Experimental Latin American cinema history and aesthetics /
I tiakina i:
| Kaituhi matua: | |
|---|---|
| Kaituhi rangatōpū: | |
| Hōputu: | Tāhiko īPukapuka |
| Reo: | Ingarihi |
| I whakaputaina: |
Austin :
University of Texas Press,
2013.
|
| Putanga: | 1st ed. |
| Ngā marau: | |
| Urunga tuihono: | An electronic book accessible through the World Wide Web; click to view |
| Ngā Tūtohu: |
Tāpirihia he Tūtohu
Kāore He Tūtohu, Me noho koe te mea tuatahi ki te tūtohu i tēnei pūkete!
|
Rārangi ihirangi:
- Introduction: mise-en-scene, a seemingly international staging
- A neonoir skew to the action-image. A shimmering suture: Fabián Bielinsky's epileptic El aura
- Slippery criminal pleasures: intermediality and voyeurism in Jorge Furtado's O homem que copiava
- Endless quest: chasing sex, lies, and money at the gates of hell in Heitor Dhalia's O cheiro do ralo
- Road movies. The paradoxical effect of the documentary: Walter Salles's Central do Brasil
- Twin piques: the double discourse of Carlos Sorín's El camino de San Diego
- Orphans' solidarity: María Victoria Menis's El cielito
- Drama. Sculpting time: Inês de Oliveira Cézar's Como pasan las horas
- The past engulfs the present: Josue Mendez's Días de Santiago
- Experimental auteurism. Whether or not to end one's life: Carlos Reygadas's Japón
- Crime and self-inflicted punishment: Carlos Reygadas's Batalla en El cielo
- Experimental auteurism and intertextuality. The miracle of female bonding in patriarchal society: Carlos Reygadas's Stellet licht (2008)
- Cyclical scapegoating: Inês de Oliveira Cézar's Extranjera
- The irrevocable nature of curses: Inês de Oliveira Cézar's El recuento de Los Daños
- Splintered mirrors, echoes, and reverberations: Fernando Pérez Valdés's Madrigal
- Experimental pseudo-documentary. Room with a view: Fernando Pérez Valdés's Suite Habana
- Life is and is not: Paz Encina's Hamaca Paraguaya
- Conclusion: possible futures.