 226, 228229, 231, 246 Mutarelli, Lourenỗo, 7778, 8182; Cheiro Ralo, 26, 75 as auteur, 193, 195, 201; Como pasan las horas, 25–26, 40, 43, 139–145, 186, 197, 204, 205, 248; Extranjera, 25–26, 43, 44, 186–195, 197, 204–205; Recuento de los daños, 25–26, 44, 186, 196–205; and social critique, 194 Olmec, 172 oral narrative, 236–237, 243 Oricchio, Luis Zanin, 20 out-of-field, 28, 32–33, 238, 241 out-of-frame, 239 Nagib, Lúcia, 19–20, 95, 98 Naremore, James, 38, 41 neoliberalism, 18, 25, 87, 105, 120, 126, 129, 249 neonoir conventions, 26, 38–39, 52–54, 58–60, 64–65, 73–74, 80–81; and alternative neonoir, 60, 73, 80 neorealism, 1–3, 5, 12–14, 24–25, 33, 41, 55, 91, 103–107, 109–110, 118–120, 122–123, 126, 128, 132, 144, 165–167, 170, 174, 182–183, 185, 193, 201–202, 204, 235, 246–247, 250 New Argentine Cinema, 2, 13–14, 18–19, 25, 43, 106, 119–120, 122, 193, 204, 246 New Latin American Cinema, 3, 12–15, 16–17, 24–25, 41–42, 91, 104, 120, 132, 160, 165, 167–168, 174, 183, 204, 207, 246, 182, 185 Nichols, Bill, 9–10, 97–100, 102–103, 221, 225–226, 229, 231, 242 Nilsson Leopoldo Torre: as auteur, 17, 24, 42; La caída, 6; La casa del ángel, 6; Piedra libre, 17 Nishiyama, Eulogio: Kukuli, 10 noir conventions, 29, 31, 34, 37–38, 50–55, 57–60, 71–74, 79–81 Novaro, María: Sin dejar huella, 39 Paraguay: cinematic traditions of, 1–5, 22–23, 43, 232; co-productions of, 22–23 parataxis, 7, 76–77, 87, 144, 166, 172, 174, 182, 193, 196, 201 See also montage: paratactical pastiche, 4, 65–66, 68 peaks of time, 36, 67, 133, 184 Peirce, Charles Sanders, 31 Peixoto, Mario, 7, 24; Limite, Pelletieri, Osvaldo, 110, 120 Pérez, Fernando, 7, 27, 235; Clandestinos, 206; Hello Hemingway, 206–207; Madagascar, 207; Madrigal, 8, 25, 44, 203–218, 246, 248; Suite Habana, 7, 44, 207, 221–231, 242, 246; La vida es silbar, 207, 231 Peru: cinematic traditions of, 1–3, 5, 10, 23–24, 146–147, 155; co-productions of, 23 Pfeufer Khan, Robbie, 127 piqueteros, 115, 117, 120, 128 plot, condemnation of, 2, 33, 119, 132, 166, 174, 183, 185 poetic realism, 14, 37 pornochanchadas, 19 post-traumatic stress disorder (PTSD), 40, 147–148, 151–152, 154 psychoanalysis, 41, 74, 202–203, 207, 217 Puenzo, Luis: La historia oficial, 18, 201 Oedipus Rex, 44, 196–197, 200, 201–203, 205 Oestranone, 225 Oliveira Cézar, Inés, 8, 29, 139–145, 246–247; racism, 132, 134 Rafter, Nicole, 58, 60 rancheras, 6, 24 www.Ebook777.com Book 1.indb 292 11/29/12 10:23 AM Index realism, 2–4, 9, 33, 38, 73, 87, 118, 230; illusion of, 2, 237; magical, 21–22; photo-, 230; poetic, 14, 37; Realismo sucio, 25 recollection-image, 35–36 reification, 61, 76, 78, 83, 122 Rejtman, Martín: El rapado, 18 repetition, 7, 26, 39, 40, 44–45, 55–56, 58, 72, 75, 84–87, 129, 134, 142, 147, 152, 172, 193, 204, 210, 213–214, 217–218, 235, 237, 243, 245 Restrepo, Luis Alberto: La primera noche, 148–149 Reygadas, Carlos: and adaptation, 178, 182, 215–217; as auteur, 8, 25–26, 30, 41–42, 144, 173–174, 183, 194, 246–147; Batalla en el cielo, 27, 43, 168–174, 177; Japón, 27, 43, 159–170, 184–185; Stellet, 27, 43, 175–185 Riptstein, Arturo, 42 road movies, 39, 91–135 Rocco, Debora, 61, 66, 67 Rocha, Glauber: and “aesthetics of hunger,” 15, 16; as auteur, 15, 16, 42; Deus e o diabo na terra sol, 15; Terra em transe, 15 Rodowick, D N., Rojas, Orlando: Papeles secundarios, 20 Romero, Miranda, 42, 159 Romney, Jonathan, 182 Roston, Tom, 95 Ruberto, Laura, 12–13 Ruttmann, Walter, 7; Berlin: Die Symphonie der Großstadt, 4, 221, 224 Sábato, Mario: El poder de las tinieblas, 17 Salazar Navarro, Salvador, 225 Salles, Walter, 25–26, 42, 107, 117–118, 245, 247; Central Brasil, 7, 39–40, 43, 91–105, 115, 120, 126, 170; Diarios de motocicleta, 39 Sanjinés, Jorge, 16–17 Santos, Nelson Pereira dos, 19, 24; Azyllo muito louco, 15; Fome de amor, 15; Rio 40 graus, 10; Vidas secas, 13, 15, 104–105 Book 1.indb 293 293 Sapir, Eduardo: Picado fino, 18 scenes and frames, 77 Schiraldi, Glenn R., 154 Schrader, Paul, 37, 38, 55 Schroeder, Barbet: La virgen de los sicarios, 104, 126 Schumann, Peter, 5, 18–19, 23 scopophilia, 61 Seger, Linda, 75, 79 self-reflexivity, 4, 17, 20, 31, 65, 70–71, 77, 85, 107, 110, 118, 121, 159, 216 Semali, Ladislaus M., 66 sensory motor, 34 Sertão, 15, 20, 40, 102, 104–105 Shaw, Deborah, 97, 98 Shelton, Martin, S., 68 Shiel, Mark, 12, 13 silent films, 3, 12, 24, 44 Silverman, Kaja, 9, 237–238, 243–244 social critique, 15, 21, 33, 39–42, 114, 123, 126, 131, 147, 168, 194, 206, 225, 249 Solanas, Fernando, 16, 41, 42, 118; La hora de los hornos, 11, 14, 120 Solás, Humberto: Lucía, 12–13, 216 Sommer, Roy, 63 Sophocles, 44, 196–197, 200, 201–203, 205 Sorín, Carlos, 25–26, 42; Bombón: El perro, 107–110, 118, 120; El camino de San Diego, 8, 40, 111–122, 245; El gato desaparece, 106, 111; Historias mínimas, 107; La película del rey, 107; La ventana, 110 space-time, 30, 126, 139 Spain, Daphne, 127 Stam, Robert, 5, 11; and Randall Johnson, 6, 15, 19 Stantic, Lita: Un muro de silencio, 18 state terror (Argentina), 11, 17, 24, 26, 153, 196, 203–205 Stephens, Michael, 52–53, 273 Sternbergian melodrama, 37 Stock, Anne Marie, 222 Tabío, Juan Carlos: Demasiado miedo a la vida o Plaff !, 20 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com 294 Experimental Latin American Cinema taboos: incest, 147, 200; intercourse across race and ethnicity, 43, 177; intergenerational sex, 43, 165; Mennonites and physical representation, 43, 185; suicide, 43; women kissing, 165, 180 Tal, Tzvi, 11, 14 Tarkovsky, Andrey, 139, 141, 143, 159, 162, 173, 181, 186, 193, 204 “third cinema,” 16 Thompson, Diane P., 190 Tierney, Dolores, 221, 230 time, 5, 26–29, 35, 37, 41, 135, 144, 146, 170; as crystal-image: present and future, 36, 132–133, 184–185; cyclical, 127, 141; as fourth dimension, 28, 32, 167, 194, 228; historical, 91, 125, 127, 184, 242; maialogical, 127–128, 141–143; and peaks, 36, 67, 133, 184; real, 13, 91, 101, 140, 143, 173, 235, 241, 248; ritual, 40, 44, 116, 184, 192, 242; sculpted in, 40, 44, 118, 139–141, 143, 162, 173, 181, 184, 186, 190, 192, 195–196, 200, 204, 247; sheets of, 36, 54, 67, 81, 133, 142, 184–185, 193; space-time, 30, 126, 139; time-image, 2, 28, 33–34, 54, 91, 94, 246, 250; timelessness, 133, 182, 184–185, 193, 226, 238 Torrents, Nissa, 22 Torres, Félix, 191 Transformista, 226 Trapero, Pablo: Familia rodante, 39 trauma, 7–8, 27, 40, 53, 67, 70–71, 86, 134, 149, 151, 153, 197–198, 218, 232, 235; national, 44–45, 203–205, 234, 238, 243–244, 248–249; PTSD (post-traumatic stress disorder), 40, 147–148, 151–152, 154, 156, 258n3 (ch 8); symptoms of, 45, 239, 241–242 Traverso, Antonio, 104 Trojan Cycle, 190 Ukamau Collective, 16–17 Van der Kolk, Bessel A., 156 Vera, Guillermo: Cerro Corá, 22 verfremdungs-effekt, 8, 164, 230, 246 Vertov, Dziga: Chelovek s kino-apparatom, 7, 221 Villanueva, César: Kukuli, 10 virtual image, 35–36 voice as presence, 9, 97, 237, 238; voice unhinged, 232 voice-off, 238, 242 voice-over, 8–9, 38–39, 60–61, 63–65, 68–69, 71–74, 79, 93, 118, 149–152, 214 voyage form, 2, 33, 86, 94, 110, 119, 132, 144, 166, 174, 183, 185, 193, 202, 246 Wager, Jans, 73 War of the Triple Alliance, 22, 235, 243–244 Welles, Orson: Citizen Kane, 77; Lady from Shanghai, 60, 71; Touch of Evil, 54 Wolf, Sergio, 19, 50, 193 Wolf, Werner, 70 Wood, Jason, 159, 173 Xavier, Ismail, 16, 20 Young, Elliott, 21, 230 Žižek, Slavoj, 180 www.Ebook777.com Book 1.indb 294 11/29/12 10:23 AM .. .Experimental Latin American Cinema Book 1.indb i 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com THIS PAGE INTENTIONALLY LEFT BLANK www.Ebook777.com EXPERIMENTAL LATIN AMERICAN CINEMA. .. historization and ending with their application in the most contemporary Latin American cinema Montage Latin American experimental cinema begins, ironically, comme il faut, in Paris with the urban symphony... “Retomada Cinema Book 1.indb 19 11/29/12 10:23 AM Free ebooks ==> www.Ebook777.com 20 Experimental Latin American Cinema Brasileiro,” the rebirth or boom of Brazilian cinema (Nagib, introduction to Cinema