Overview
- One of the first volumes to offer an extended interrogation of the precarious through its cinematic representation and significance
- Works to break down the traditional boundaries between cinemas of the Americas by offering essays on films spanning both North and South America
- Illustrates how questions about the precarious can be traced in cultural and archival policies as well as in cinematic themes and aesthetic choices
Part of the book series: Global Cinema (GLOBALCINE)
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About this book
Historically, cinema in the Americas has been signed by a state of precariousness. Notwithstanding the growing accessibility to video and digital technologies, access to the material means of film production is still limited, affecting the spheres of production, distribution, and reception. Equally, questions about the precarious can be traced in cultural and archival policies, film legislations, as well as in thematic and aesthetic choices. While conventional definitions of the precarious have been associated with notions of scarcity and insecurity, this volume looks at precariousness from a non-monolithic angle, exploring its productivity and potential for original, critical approaches, with the aim of providing new readings to the variedly rich and complex cinemas of the Americas.
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Keywords
Table of contents (15 chapters)
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Front Matter
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Self-reflexive Considerations on the Precarious
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Front Matter
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On Cultural Policies, Legislations and Funding
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Front Matter
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Transnational Contexts
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Front Matter
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Back Matter
Reviews
“This volume comprises leading film scholars based across the world and the editors have done an excellent job in shaping the work such that it can be read as individual studies and as a developing, interlocking, series of illuminations.” (John King, Emeritus Professor of Latin American Cultural History, University of Warwick, UK)
“Covering a broad array of periods––from early cinema to the New New Argentine Cinema––as well as exhaustive examination of the impact of neoliberalism in a globalized era, this collection of essays by leading critics in the field is a must read.” (Cynthia Tompkins, author of Affectual Erasure: Representations of Indigenous Peoples in Argentine Cinema)
Editors and Affiliations
About the editors
Constanza Burucúa is Associate Professor in the Department of Modern Languages and Literatures at the University of Western Ontario, Canada, where she teaches different courses on film. She is author of Confronting the 'Dirty War' in Argentine Cinema, 1983–1993. Her research focuses on Latin American cinemas, history, gender, and identity. She is committed to the production of documentary films.
Carolina Sitnisky is Lecturer in the Department of Spanish and Portuguese at the University of Southern California, USA. Her research focuses on connections between cultural politics and historical readings in twentieth and twenty-first century Latin American cinema and literature. She is co-editor with Gabriela Copertari of the volume El estado de las cosas: cine latinoamericano del nuevo mileno.
Bibliographic Information
Book Title: The Precarious in the Cinemas of the Americas
Editors: Constanza Burucúa, Carolina Sitnisky
Series Title: Global Cinema
DOI: https://doi.org/10.1007/978-3-319-76807-6
Publisher: Palgrave Macmillan Cham
eBook Packages: Literature, Cultural and Media Studies, Literature, Cultural and Media Studies (R0)
Copyright Information: The Editor(s) (if applicable) and The Author(s) 2018
Hardcover ISBN: 978-3-319-76806-9Published: 14 June 2018
Softcover ISBN: 978-3-030-08294-9Published: 26 January 2019
eBook ISBN: 978-3-319-76807-6Published: 29 May 2018
Series ISSN: 2634-5951
Series E-ISSN: 2634-596X
Edition Number: 1
Number of Pages: XXII, 301
Number of Illustrations: 1 b/w illustrations, 21 illustrations in colour
Topics: Latin American Cinema and TV, American Cinema and TV, Latin American Culture, American Culture, Latino Culture