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Review Studies in Hispanic Cinemas

Studies in Spanish & Latin-American cinemas

Review TECSISTECATL Revista Académica de Ciencias Sociales de México

Year: 2016 vol. 13 n. 2

Draper III, Jack A. . ‘Materialist horror’ and the portrayal of middle-class fear in recent Brazilian film drama: Adrift (2009) and Neighbouring Sounds (2012).  / 'Terror materialista' y la representación del miedo de la clase media en el drama brasileño reciente : A la deriva (2009) y Sonidos vecinos (2012) p. 119-135 América Latina
Brasil
Cine / Clase / Género / Horror / Carrera
Siglo XXI

Summary

The reference point of classic horror for today’s Latin American directors tends to be US horror of the post-war period, particularly the 1960s–1980s. Yet a clear trend among directors from the region is to reshape this rather fantastical generic influence into a tool to represent everyday class- race- and gender-based violence. Two films that stand out as examples of this trend are Adrift (Dhalia, 2009) and Neighbouring Sounds (Mendonça Filho, 2012). Mendonça’s film portrays a wide array of characters from different classes, races, generations and genders in Recife, while Dhalia’s film focuses on one family on vacation in the beach town of Búzios, but both frame their stories with a psychological-realist approach that I term ‘materialist horror’. This approach involves a framing of the genre within a dramatic narrative emphasizing not fantastical characters but the everyday, material reality of violence and unequal social relations deeply rooted in Latin American history. The films are also materialist in another sense. They materialize historical and affective processes in the quotidian bodily experiences, thoughts and dreams/nightmares of their middleand upper-class characters

Schaefer, Claudia ; Rodríguez-Hernández, Raúl. From Utopia to Uchronia: After-images of revolutionary history in contemporary Mexican film .  / De la utopía a la ucronía: imágenes de la historia revolucionaria en cine mexicano actual p. 137-157 México
Fotografía / Paisaje / Pictorialismo / México posrevolucionario / Ucronía / Utopía
Siglo XX

Summary

Both still and moving images in recent Mexican films have been characterized by the displacement of the established post-Revolutionary cinematic utopian space to timeimages (uchronia). Cinematic techniques at the disposal of contemporary directors have contributed to the portrayal and experience of temporal expectation relocated in much darker, stormier and perplexing visual sequences, with elliptical looping taking the place of narrative chronology. In contrast to Golden Age Mexican cinema of the 1930s and 1940s, and to the muralist aesthetic of photographers and directors alike, the films of Carlos Reygadas and Rodrigo García embed inherited collective social dreams in inner worlds filled with battles, darkness and strife. Revolutionary utopian expectations for the sites of future political models are now made thick with temporal dislocation and a shift from movement-image to time-image.

Hopfenblatt, Alejandro Kelly. Argentina era una fiesta: Ocio, modernidad y presente constante en la comedia sofisticada durante el primer peronismo. p. 195-211 Argentina
Burguesía / Cine clásico / Comedia / Consumo / Imaginarios sociales / Peronismo
Siglo XX

Summary

A principios de la década de 1940 el cine argentino comenzó un proceso de aburguesamiento y sofisticación, buscando nuevos argumentos y modos de representación. Entre los principales referentes de este cambio se destacó Carlos Schlieper, quien, en la segunda mitad de la década, dirigió un conjunto de films que presentaban un universo burgués con jóvenes alocados y caprichosos y tramas centradas en las relaciones amorosas. Ambientados en un universo idílico alejado de problemáticas sociales, significó una aproximación novedosa al mundo de las elites, en el marco de las profundas transformaciones que acaecían en los primeros años del gobierno peronista. En un contexto de fuerte modernización del país y alteración de la estructura social, sus comedias muestran sin denunciarla a una burguesía que no se avergüenza de su condición, alterando los discursos cinematográficos previos sobre el ocio, la movilidad social y las pautas de consumo.

Studies in Spanish & Latin-American cinemas
Paper | Numerical version with subscription | Cuatrimestral | United Kingdom SLAC
Print ISSN: 2050-4837
Online ISSN: 2050-4845
Year of creation: 2013

Publisher: Intellect Ltd.
Address: The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, United Kingdom

Publisher:

Formerly published as Studies in Hispanic Cinemas, 2004-2013, the journal is dedicated to the study of Spanish-speaking and Latin American cinemas. Coverage includes the cinemas of Spain and Spanish-speaking South, Central and North America, including the Caribbean, and Brazil. Our target readership includes students, teachers and scholars. The double-blind peer-reviewed journal is written in English to maximize the opportunities for contact between academic disciplines such as Media, Film Studies, Latin American and Post- colonial Studies, as well as Hispanic Studies, thereby encouraging an inter-cultural and inter-disciplinary focus.

Review related to: Studies in Hispanic Cinemas

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