Cinematic Landscape and Emerging Identities in Contemporary Latin American Film

María Soledad Paz-MacKay; Argelia González Hurtado

doi:10.5771/9781666934267

Summary

Cinematic Landscape and Emerging Identities in Contemporary Latin American Film offers a series of perspectives, produced from a diverse array of aesthetic and theoretical approaches, that build on previous studies about cinematic landscape and space while addressing it from a regional perspective. This book explores how contemporary Latin American filmmakers have included, created, or transformed different types of landscapes in their works. The chapters highlight the centrality of landscape as a meaningful space in film, composed in addition to the image, sound, and movement. The core of the edited collection revolves around films where landscape emerges as a crucial element to transmit the urgency of issues affecting diverse Latin American societies. The representation of emerging social actors, such as Indigenous groups, Afro-Latin Americans, LGBTQIA+ communities, migrants, environmentalists, and women, offers a localized view of sociocultural, political, and environmental challenges from marginalized and dissenting voices.

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Bibliographic data

Copyright year: 2024
ISBN-Print: 978-1-6669-3425-0
ISBN-Online: 978-1-6669-3426-7
Publisher: Lexington, Lanham
Language: English
Pages: 226
Product type: Book Titles

1. Contents No access
2. Acknowledgments No access
1. Notes No access
2. References No access
1. 1. Pelo malo and Its Context No access
  2. Some Ideas about Landscapes in Film No access
  3. Urban Spaces as Landscapes No access
  4. Conclusion No access
  5. Notes No access
  6. References No access
2. 1. Watery Visions in El niño pez No access
  2. Land, Water, and Emancipation in El verano de los peces voladores No access
  3. Notes No access
  4. References No access
3. 1. Soundscape, Landscape, and Precarity No access
  2. Migrants, Debt Bondage, and Peonage No access
  3. Enclaves of Entrapment No access
  4. Excess and Labor No access
  5. Conclusion No access
  6. Notes No access
  7. References No access
1. 1. Historical Background No access
  2. Absurdist Costumes No access
  3. Crossing Boundaries No access
  4. Character Development through Mise-en-scène No access
  5. References No access
2. 1. From Public to Cinematic Landscape No access
  2. A Brief History of the Procession No access
  3. Gendered Spaces in Rosa Chumbe No access
  4. Octubre: Older Adulthood and the Processionary City No access
  5. Conclusion No access
  6. Notes No access
  7. References No access
3. 1. Valdivia’s Cinematographic Work No access
  2. Cinematic and Sensorial Landscape No access
  3. Cartography of Places No access
  4. Cartography of Human Groups No access
  5. Cartography of Personal Relationships No access
  6. Conclusion No access
  7. Notes No access
  8. References No access
1. 1. Slow Violence, Ecofeminism, and Solastalgia No access
  2. Mourning the Disappearing Landscape No access
  3. After Oil? No access
  4. Notes No access
  5. References No access
2. 1. Borderscapes: The War against Drug Trafficking in the Border Context No access
  2. Memoryscape: Affective Landscape and Material Memory No access
  3. Affective Landscape No access
  4. Materiality of Memory No access
  5. As a Coda No access
  6. Notes No access
  7. References No access
3. 1. Magallanes No access
  2. Constructing an Affective Face-Landscape No access
  3. The Political Violence of the 1980s and 1990s in Peru No access
  4. Magallanes: Disappointment, a Concrete Way of Facing Reality No access
  5. Conclusion No access
  6. Notes No access
  7. References No access
4. 1. The Abject and the Revolutionary Institution No access
  2. Cinematic Oppositional Narrative No access
  3. Framing Exclusion, Natural Elements, and Voice-over No access
  4. Notes No access
  5. References No access
1. 1. References No access
2. 1. Notes on the Topic of Landscape in El patio de mi casa by Patricia Ramos: Between Haptic and Affective Visuality No access
  2. Interview with Patricia Ramos No access
  3. Notes No access
Index No access Pages 215 - 218
About the Editors No access Pages 219 - 226