Contemporary Hispanic Cinema: Interrogating the Transnational in Spanish and Latin American Film

262 Pages·2013·5.005 MB·English

by  Stephanie Dennison (editor)

C
O
N
This book focuses on the cross-currents
T
and points of contact in film production E CONTEMPORARY
among so-called Hispanic countries M
(Spain, Portugal and Latin America), and P HISPANIC CINEMA
O
in particular the impact that co-production
R
and supranational funding initiatives are
A
Interrogating the Transnational in Spanish
having on both the film industries and the R
films of Latin America in the twenty-first Y and Latin American Film

century. Together with chapters that H
I
discuss and further develop transnational S
P
approaches to reading films in the Hispanic A
and Latin American context, the volume N
includes chapters that focus on funding IC Edited by Stephanie Dennison
initiatives, such asIBERMEDIA, that are
C
aimed at Spain, Portugal and Latin I
N
America. An analysis of such initiatives
E
facilitates a nuanced discussion of the M
range of meanings afforded to the term A
transnationalism: from the workings of
those driven by economic imperatives,
such as co-productions and ‘Hispanic’
film festivals, to the cultural, for S
t
example the invention of a marketable e
p
‘Latinamericaness’ in Spain, or a h
a
‘Hispanic aesthetic’ elsewhere. n
i
e

STEPHANIE DENNISONis Reader in D
e
Brazilian Studies at the University of Leeds. n
n
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n

(
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)
an imprint of Boydell & BrewerLtd Monografías
PO Box 9, Woodbridge, Suffolk IP12 3DF (GB) and
668 Mt Hope Ave, Rochester NY 14620-2731 (US)
www.boydellandbrewer.com
Colección Támesis
SERIE A: MONOGRAFÍAS, 323
CONTEMPORARY HISPANIC CINEMA
INTERROGATING THE TRANSNATIONAL
IN SPANISH AND LATIN AMERICAN FILM
Tamesis
Founding Editors
† J. E. Varey
† Alan Deyermond
General Editor
Stephen M. Hart
Series Editor of
Fuentes para la historia del teatro en España
Charles Davis
Advisory Board
Rolena Adorno
John Beverley
Efraín Kristal
Jo Labanyi
Alison Sinclair
Isabel Torres
Julian Weiss
CONTEMPORARY HISPANIC CINEMA
INTERROGATING THE TRANSNATIONAL
IN SPANISH AND LATIN AMERICAN FILM
Edited by
Stephanie Dennison
TAMESIS
© Contributors 2013
All Rights Reserved. Except as permitted under current legislation
no part of this work may be photocopied, stored in a retrieval system,
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transmitted, recorded or reproduced in any form or by any means,
without the prior permission of the copyright owner
First published 2013 by Tamesis, Woodbridge
ISBN 978 185566 261 2
Tamesis is an imprint of Boydell & Brewer Ltd
PO Box 9, Woodbridge, Suffolk IP12 3DF, UK
and of Boydell & Brewer Inc.
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website: www.boydellandbrewer.com
A CIP catalogue record for this book is available
from the British Library
The publisher has no responsibility for the continued existence or accuracy of
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Papers used by Boydell & Brewer Ltd are natural, recyclable products
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For Libia, Deborah, Tamara, Nuria, Marvin,
Sarah, Catherine and Alessandra

CONTENTS
Acknowledgements ix
List of Contributors x
Preface xiii
Stephanie DenniSon
1 National, Transnational and Post-national: Issues in Contemporary 1
Film-making in the Hispanic World
Stephanie DenniSon
2 Redefining Transnational Cinemas: A Transdisciplinary Perspective 25
Libia ViLLazana
3 Deconstructing and Reconstructing ‘Transnational Cinema’ 47
Deborah Shaw
4 Ibero-Latin American Co-productions: Transnational Cinema, 67
Spain’s Public Relations Venture or Both?
tamara L. FaLicoV
5 Building Latin American Cinema in Europe: Cine en Construcción/ 89
Cinéma en construction
nuria triana toribio
6 Pedro Almodóvar’s Latin American ‘Business’ 113
marVin D’Lugo
7 Transnational Film Financing and Contemporary Peruvian 137
Cinema: The Case of Josué Méndez
Sarah barrow
8 The Silenced Screen: Fostering a Film Industry in Paraguay 155
catherine Leen
9 Finance and Co-productions in Brazil 181
aLeSSanDra meLeiro
Afterword 205
Stephanie DenniSon
Works Cited 207
Index 227
ACKNOWLEDGEMENTS
I would like to thank the School of Modern Languages and Cultures of
the University of Leeds, the School of Media at the University of Lincoln,
the Instituto Cervantes, the Instituto Camões and the Brazilian Embassy in
London for their financial support for either the symposium upon which this
edited collection is based (Transnational Film Financing in the Hispanic
World, June 2009, University of Leeds) or for the cost involved in bringing
this book project to fruition.
At the Instituto Cervantes in Manchester I am grateful to Kepa González
for his support for this project, and for tirelessly answering my questions about
the Viva film festival and Cine en Construcción. A number of contributors
have benefitted from the opportunity to interview directors, producers and
other industry professionals: our heartfelt thanks go to them.
In the School of Modern Languages and Cultures and beyond I would
like to thank a number of colleagues who have supported this venture in one
way or another: Cristian Aliaga, Stuart Green, Sofia Martinho, Lúcia Nagib,
Thea Pitman, Rob Rix, Laura Rodríguez Isaza, Antônio Márcio da Silva,
Duncan Wheeler, and the very smart and engaged undergraduate students on
my Latin American Film Industries module.
Thanks to Stephen Hart for his encouragement at the initial stages of the
book project and to Scott Mahler at Tamesis Press for his support, advice
and patience.
Thanks finally to Fernando for all the childcare and to Anna, for forgoing
mummy’s company at weekends for the sake of ‘the book’.