Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgements
- List of Contributors
- Preface
- 1 National, Transnational and Post-national: Issues in Contemporary Film-making in the Hispanic World
- 2 Redefining Transnational Cinemas: A Transdisciplinary Perspective
- 3 Deconstructing and Reconstructing ‘Transnational Cinema’
- 4 Ibero-Latin American Co-productions: Transnational Cinema, Spain's Public Relations Venture or Both?
- 5 Building Latin American Cinema in Europe: Cine en Construcción/Cinéma en construction
- 6 Pedro Almodóvar's Latin American ‘Business’
- 7 Transnational Film Financing and Contemporary Peruvian Cinema: The Case of Josué Méndez
- 8 The Silenced Screen: Fostering a Film Industry in Paraguay
- 9 Finance and Co-productions in Brazil
- Afterword
- Works Cited
- Index
Afterword
Published online by Cambridge University Press: 05 September 2013
- Frontmatter
- Dedication
- Contents
- Acknowledgements
- List of Contributors
- Preface
- 1 National, Transnational and Post-national: Issues in Contemporary Film-making in the Hispanic World
- 2 Redefining Transnational Cinemas: A Transdisciplinary Perspective
- 3 Deconstructing and Reconstructing ‘Transnational Cinema’
- 4 Ibero-Latin American Co-productions: Transnational Cinema, Spain's Public Relations Venture or Both?
- 5 Building Latin American Cinema in Europe: Cine en Construcción/Cinéma en construction
- 6 Pedro Almodóvar's Latin American ‘Business’
- 7 Transnational Film Financing and Contemporary Peruvian Cinema: The Case of Josué Méndez
- 8 The Silenced Screen: Fostering a Film Industry in Paraguay
- 9 Finance and Co-productions in Brazil
- Afterword
- Works Cited
- Index
Summary
The nine essays in this collection, researched and written between 2008 and 2011, provide a ‘snapshot’ of transnational filmmaking practices in the imagined community of nations that we define as the Hispanic world roughly between the years 2005 and 2010. With its emphasis on film festivals, international funding agencies, and co-productions, we have concentrated on films that circulate ‘abroad’, but it is perhaps worth underscoring once more the fact that many films are both financed and circulate within Latin America without any recourse to ‘foreign assistance’. These range from the Globofilmes-produced (or marketed) popular comedies and TV spin-offs in Brazil, to genre films in Venezuela, to the kind of recent exploitation films discussed in a number of chapters in Tierney and Ruétalo's ground-breaking Latsploitation collection.
In the year we go to press (2012), ‘Hispanic’ films continue to attract international attention and praise: for example, the current severe funding crisis in Portuguese cinema has been overshadowed in the press by the critical success of feature-length and short films, while the Hollywood Reporter declared this year, as a result of box-office and production increases and the notable presence of Latin American films at Cannes 2012, ‘It's a good time to be part of the Latin American film industry’.
- Type
- Chapter
- Information
- Contemporary Hispanic CinemaInterrogating the Transnational in Spanish and Latin American Film, pp. 205 - 206Publisher: Boydell & BrewerPrint publication year: 2013