Book contents
- Frontmatter
- Contents
- Acknowledgements
- List of Figures
- List of Tables
- Traditions in World Cinema
- Introduction: The Cultural Politics of Transnational Filmmaking
- Mexico: Introduction
- 1 Alejandro González Iñárritu: Mexican Director Without Borders
- 2 ‘From Hollywood and Back’: Alfonso Cuarón’s Adventures in Genre
- 3 Guillermo del Toro’s Transnational Political Horror: Cronos (1993), El espinazo del diablo (The Devil’s Backbone 2001) and El laberinto del fauno (Pan’s Labyrinth 2006)
- Brazil: Introduction
- 4 Fernando Meirelles as Transnational Auteur
- 5 Revolutionary Road Movies: Walter Salles’ Diarios de motocicleta (Motorcycle Diaries 2004) and On the Road (2012)
- Argentina: Introduction
- 6 Juan José Campanella: Historical Memory and Accountability in El secreto de sus ojos (The Secret in Their Eyes 2009)
- Epilogue: Gravity (Alfonso Cuarón 2013), Birdman (Alejandro G. Iñárritu 2014), The Revenant (G. Iñárritu 2015) and Crimson Peak (Guillermo del Toro 2015)
- Select Filmography
- Bibliography
- Index
5 - Revolutionary Road Movies: Walter Salles’ Diarios de motocicleta (Motorcycle Diaries 2004) and On the Road (2012)
Published online by Cambridge University Press: 24 April 2021
- Frontmatter
- Contents
- Acknowledgements
- List of Figures
- List of Tables
- Traditions in World Cinema
- Introduction: The Cultural Politics of Transnational Filmmaking
- Mexico: Introduction
- 1 Alejandro González Iñárritu: Mexican Director Without Borders
- 2 ‘From Hollywood and Back’: Alfonso Cuarón’s Adventures in Genre
- 3 Guillermo del Toro’s Transnational Political Horror: Cronos (1993), El espinazo del diablo (The Devil’s Backbone 2001) and El laberinto del fauno (Pan’s Labyrinth 2006)
- Brazil: Introduction
- 4 Fernando Meirelles as Transnational Auteur
- 5 Revolutionary Road Movies: Walter Salles’ Diarios de motocicleta (Motorcycle Diaries 2004) and On the Road (2012)
- Argentina: Introduction
- 6 Juan José Campanella: Historical Memory and Accountability in El secreto de sus ojos (The Secret in Their Eyes 2009)
- Epilogue: Gravity (Alfonso Cuarón 2013), Birdman (Alejandro G. Iñárritu 2014), The Revenant (G. Iñárritu 2015) and Crimson Peak (Guillermo del Toro 2015)
- Select Filmography
- Bibliography
- Index
Summary
I believe that there is not just one Latin American Cinema […] There are cinemas; made up of sometimes contradictory currents that often collide, yet come together in a desire to portray our realities in an urgent and visceral manner. We make films that are, like the melting pot that characterises our cultures, impure, imperfect and plural.
(Salles 2003: xiv, emphasis added)Walter Salles is known internationally as a significant figure of Brazil's post 1995 filmmaking revival (retomada) and more broadly of the Latin American cinematic renaissance (Shaw 2013b: 27; Williams 2007: 12). He is also known, like the other directors explored so far in this book, for an enormous critical and commercial success – his fourth feature Central do Brasil (Central Station 1998), which grossed $57.6 million worldwide and was nominated for the Oscar for Best Foreign Film – and for a series of high profile deterritorialised projects: Diarios de motocicleta (Motorcycle Diaries 2004), Dark Water (2005), On the Road (2012), and Jia Zhanke: A Guy From Fenyang (2014). At the same time, Salles has continued to make and produce films in Brazil: Abril Despedaçado (Behind the Sun 2001), Linha de Passe (with Daniela Thomas 2008), Cidade de Deus, Cidade Baixa (Lower City Sérgio Machado 2005), Madam Satâ (Karim Aïnouz 2002) O Céu de Suely (Love for Sale Aïnouz 2006), and across Latin America, Leonera (Lion's Den Pablo Trapero 2008) through his production company VideoFilmes. Salles is also defined by statements like those in the epigraph to this chapter in which, through his choice of words (‘realities’, ‘urgent’, ‘visceral’ and ‘impure’) and use of ‘we’, he connects contemporary and previous filmmaking in Latin America, including his own films, with the militantly political filmmaking of the New Latin American Cinema of the 1960s and 1970s. And yet, despite the new cinema-like sentiments of such statements, Salles’ films, and in particular his deterritorialised productions, have sometimes attracted criticism for betraying the sentiments of the New Latin American cinema, for the way they engage with popular genres and mainstream filmmaking styles.
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- New Transnationalisms in Contemporary Latin American Cinemas , pp. 161 - 186Publisher: Edinburgh University PressPrint publication year: 2018