Book Description
Combining history with discussions of dramatic cinema, Based on a True Story: Latin American History at the Movies examines how film has portrayed Latin America from the late fifteenth century to the present. The book opens with an introduction on the visual presentation of the past in the movies, while the rest of the book consists of essays that explore the best feature films on Latin America from the professional historian's perspective.
Book Description
The earliest films made in Cuba-newsreel footage of the Cuban-Spanish-American War-date from the end of the nineteenth century, but Cuba cannot be said to have had an indigenous film industry before the revolution of 1959. The melodramas, musicals, and comedies made until then reflected Hollywood's-and the United States's-cultural domination of the island, but the revolution precipitated urgent debates about the role of cinema in a socialist country and the kinds of films best suited to the needs of the people and their rulers. Among the feature films, documentaries, and short subjects made in accordance with revolutionary principles are celebrated works by Tomás Gutiérrez Alea, Humberto Solás, and other filmmakers who have had a profound influence on both Latin American and world cinema.
Michael Chanan provides a comprehensive, authoritative, and absorbing account of Cuban cinema both before and after the revolution, deftly setting individual films and filmmakers within the larger framework of Cuba's social, political, and cultural history. First published as The Cuban Image in 1984 to wide acclaim, Cuban Cinema now appears in a new, expanded edition that updates Chanan's discussion to the beginning of the twenty-first century. New chapters address ongoing concerns about freedom of expression; Havana's restored importance within the Latin American film industry through the Havana Film Festival, before state support for filmmakers dwindled in the economic collapse that followed the fall of the Soviet Union; Cuban cinema's place within the globalized cultural market; and the changing audience for Cuban films.
The only book-length study of Cuban cinema written in English, this indispensable work on one of the world's most vital national cinemas offers a unique perspective on the Cuban experience in the twentieth century.
Michael Chanan is a documentary filmmaker and professor of cultural and media studies at the University of the West of England in Bristol.
Book Description
Variously described as a work of genius, a pretentious wreck, a crucially important film, and a victim of its director's ego, among other things, It's All True, shot in Mexico and Brazil between 1941 and 1942, is the legendary movie that Orson Welles never got to finish. In this book, the most comprehensive and authoritative assessment of It's All True available, Catherine Benamou synthesizes a wealth of new and little-known source material gathered on two continents, including interviews with key participants, to present a compelling original view of the film and its historical significance. Her book challenges much received wisdom about Orson Welles and illuminates the unique place he occupies in American culture, broadly defined.
Customer Reviews:
important subject smothered in grotesque prose.......2007-09-23
"Textophagy"--better like the word, because you'll encounter dozens of such coinages "imbricated" (more fashionable terminology of this ilk) in the author's impenetrable prose: "Just as donning false noses and epidermises allowed Welles to take on significantly different personae while remaining easily recognizable to the public--thereby disclosing the fact of the prothesis to any viewer who had seen him in other performances--his recuperation of the lost work in progress does not involve erasure and forgetting, achieved through the decontextualization and compositional simulation (by way of suturing) of dismembered elements. Instead, it speaks to the reclamation and remembrance by way of bricolage of the text he had originally envisioned." It's the quaint, now antiquated thereobabble (to insert a coinage of my own) of humanities graduate schools in the late 1980s and 1990s. NYU (and the others) can't be entirely blamed for this--Benamou had adequate time to outgrow it in the decade between her 1997 dissertation and the publication of this book. (Also badly needed: a refresher course in the real-life economics of the film industry.) There's deep research behind this effort, and it yields up a wealth of invaluable new information on this pivotal project in Welles' career; let us hope that someone extracts it and blogs it in comprehensible form and that Benamou assents to the process (she holds the copyright): that, plus the reconstruction project of surviving footage she's heading in conjunction with UCLA Film/Television Archive, might turn out to be her most important contributions to Welles scholarship.
Book Description
Still the finest comprehensive analysis of the subject to have appeared in English, Magical Reels charts the development of Latin American film industries in a world increasingly dominated by the advanced technology and massive distribution budgets of the North American mainstream. John King sets up a historical framework to unfold the overlapping histories of cinema in the continent: the itinerant film-makers of the silent era who projected their films in cafes and village halls, the inventive use of vernacular music and local comedy in the early sound pictures, the 'golden age' of 1940s Mexican cinema, and the 'new cinema'--oppositional cinema made 'with an idea in the head and a camera in the hand'--of the late 1950s and beyond. A new chapter written for this edition examines Latin American cinema in the previous decade.
Book Description
Tropical Multiculturalism provides a major study of race in Brazilian culture through the most complete critical analysis of Brazilian cinema in any language. Focusing on representations of multicultural themes involving Euro- and Afro-Brazilians, other immigrants, and indigenous peoples in the rich tradition of Brazilian fictional feature film, Robert Stam puts Brazilian culture at the center of a wide-ranging analysis of race, representation, history, and film. Drawing parallels between the histories of colonialism, slavery, and immigration in Brazil and the United States, he also contends that questions of ethnic and racial representations are best viewed within the larger context of a comparative analysis of racially plural societies.
Stam examines the broad historical and cultural links that connect Brazil and the United States before considering multicultural imagery in Brazilian film as it has changed from the silent era to the present. His analysis moves through the comic chanchadas of the 1930s and 1940s, to the Hollywood-style films from Sao Paulo in the 1950s, and the diverse phases of Cinema Novo beginning in the 1960s. He explores a wealth of subjects, including the submerged "blackness" of Carmen Miranda, the anti-racist agenda of Orson Welles’s never-released Brazilian film It’s All True, the international background behind Black Orpheus, the career of Grande Otelo (Brazil’s greatest black film star), the allegorical "cannibalistic" films like How Tasty Was My Frenchman, and "indigenous media"âthe attempt by Brazilian "indians" to use camcorders and VCRs for their own cultural and political purposes. Tropical Multiculturalism is simultaneously a history of Brazilian cinema from the standpoint of race, a history of Brazil itself through its cinematic representations, a comparative study of racial formations in Brazil and the United States, and a theorized analysis of racialized representations.
Book Description
"This work takes Latin American film scholarship to a new level of critical, conceptual, and methodological sophistication. Zuzana Pick frames key questions through a judicious, even inspired choice of films. Her interpretations are superb. Perceptive, analytically broad-ranging, critically compelling, they set a new standard for the field." --julianne burton-carrajal, editor of cinema and social change in latin america: conversations with filmmakers During the 1967 festival of Latin American Cinema in Viña del Mar, Chile, a group of filmmakers who wanted to use film as an instrument of social awareness and change formed the New Latin American Cinema. Nearly three decades later, the New Cinema has produced an impressive body of films, critical essays, and manifestos that uses social theory to inform filmmaking practices. This book explores the institutional and aesthetic foundations of the New Latin American Cinema. Zuzana Pick maps out six areas of inquiry--history, authorship, gender, popular cinema, ethnicity, and exile--and explores them through detailed discussions of nearly twenty films and their makers, including Camila (María Luisa Bemberg), The Guns (Ruy Guerra), and Frida (Paul Leduc). These investigations document how the New Latin American Cinema has used film as a tool to change society, to transform national expressions, to support international differences, and to assert regional autonomy.
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Cinema and the Sandinistas: Filmmaking in Revolutionary Nicaragua (Texas Film and Media Studies Series)
Jonathan Buchsbaum
Manufacturer: University of Texas Press
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Binding: Paperback
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ASIN: 0292705247 |
Book Description
The book provides an invaluable resource for Latin American film scholars, scholars of contemporary Nicaraguan state formation, and cultural studies scholars intrigued with larger questions concerning the relationship between the arts, social change, mediation, and globalization.
—
The Journal of Latin American Anthropology
"This is the only major study of Nicaraguan cinema and, as such, it is invaluable not only to film students, but also to third world studies and cultural work. . . . In a world dominated by corporate culture, the effort by a small, poor, underdeveloped country to construct a national film project has importance as a model despite its failures."
—DeeDee Halleck, author of
Hand-Held Visions: The Uses of Community Media
Following the Sandinista Revolution in 1979, young bohemian artists rushed to the newly formed Nicaraguan national film institute INCINE to contribute to "the recovery of national identity" through the creation of a national film project. Over the next eleven years, the filmmakers of INCINE produced over seventy films—documentary, fiction, and hybrids—that collectively reveal a unique vision of the Revolution drawn not from official FSLN directives, but from the filmmakers' own cinematic interpretations of the Revolution as they were living it.
This book examines the INCINE film project and assesses its achievements in recovering a Nicaraguan national identity through the creation of a national cinema. Using a wealth of firsthand documentation—the films themselves, interviews with numerous INCINE personnel, and INCINE archival records—Jonathan Buchsbaum follows the evolution of INCINE's project and situates it within the larger historical project of militant, revolutionary filmmaking in Latin America. His research also raises crucial questions about the viability of national cinemas in the face of accelerating globalization and technological changes which reverberate far beyond Nicaragua's experiment in revolutionary filmmaking.
Book Description
Renewed interest in Latin American film industries has opened a host of paths of scholarly exploration. Productions from different countries reflect particular social attitudes, political climates and self-conceptions, and must be considered separately and as a whole. The search for national identity is a key component of Latin American films in a time of decreasing cultural diversity and pressures to westernize. Globalization and falling government support have fueled cross-border collaborations, calling into question the idea of a movie's "nationality," and leaving some nations' film industries on the brink of collapse. Whether thriving or barely surviving, struggling to remain distinct or embracing globalization on its own terms, addressing the government or society, Latin American cinema remains vibrant, offering a wealth of material to scholars of all stripes.
These collected essays explore important elements of Latin American cinema and its associated national film industries. The first section of essays examines the impact of modernization on both Latin American screen images and the industry itself, offering modern and historical perspectives. The second section focuses on filmmakers who deal with issues of gender and sexuality, whether sexual transgression, the role of female characters, or societal attitudes towards sex and nudity. The final section of essays discusses the relationship between national identity and Latin American film industries: how movies are used to create a sense of self; Uruguay's ongoing identity crisis; and Brazil's use of Hollywood's stereotypical depiction of the country to depict itself. Photographs and an annotated bibliography accompany each essay, and an index supplements the text.
Product Description
20 Seger classics transcribed for guitar with notes and tab: Against the Wind Betty Lou's Gettin' Out Tonight Even Now Feel like a Number The Fire down Below Fortunate Son Get Out of Denver Her Strut Hollywood Nights The Horizontal Bop Katmandu Like a Rock Mainstreet Night Moves Old Time Rock & Roll Rock and Roll Never Forgets Still the Same Sunspot Baby Turn the Page You'll Accomp'ny Me. Includes great color photos.
Customer Reviews:
Nice Book With Descent Tabs.......2007-09-14
Great song selection with 20 songs. Tabs are pretty accurate and complete. I would have liked the print to be a little bigger but still not bad.
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