The Latin American Road Movie by Verónica Garibotto, Jorge Pérez

By Verónica Garibotto, Jorge Pérez

This quantity explores the methods motion pictures made by way of Latin American administrators and/or co-produced in Latin American nations have hired the line motion picture style to deal with the reconfiguration of the geographical, sociopolitical, monetary, and cultural panorama of Latin America.

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Dirs. Karim Aïnouz and Marcelo Gomes. Brazil: Rec produtores associados, DVD. Viernes social. 1994. Dirs. Frida Medín and Viveca Vázquez. Puerto Rico: Taller de otra cosa, DVD. Viva Cuba. 2005. Dir. Juan Carlos Cremata Malberti. Cuba-France: Quad Productions, TVC Casa Productora and La Colmenita, DVD. Vuelve Sebastiana. 1953. Dir. Jorge Ruiz. Bolivia: Bolivia Films and Instituto Indigenista Boliviano, DVD. Whisky. 2004. Dirs. Juan Pablo Rebella and Pablo Stoll. : Control Zeta Films, Rizoma Films and Pandora Filmproduktion, DVD.

2010. Otros mundos. Un ensayo sobre el nuevo cine argentino. Santiago Arcos: Buenos Aires. Print. Aldana, Erin. 2013. The land, the road, and the freedom to move on: The tension between documentary and fiction in Iracema, uma transa amazônica. Social Identities 19(3–4): 356–370. Print. Alvaray, Luisela. 2008. National, regional, and global: New waves of Latin American cinema. Cinema Journal 47(3): 48–65. Print. Alvaray, Luisela. 2013. Hybridity and genre in transnational Latin American cinemas.

In each of these sets, I will assess the function of the road movie idiom with respect to the particular instances of modernity that Shelling has singled out for Latin America. At the same time, however, it is clear that Latin American cinema is increasingly part of a decentered form of world cinema (Ďuroviĉová and Newman), which prevents us from tracing clear-cut boundaries between what counts as “Latin American” and what does not. Modernity is a worldwide phenomenon, and several problems depicted in Latin American road movies— such as divorce (De jueves a Dominga Sotomayor, 2012), abortion (Turistas, Alicia Scherson, 2006), or unrootedness (Música Campesina, Alberto Fuguet, 2011)—might equally appear elsewhere.

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