<i>Nine Queens</i>: A Dark Day Of Simulation And Justice

Copertari, Gabriela

doi:10.1080/13569320500382534

“…A plethora of monographs, chapters and articles that are predominantly about or implicitly more highly value the nuevo cine argentino have been published in English and Spanish since its emergence (Aguilar 2006;Andermann 2011;Andermann and Fernández Bravo 2013;Bernades, Lerer and Wolf 2002;Garavelli 2011;Gundermann 2005;Page 2009;Pena Pérez 2009;Rêgo and Rocha 2011;Ros 2011;Sosa 2009; in a list that is by no means exhaustive). A much smaller number of monographs, chapters and articles dedicated wholly or in part to mainstream filmmaking have appeared (Copertari 2005;Navitski 2012;Getino 2007;Rocha 2012) and only one monograph, an anthology and a handful of chapters or articles that attempt to give an overview of both (Copertari 2009;Falicov 2007b;Rêgo and Rocha 2011). One exception in the former, more plentiful, group of publications is Jaime Pena Pérez's Historias extraordinarias: nuevo cine argentino (Extraordinary stories: New Argentine Cinema 1998, which includes the industrial filmmaking of Trapero and Caetano.…”

Section: On the Roadmentioning

confidence: 99%

“…Another exception to the dominance of the nuevo cine argentino in scholarship is the analysis of certain mainstream films which draw a significant amount of attention because of their huge international box office and critical success: Nueve reinas (Bielinsky 2001), Plata quemada (Piñeyro 2004) and Campanella's four Argentine features, particularly El secreto de sus ojos (Copertari 2005;Navitski 2012;Hortiguera 2012;Shaw 2007;Rocha 2014;Choi 2013;Lee 2011;Moraña 2011;Andermann 2011;Tandeciarz 2012).…”

Section: On the Roadmentioning

confidence: 99%

New Transnationalisms in Contemporary Latin American Cinemas

Tierney¹

2018

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This book would not have been possible without the help and support of many individuals and institutions. I would like to thank Sussex University for two terms and one part-time semester of leave, and in particular the chairs of Media, Film and Music, Sue Thornham and Tim Jordan, and also the subject heads in film, Thomas Austin and Frank Krutnik. I would also like to thank the Center for Latin American and Latino Studies (CLALS) at American University (Washington DC) where a Research Fellowship in Autumn 2016 helped me with writing the final chapters of the manuscript and also Jeffrey Middents for help in organising the Fellowship. Some of the research for this book has also been conducted as part of the research project: 'Transnational relations in Spanish-American digital cinema: the cases of Spain, Mexico and Argentina' (CSO2014-52750-P), funded by the Spanish Ministry of Economy and Competitiveness. I thank José Cerdán Los Arcos and Miguel Fernández-Rodríguez Labayen for incorporating me into the project. Additionally, initial research for this book, in Mexico City in 2005/2006, was helped by funding from the Arts and Humanities Research Council.I am eternally grateful to all those who have helped in some way by answering questions, providing information, materials and/or contacts, and friendship and positive energy which have helped in the book writing process: Misha MacLaird (in particular),

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“…A plethora of monographs, chapters and articles that are predominantly about or implicitly more highly value the nuevo cine argentino have been published in English and Spanish since its emergence (Aguilar 2006;Andermann 2011;Andermann and Fernández Bravo 2013;Bernades, Lerer and Wolf 2002;Garavelli 2011;Gundermann 2005;Page 2009;Pena Pérez 2009;Rêgo and Rocha 2011;Ros 2011;Sosa 2009; in a list that is by no means exhaustive). A much smaller number of monographs, chapters and articles dedicated wholly or in part to mainstream filmmaking have appeared (Copertari 2005;Navitski 2012;Getino 2007;Rocha 2012) and only one monograph, an anthology and a handful of chapters or articles that attempt to give an overview of both (Copertari 2009;Falicov 2007b;Rêgo and Rocha 2011). One exception in the former, more plentiful, group of publications is Jaime Pena Pérez's Historias extraordinarias: nuevo cine argentino (Extraordinary stories: New Argentine Cinema 1998, which includes the industrial filmmaking of Trapero and Caetano.…”

Section: On the Roadmentioning

confidence: 99%

“…Although these two directors have moved away from their artisanal beginnings in the nuevo cine argentino their industrial work is still examined in an auteurist anthology like Pena Pérez's in chapters that trace a strong authorial trajectory from Trapero and Caetano's early and seminal new Argentine films, Mundo grúa, Pizza, birra, faso, and Bolivia, through their subsequent industrial and television projects (Noriega 2009;Wolf 2009). Another exception to the dominance of the nuevo cine argentino in scholarship is the analysis of certain mainstream films which draw a significant amount of attention because of their huge international box office and critical success: Nueve reinas (Bielinsky 2001), Plata quemada (Piñeyro 2004) and Campanella's four Argentine features, particularly El secreto de sus ojos (Copertari 2005;Navitski 2012;Hortiguera 2012;Shaw 2007;Rocha 2014;Choi 2013;Lee 2011;Moraña 2011;Andermann 2011;Tandeciarz 2012).…”

Section: On the Roadmentioning

confidence: 99%

New Transnationalisms in Contemporary Latin American Cinemas

Tierney¹

2018

11

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In the late 1990s and early 2000s Latin American films Amores perros, Diarios de motocicleta, El hijo de la novia, Y tu mamá también, and Cidade de Deus enjoyed unprecedented critical and commercial success in global markets. Benefiting from external financial and/or creative input, these films were considered examples of transnational cinema. This book examines the six transnational directors (Iñárritu, Cuarón, del Toro, Meirelles, Salles and Campanella), who made these and the subsequent commercially successful and mostly ‘deterritorialized’ films (21 Grams, Babel, Biutiful, El espinazo del Diablo, El laberinto del fauno, Blindness, The Constant Gardener, Children of Men, On the Road, El secreto de sus ojos). Arguing against criticism in which these films’ commercial (Hollywood) and transnational features efface the authorial sensibilities of these directors and make them irrelevant to Latin American trends and politics, this book shows how they engage with national, continental and hemispheric politics and identity. Bringing a new perspective to the transnational films of Latin America’s transnational auteurs, including the recent Gravity, The Revenant, Birdman, and Crimson Peak, this book facilitates understanding how different genres function across cultures.

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