Contemporary Hispanic Cinema

Contemporary Hispanic Cinema: Interrogating the Transnational in Spanish and Latin American Film

Edited by Stephanie Dennison
Series: Monografías A
Volume: 323
Copyright Date: 2013
Published by: Boydell and Brewer,
Pages: 248
https://www.jstor.org/stable/10.7722/j.ctt31nhbr
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  • Book Info
    Contemporary Hispanic Cinema
    Book Description:

    This book focuses on the cross-currents and points of contact in film production among so-called Hispanic countries (Spain, Portugal and Latin America), and in particular the impact that co-production and supranational funding initiatives are having on both the film industries and the films of Latin America in the twenty-first century. Together with chapters that discuss and further develop transnational approaches to reading films in the Hispanic and Latin American context, the volume includes chapters that focus on funding initiatives, such as IBERMEDIA, that are aimed at Spain, Portugal and Latin America. An analysis of such initiatives facilitates a nuanced discussion of the range of meanings afforded to the term transnationalism: from the workings of those driven by economic imperatives, such as co-productions and 'Hispanic' film festivals, to the cultural, for example the invention of a marketable 'Latinamericaness' in Spain, or a 'Hispanic aesthetic' elsewhere. Stephanie Dennison is Reader in Brazilian Studies at the University of Leeds

    eISBN: 978-1-78204-130-6
    Subjects: Performing Arts

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. ACKNOWLEDGEMENTS
    (pp. ix-ix)
  4. List of Contributors
    (pp. x-xii)
  5. PREFACE
    (pp. xiii-xvi)
    Stephanie Dennison
  6. 1 National, Transnational and Post-national: Issues in Contemporary Film-making in the Hispanic World
    (pp. 1-24)
    STEPHANIE DENNISON

    The purpose of this chapter is to map out new ways to think about contemporary Latin American cinema that take us beyond both the traditional close reading of national films within national contexts, and the dismissive notions of new trends in co-production as signifying nothing more than commercially driven expressions of global capital in movement. First I explore the transnational cultural links between Spain, Portugal and Latin America, the historical and cultural basis for these links, and the extent to which such links are affecting notions of ‘the national’ within Latin American film production. The second part of the chapter...

  7. 2 Redefining Transnational Cinemas: A Transdisciplinary Perspective
    (pp. 25-46)
    LIBIA VILLAZANA

    Transnationalism as a research field is highly transdisciplinary; it has been mainly developed in university departments of Migration Studies, Anthropology, Sociology, Political Science, Geography, International Relations, History, Cultural Studies and Film Studies. Consequently, although the theoretical foundations of the term have been primarily related to the dynamics of migration, the meaning of transnationalism is nowadays extremely loose. Initially the term was concomitant with the transnational movement of bodies; however, communication and technological development such as the Internet and the World Wide Web have propelled multivalent forms of interconnectedness across national borders, giving rise to a transnational virtual mobility.¹ Cinema has...

  8. 3 Deconstructing and Reconstructing ‘Transnational Cinema’
    (pp. 47-66)
    DEBORAH SHAW

    The notion of the transnational in Film Studies has developed in response to an increasing awareness of the limitations of conceptualising film in terms of national cinemas, and an acknowledgement of the changing nature of film production and distribution as a part of wider patterns of globalisation.¹ Transnational exchanges have long been central to film-making in terms of funding and the cast and crew,² and an increasing numbers of films in the international market cannot be identified with a single nation, with many films shooting in a number of countries, relying on a multinational cast and crew, and funded by...

  9. 4 Ibero-Latin American Co-productions: Transnational Cinema, Spain’s Public Relations Venture or Both?
    (pp. 67-88)
    TAMARA L. FALICOV

    Programa Ibermedia (hereafter, Ibermedia) is a co-production film fund sponsored by Spain, Portugal and 18 member countries in Latin America. Its purpose is to promote the development of projects directed towards the Ibero-American market. Funded primarily by and based in Spain, this film-funding pool receives funds from each member country to comprise an Ibero-American audiovisual fund. As of 2011 the Ibermedia member countries are Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Dominican Republic, Ecuador, Guatemala, Mexico, Panamá, Peru, Portugal, Puerto Rico, Spain, Uruguay and Venezuela, with Guatemala entering as the newest member in 2009. Each country makes an annual...

  10. 5 Building Latin American Cinema in Europe: Cine en Construcción/ Cinéma en Construction
    (pp. 89-112)
    NURIA TRIANA TORIBIO

    On 26 and 27 of March of 2009, the famous Latin American Film Festival in Toulouse, France (Rencontres Cinémas d’Amérique Latine de Toulouse (ARCALT)) celebrated its yearly edition. Within it, a series of independent Latin American film industry professionals presented their films-in-progress to a very special and influential audience. This audience was made up of a group of industry professionals, festival programmers, distributors and members of cultural institutions in France who had the power to award enough funds to bring these film projects to a post-production stage or ensure that films would be seen widely in France and, therefore, by...

  11. 6 Pedro Almodóvar’s Latin American ‘Business’
    (pp. 113-136)
    MARVIN D’LUGO

    Almodóvar’s 2006 film Volver (2006) is the product of an intense period in which the Spanish filmmaker’s production company, El Deseo, actively engaged in a series of strategic co-productions with Latin American producers. These were more than simply efforts at commercial opportunism, and rather reflected Almodóvar’s long-standing connections to Latin America that date back to his early career when he regularly included actors and songs from the region in his films. What had once seemed like random motifs, now retrospectively come into focus in this film as part of a more ambitious transterritorial aesthetic that seeks to engage audiences in...

  12. 7 Transnational Film Financing and Contemporary Peruvian Cinema: The Case of Josué Méndez
    (pp. 137-154)
    SARAH BARROW

    It seems clear that without the support of transnational collaborative funding and support initiatives, filmmakers from so-called ‘small’ Hispanic countries such as Peru where ‘everything would seem to be against the idea’¹ would lack the means to create and release their works in traditional formats even onto the specialist festival circuit let alone via commercial exhibition networks. As Randal Johnson, in his study on film policy, pointed out in 1996, in Latin America ‘political turmoil, economic instability, high inflation rates and debt crises have contributed to the instability of national industries’,² and the context for cinematic activity emanating from Peru...

  13. 8 The Silenced Screen: Fostering a Film Industry in Paraguay
    (pp. 155-180)
    CATHERINE LEEN

    The above comments by Paz Encina on her internationally acclaimed debut feature Hamaca paraguaya (Paraguayan Hammock; 2006) suggest much about Paraguay as a nation and, by extension, the situation of film-making there. Paraguay’s history has certainly been marked by war and poverty, but perhaps the event that has most marked recent decades is that it endured the longest-standing dictatorship in South America, which led to a repression that imposed an atmosphere of silence, fear, and isolation and whose effects reverberate to the present day, both in terms of the content of the films made in Paraguay and in terms of...

  14. 9 Finance and Co-productions in Brazil
    (pp. 181-204)
    ALESSANDRA MELEIRO

    The purpose of this chapter is to present an up-to-date (as of 2011) account of the funding available to filmmakers in Brazil, with particular consideration being given to the advantages and disadvantages to be gained from making co-productions.

    From an economic perspective, the audiovisual industry plays a strategic role in the dissemination of information and therefore in the decision-making process of the world economy, not to mention the capacity of generating products, employment and income. It was estimated that the revenue of the audiovisual industry in Brazil in 1997 was about $5.5 billion, equivalent to approximately 1 per cent of...

  15. AFTERWORD
    (pp. 205-206)
    Stephanie Dennison

    The nine essays in this collection, researched and written between 2008 and 2011, provide a ‘snapshot’ of transnational filmmaking practices in the imagined community of nations that we define as the Hispanic world roughly between the years 2005 and 2010. With its emphasis on film festivals, international funding agencies, and co-productions, we have concentrated on films that circulate ‘abroad’, but it is perhaps worth underscoring once more the fact that many films are both financed and circulate within Latin America without any recourse to ‘foreign assistance’. These range from the Globofilmes-produced (or marketed) popular comedies and TV spin-offs in Brazil,¹...

  16. WORKS CITED
    (pp. 207-226)
  17. INDEX
    (pp. 227-244)
  18. Back Matter
    (pp. 245-245)