In this Book

Experimental Latin American Cinema
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summary
This groundbreaking exploration of experimental Latin American film applies Deleuzian theories of cinema in a comparative approach to examine multiple genres and works from the most important national cinematic traditions

Table of Contents

  1. Cover
  2. pp. 1-1
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  1. Title Page, Copyright, Dedication
  2. pp. 2-7
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  1. Contents
  2. pp. vii-viii
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  1. Acknowledgments
  2. pp. ix-x
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  1. Introduction: Mise-en-Scène, a Seemingly International Staging
  2. pp. 1-45
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  1. Part One: A Neonoir Skew to the Action-Image
  2. pp. 46-87
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  1. 1. A Shimmering Suture: Fabián Bielinsky’s Epileptic El aura
  2. pp. 49-59
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  1. 2. Slippery Criminal Pleasures: Intermediality and Voyeurism in Jorge Furtado’s O homem que copiava
  2. pp. 60-73
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  1. 3. Endless Quest: Chasing Sex, Lies, and Money at the Gates of Hell in Heitor Dhalia’s O cheiro do ralo
  2. pp. 74-87
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  1. Part Two: Road Movies
  2. pp. 88-135
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  1. 4. The Paradoxical Effect of the Documentary: Walter Salles’s Central do Brasil
  2. pp. 91-105
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  1. 5. Twin Piques: The Double Discourse of Carlos Sorín’s El camino de San Diego
  2. pp. 106-122
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  1. 6. Orphans' Solidarity: María Victoria Menis’s El cielito
  2. pp. 123-135
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  1. Part Three: Drama
  2. pp. 137-149
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  1. 7. Sculpting Time: Inés de Oliveira Cézar’s Como pasan las horas
  2. pp. 139-145
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  1. 8. The Past Engulfs the Present: Josué Méndez’s Días de Santiago
  2. pp. 146-156
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  1. Part Four: Experimental Auterism
  2. pp. 157-174
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  1. 9. Whether or Not to End One's Life: Carlos Reygadas’s Japón
  2. pp. 159-167
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  1. 10. Crime and Self-Inflicted Punishment: Carlos Reygadas’s Batalla en el cielo
  2. pp. 168-174
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  1. Part Five: Experimental Auteurism and Intertextuality
  2. pp. 175-218
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  1. 11. The Miracle of Female Bonding in Patriarchal Society: Carlos Reygadas’s Stellet licht
  2. pp. 177-185
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  1. 12. Cyclical Scapegoating: Inés de Oliveira Cézar’s Extranjera
  2. pp. 186-195
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  1. 13. The Irrevocable Nature of Curses: Inés de Oliveira Cézar’s El recuento de los daños
  2. pp. 196-205
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  1. 14. Splintered Mirrors, Echoes, and Reverberations: Fernando Pérez Valdés’s Madrigal
  2. pp. 206-218
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  1. Part Six: Experimental Pseudo-Documentary
  2. pp. 219-244
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  1. 15. Room With A View: Fernando Pérez Valdés’s Suite Habana
  2. pp. 221-231
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  1. 16. Life is and is Not: Paz Encina’s Hamaca paraguaya
  2. pp. 232-244
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  1. Conclusion: Possible Futures
  2. pp. 245-250
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  1. Notes
  2. pp. 251-263
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  1. Bibliography
  2. pp. 265-285
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  1. Index
  2. pp. 287-294
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