Key Issues and Debates in Ibero-American Film: Film Form and the Location of Culture

Braun, Harald and Lisa Vollendorf, Theorizing the Ibero-American Atlantic (Leiden: Brill, 2013)

Durovicova, Natasa and Kathleen Newman. World Cinemas, Transnational Perspectives, NY: Routledge, 2009.

Ezra, Elizabeth and Terry Rowden. Transnational Cinema. The Film Reader, NY: Routledge, 2006.

Hill, John and Pamela Church Gilbson. World Cinema. Critical Approaches, Oxford: Oxford UP, 2000.

Hjort, Mette and Scott Mackenzie. 2000. Cinema and Nation. London: Routledge.

Kantaris, Geoffrey, "Dereferencing the Real: Documentary Mediascapes in the Films of Carlos Marcovich (¿Quién diablos es Juliette? and Cuatro labios)", in Miriam Haddu and Joanna Page, eds., Visual Synergies in Fiction and Documentary Film from Latin America (Palgrave Macmillan, 2008), pp. 219-36.

Willemen, Paul. ‘For a Comparative Film Analysis,’ Inter-Asia Cultural Studies, 2006: 98-112.

 

Topic 1: New Film Technologies in the Ibero American World

Cánovas, Belchí, J., "Cultura popular e identidad nacional en el cine español mudo de los años veinte," in Berthier, N. and Seguin, J.-C. (eds.) Cine, nación y nacionalidades en España. Madrid: Casa de Velázquez, 2007: 25-36.

Charney, Leo and Vanessa Schwarz. Cinema and the Invention of Modern Life. Berkeley: U of California P, 1996.

Doane, Mary Ann. The Emergence of Cinematic Time: Modernity, Contingency, The Archive. Cambridge, Massachusetts: Harvard University Press, 2002Elsaesser, Thomas and Adam Barker. Early Cinema. Space, Frame, Narrative. London: BFI, 1990.

Elsaesser, Thomas and Adam Barker. Early Cinema. Space, Frame, Narrative. London: BFI, 1990.

Fernández Cuenca, C. Segundo de Chomón: Maestro de la fantasía y de la técnica (1871-1929). Madrid: Editora Nacional, 1972

Grieveson, Lee and Peter Kramer. The Silent Cinema Reader. London: Routledge, 2003.

López, Ana M. ‘Early Cinema and Modernity in Latin America.’ Cinema Journal 40 (1), 2000: 48-78.

Martínez Bretón, J. A. (2002), "El control cinematográfico en la evolución del mudo al sonoro." Biblioteca Virtual Miguel de Cervantes. Online at:

http://www.cervantesvirtual.com/servlet/SirveObras/cine/01159630097810419650035/p0000001.htmNeedell, Jeffrey. A Tropical Belle-époque. Cambridge: CUP, 2010.

Suárez, Juana. Critical Essays on Colombian Cinema and Culture: Cinembargo Colombia. (Palgrave Macmillan, 2012)

 

Topic 2: Popular Film Traditions and Genres

Bell, James (ed.). Gothic. The Dark Heart of Film (London: BFI, 2013)

Cornea, Christine. Science Fiction Cinema: Between Fantasy and Reality. Edinburgh: Edinburgh University Press, 2007.

Diestro-Dópido, Mar. Pan’s Labyrinth (London: BFI Film Classics, 2013)

Dimendberg, Edward, Film Noir and the Spaces of Modernity (Cambridge: Harvard UP, 2004)

Evans, Peter (ed). Spanish Cinema: The Auteurist Tradition (OUP, 1999).

Heise, Ursula K. Chronoschisms: Time, Narrative, and Postmodernism. Cambridge: Cambridge University Press, 1997.

Jameson, Fredric. Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions. London: Verso, 2005.

Jordan, Barry and Ricky Morgan. Contemporary Spanish Cinema (Manchester Uni Press, 1998)

Martín-Barbero, Jesús, “La ciudad: entre medios y miedos”, in Ciudadanías del miedo. S. Rotker Ed.(Caracas: Nueva Sociedad, 2000), pp. 29-35.

Monsiváis, Carlos, “South of the Border, Down Mexico’s Way: El cine latinoamericano y Hollywood” in Aires de familia: cultura y sociedad en América Latina (Barcelona: Anagrama, 2000), pp. 51-78

O’Bryen, Rory, “Urban Perspectives: Earthquakes and Landslides” in Literature, Testimony, Cinema in Contemporary Colombian Culture: Spectres of La Violencia (Woodbridge: Boydell and Brewer, 2008), p.157-182

Slusser, George Edgar and Eric S. Rabkin, eds. Shadows of the Magic Lamp: Fantasy and Science Fiction in Film. Carbondale: Southern Illinois University Press, 1985.

Suárez, Juana, “Decentering the Centro: Film Noir and the Metamorphosis of Bogotá” in Cinembargo Colombia: Critical Essays on Colombian Cinema and Culture London: Palgrave, 2012, pp. 121-140

Triana Toribio, Nuria. Spanish National Cinema (Routledge, 2003)

 

Topic 3: Film, Modernism and the Avant-Garde

Adamowicz, Elza. Un chien andalou. New York: I.B. Tauris, 2010.

Eagleton, Terry. “Capitalism, Modernism and Postmodernism”. Against the Grain: Essays 1975-1985. London: Verso, 1986. 131-47.

Elder, Bruce, “Deception as aggression: Salvador Dali and Luis Buñuel's Un chien Andalou.” Disguise, deception, trompe-l'oeil: interdisciplinary perspectives, edited by Leslie Boldt-Irons et al. New York: Peter Lang, pp. 207-230.

Evans, Peter. The films of Luis Buñuel: subjectivity and desire. Oxford: Clarendon, 1995.

Heredero, Carlos, Iván Zulueta: La vanguardia frente al espejo. Alcalá de Henares: Festival de Cine de Alcalá de Henares, 1989

Johnson, Randal and Robert Stam. Brazilian Cinema. New York: Columbia University Press, 1995.

Mira, Alberto,’ The Dark Heart of the Movida: Vampire Fantasies in Iván Zulueta’s Arrebato,’ Arizona Journal of Hispanic Cultural Studies 13 (2009): 155-169

Sánchez-Biosca, Vicente, ‘Arrebato/Rapture: Iván Zulueta, Spain, 1980,’ in Mira, Alberto, ed. The Cinema of Spain and Portugal. London: Wallflower Press, 2005: 169-177

Williams, Linda Figures of desire: a theory and analysis of surrealist film. Berkeley: University of California Press, 1992.

Xavier, Ismail. Allegories of Underdevelopment. Minneapolis: University of Minnesota Press, 1997.

 

Topic 4: War and Revolution on Film

Anos de Abril - Cinema Português da Revolução. IPC - 2ª Ed. 1974-1982.

‘Capitaines d'avril,’ Vingtième Siècle. Revue d'histoire, No. 73 (Jan. - Mar., 2002), 193-196.

Antunes, João and Matos-Cruz. José de, Cinema Português 1896–1998 (Lusomundo, Lisbon, Portugal, 1997).

Bandeira, José Gomes. Porto: 100 anos de cinema português (Câmara Municipal do Porto, Porto, Portugal, 1996).

Bartlet, Oliver, African Cinema. Decolonizing the Gaze, London: Zed Books, 2000

Diawara, Manthia, African Cinema: Politics and Culture, NY: John Wiley, 1992

Downing, John D.H. Film & Politics in the Third World. New York: Autonomedia

Lins, Consuelo and Cláudia Mesquita, Filmar o real [Kindle Edition]

Matos-Cruzm José and João Antunes. O Cinema Português: 1896 – 1998 (Lisbon: Lusomundo Editores, 1998).

Mira, Alberto. The Cinema of Spain and Portugal (Wallflower, 2005)

Nobre, Roberto. Singularidades do Cinema Português (Lisbon: Portugália Editora).

Pina, Luís de. Documentarismo Português (Instituto Português de Cinema, 1977).

Ramos, Jorge Leitão (Dicionário do Cinema Português 1895-1961)

Weiss, Peter. The Aesthetics of Resistance (Duke University Press, 2005)

 

Topic 5: Dictatorship and Postdictatorship

Benjamin, Walter, “Theses on the Philosophy of History”. Illuminations. London: Pimlico, 1999. 245-55.

Bentes, Ivana, “Multiculturalism, Cinematic Sensation and Theoretical Devices” in CarlosBassualdo (Ed.)Tropicalia: A Revolution in Brazilian Culture (Barbican, 2006): 99-128

D’Lugo, Marvin. Carlos Saura: The Practice of Seeing (New Jersey: Princeton University Press, 1991)

Garibotto, Verónica. “Iconic Fictions: Narrating Recent Argentine History in Post-2000 Second-Generation Films.” Studies in Hispanic Cinemas. 8.2 (March 2012), 175-188

Hirsch, Marianne, The Generation of Postmemory: Writing and Visual Culture After the Holocaust. Columbia University Press, 2012.

Johnson Randal and Robert Stam Eds. Brazilian Cinema, New York: Columbia University Press, 1996: 149-162

Kantaris, Geoffrey, “Last Snapshots /Take 2: Personal and Collective Shipwrecks in Argentine Cinema of the 1990s”. In Richard Young and Amanda Holmes, eds., Cultures of the City: Mediating Identities in Urban Latin/o America. Pittsburgh, PA: University of Pittsburgh Press, 2010. 31-45.

Lazzara, Michael J. “Remembering Revolution after Ruin and Genocide: Recent Chilean Documentary Films and the Writing of History.” In Film and Genocide, ed. Kristi M. Wilson and Tomás F. Crowder-Taraborrelli, 67-86. Madison: The University of Wisconsin Press, 2012.

Ros, Ana. The Post-Dictatorship Generation in Argentina, Chile, and Uruguay: Collective Memory and Cultural Production. London : Palgrave Macmillan, 2012.

Schwarz, Roberto, “Culture and Politics in Brazil, 1964-1968” in Misplaced Ideas. Trans and Edited by John Gledson, London: Verso, 1991, pp. 126-159

Stam, Robert, “From Auto critique to Anthropophagy, 1964-1971,” Tropical Multiculturalism. A Comparative History of Race in Brazilian Cinema, Durham: Duke University Press, 1997: 233-257

Traverso, Antonio. “Nostalgia, Memory, and Politics in Chilean Documentaries of Return.” In Patricia Swier and Riordan-Goncalves, Julia, eds. Dictatorships in the Hispanic World: Transatlantic and Transnational Perspectives, 49-78. Madison: Fairleigh Dickinson University Press, 2013.

Xavier, Ismail, Allegories of Underdevelopment.Aesthetics and Politics in Brazilian Cinema. Minneapolis: University of Minnesota Press, 1997, pp. 57-95

 

Topic 6: Transnational/ Postnational

Appadurai, Arjun. 1996. Modernity at Large: Cultural Dimensions of Globalization (Minneapolis and London: University of Minnesota Press)

Apter, Emily. 1999. Continental Drift: From National Characters to Virtual Subjects (Chicago: The University of Chicago Press)

Burnett, Ron, Video: The politics of Culture and Community, in Resolutions: Contemporary Video Practices, Ed. Michael Renov and Erika Suderburg, Minneapolis: University of Minnesota Press, 1996.

Frota, Monica, Taking Aim: The Video Technology of Cultural Resistance’ in Resolutions: Contemporary Video Practices, Ed. Michael Renov and Erika Suderburg, Minenapolis: University of Minnesota Press, 1996.

García Canclini, Néstor. “Remaking Passports: Visual Thought in the Debate on Multiculturalism,” The Visual Culture Reader: Second Edition, edited by Nicholas Mirzoeff (London and New York: Routledge), 180-189

Ginsburg, Faye. "Indigenous Media:  Faustian Contract or Global Village?" Cultural Anthropology, 1991, 6(1): 92–112.

Hockings, Paul, ed. Principles of Visual Anthropology. The Hague: Mouton de Gruyter, 2003.

Loizos, Peter. Innovation in Ethnographic Film: From Innocence to Self-Consciousness, 1955-1985. Chicago: University of Chicago Press, 1993.

MacDougall, David. Transcultural Cinema. Princeton: Princeton University Press, 1998.

Naficy, Hamid. 2001. An Accented Cinema: Exilic and Diasporic Filmmaking (Princeton, NJ: Princeton University Press)

Prelorán, Jorge. El cine etnobiográfico. Buenos Aires: Universidad del Cine, 2006.

Pinazza, Natalia. 2012. “Diaspora and National Identity in Daniel Burman’s El abrazo partido,” Journal of Latin American Cultural Studies 12:3, 437-448

Rocha, Carolina. 2010. “Jewish Cinematic Self-representations in Contemporary Argentine and Brazilian Film,” Journal of Modern Jewish Studies 9:1, 37–48.

Stock, Ann M. 2006. “Migrancy and the Latin American Cinemascape: Towards a Post National Critical Praxis,” in Transnational Cinema: The Film Reader, edited by Elizabeth Ezra, and Terry Rowden (London: Routledge), 157–65