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Distributed for Intellect Ltd

New Trends in Argentine and Brazilian Cinema

As part of a raft of neoliberal economic reforms in the early 1990s, Brazilian president Fernando Collor de Mello and Argentine president Carlos Menem eliminated long-standing state financial support for cinema. National film production, distribution, and exhibition were deeply affected by the absence of the entire structure and legislation on which they had relied for decades. By the mid-1990s, however, new laws were passed reestablishing subsidies and credit lines—and allowing for a rebirth of national cinema in both countries.

This comprehensive and accessible volume surveys Brazilian and Argentine cinematic production from its subsequent dramatic rebirth to the present. It addresses not only the commercially successful films but also the effects of globalization and cultural policies on public incentives for filmmaking. An indispensable resource for students of film and cultural studies, New Trends in Argentine and Brazilian Cinema is moreover an exciting glimpse into a momentous period in recent cinematic history.

274 pages | 7 x 9 | © 2011

Culture Studies

Film Studies

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Table of Contents


I. Introduction
II. Funding
Contemporary Argentine Cinema during Neoliberalism
      Carolina Rocha
The Fall and Rise of Brazilian Cinema
      Cacilda Rêgo
Globo Filmes, Sony, and Franchise Film-making: Transnational Industry in the Brazilian Pós-retomada
      Courtney Brannon Donoghue
Close Strangers: The Role of Regional Cultural Policies in Brazilian and Argentine New Cinemas
      Marina Moguillansky
New Visions of Patagonia: Video Collectives and the Creation of a Regional Video Movement in Argentina’s South
      Tamara L. Falicov
III. Class, Citizens and Spatial Relations
Leaving and Letting Go as Possible Ways of Living Together in Jorge Gaggero’s Cama adentro/Live-in Maid
      Ana Ros
Electoral Normality, Social Abnormality: The Nueve reinas/Nine Queens Paradigm and Reformulated Argentine Cinema, 1989–2001
      Ana Laura Lusnich
Landscape and the Artist’s Frame in Lucrecia Martel’s La ciénaga/The Swamp and La niña santa/The Holy Girl
      Amanda Holmes
Transactional Fiction: (Sub)urban Realism in the Films of Trapero and Caetano
      Beatriz Urraca
Trigger-Happy: Police, Violence and the State in El bonaerense/The Policeman
      James Scorer
The Socially Productive Web of Brazil’s Urban Über-dramas
      Piers Armstrong
Fernando Meirelles’ Cidade de Deus/City of God: The Representation of Racial Resentment and Violence in the New Brazilian Social Cinema
      Vanessa Fitzgibbon
IV. Gender
Staging Class, Gender and Ethnicity in Lucrecia Martel’s La ciénaga/The Swamp
      Ana Peluffo
The Dystopian City: Gendered Interpretations of the Urban in Um Céu de Estrelas/A Starry Sky (Tata Amaral, 1996) and Vagón fumador/ Smokers Only (Verónica Chen, 2001)
      Charlotte Gleghorn
Reimagining Rosinha with Andrucha Waddington and Elena Soarez: Nature, Woman and Sexuality in the Brazilian Northeast from Popular Music to Cinema
      Jack A. Draper III
Taking Initiative: Brazilian Women’s Film-making Before and After the Retomada
      Leslie L. Marsh

Notes on Contributors

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