The Two cines con niño

2018 ◽  
Author(s):  
Erin K. Hogan
Keyword(s):  
Latin American ◽  
Film History ◽  
Spanish Language ◽  
The Political ◽  
Pedro Almodovar ◽  
Spanish Film ◽  
American Cinema ◽  
Latin American Cinema ◽  
The Impact ◽  
Genre Study

The Two cines con niño  is the first genre study of Spanish-language child-starred cinemas. It illuminates continuities in the political use of the child protagonist in over fifty years of cinema from Spain and how the child-starred genres use the concept of childhood to define the nation’s past, present, and future. From Francoist popular to oppositional auteur films, and including Latin American cinema, this monograph examines dialogism in aesthetics, narratives, and genre functions. It demonstrates the impact of these narratives within Spanish film history and Francoist biopolitics, as well as providing a broader transatlantic perspective on the genre in select productions from Chile and Argentina. In-depth inquiry within its pages examines films by Pedro Almodóvar, Antonio del Amo, Montxo Armendáriz, Benjamín Ávila, Juan Antonio Bayona, José Luis Cuerda, Guillermo del Toro, Víctor Erice, Manuel Gutiérrez Aragón, Arantxa Lazkano, Luis Lucía, Paula Markovtich, Javier Ruiz Caldera, Carlos Saura, Imanol Uribe, Ladislao Vajda, Agustí Villaronga, and Andrés Wood.

scholarly journals Beatriz Palacios: Ukamau’s Cornerstone (1974–2003)

2021 ◽  
Vol 48 (2) ◽  
pp. 77-92
Author(s):  
Isabel Seguí
Keyword(s):  
Latin American ◽  
American Cinema ◽  
Political Cinema ◽  
Latin American Cinema ◽  
Popular Classes ◽  
Authorial Persona ◽  
Correct Understanding ◽  
The Impact ◽  
The Voice ◽  
Cine Latinoamericano

Beatriz Palacios’s instrumental role in the Ukamau group has been largely ignored by film historiography and criticism. The authorial persona of her comrade and husband, Jorge Sanjinés, has eclipsed Palacios’s work and ideas. Her erasure is due to the perspectives chosen to analyze Ukamau (male-centered auteurist and formalist approaches) and to the almost exclusive use of the voice of Sanjinés (interviews, essays, and films interpreted in an authorial key) to construct the group’s history. Ignoring the contribution and importance of Palacios’s work and not accounting for her share in the authorship of the films made during the years they lived and worked together impedes a correct understanding of the complexity of the production context and the amplitude of the contribution of Ukamau to Latin American cinema. While her work as a producer is increasingly recognized, delving into her roles as a disseminator of political cinema in alternative circuits, evaluator of the impact of the movies on the popular classes, and documentary director completes the portrait of her all-encompassing life and career. En gran medida, el papel instrumental de Beatriz Palacios en el grupo Ukamau ha sido ignorado por la historiografía y la crítica cinematográficas. La persona autoral de su camarada y esposo, Jorge Sanjinés, ha eclipsado la obra e ideas de Palacios. Dicha eliminación se debe a las perspectivas elegidas para analizar Ukamau (enfoques y formalistas) y al uso casi exclusivo de la voz de Sanjinés (entrevistas, ensayos y películas interpretadas en clave autoral) para construir la historia del grupo. Ignorar la contribución e importancia del trabajo de Palacios, así como su participación en la autoría de las películas realizadas durante los años que vivieron y trabajaron juntos, impide una correcta contribución de Ukamau al cine latinoamericano. Mientras que su trabajo como productora es cada vez más reconocido, ahondar en su labor como divulgadora de cine político en circuitos alternativos, evaluadora del impacto de las películas en las clases populares y directora de documentales, completa debidamente retrato de su vida y carrera.

The State of Things: New Directions in Latin American Film History

2006 ◽  
Vol 63 (2) ◽  
pp. 197-203 ◽  
Author(s):  
Ana M. López
Keyword(s):  
Latin American ◽  
English Language ◽  
Film History ◽  
American Film ◽  
Latin American Film ◽  
Secondary Sources ◽  
American Cinema ◽  
Latin American Cinema ◽  
New Directions ◽  
New Latin American Cinema

Twenty-five years ago, English-language scholarship on Latin American film was almost entirely identified with the New Latin American Cinema movement. The emerging “new” cinemas of Brazil, Cuba and Argentina, linked to evolving social movements and to the renewal of the pan-Latin American dreams of Martí and Bolivar (Nuestra América, “Our America”), had captured the imagination of U.S.-based and other scholars. As I argued in a 1991 review essay, unlike other national cinemas which were introduced into English-language scholarship via translations of “master histories” written by nationals (for example, the German cinema, which was studied through the histories of Sigfried Kracauer and Lotte Eisner), the various Latin American cinemas were first introduced in English-language scholarship in the 1970s ahistorically, through contemporary films and events reported in non-analytical articles that provided above all, political readings and assessments. Overall, this first stage of Latin American film scholarship was plagued by problems that continued to haunt researchers through the 1980s: difficult access to films, scarce historical data, and unverifiable secondary sources. Above all, this work displayed a blissful disregard of the critical and historical work written in Spanish and Portuguese and published in Latin America.

After New Latin American Cinema

2012 ◽  
Vol 51 (2) ◽  
pp. 87-112 ◽  
Author(s):  
Paul A. Schroeder Rodríguez
Keyword(s):  
Latin American ◽  
American Cinema ◽  
Latin American Cinema ◽  
New Latin American Cinema
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