In this Book

Cosmopolitan Film Cultures in Latin America, 1896-1960
summary

Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today’s transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumière Cinématographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers’ experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.

Table of Contents

  1. Cover
  2. restricted access Download |
  1. Title Page, Copyright Page, Dedication
  2. pp. i-vi
  3. restricted access Download |
  1. Contents
  2. pp. vii-viii
  3. restricted access Download |
  1. Acknowledgments
  2. pp. ix-xiv
  3. restricted access Download |
  1. Introduction
  2. Rielle Navitski and Nicolas Poppe
  3. pp. 1-12
  4. restricted access Download |
  1. Part I. The Silent Era: Between Global Capitalism and National Modernization
  2. pp. 13-14
  3. restricted access Download |
  1. Primary text: “The Lumière Cinematograph,” El Monitor Republicano (Mexico City), August 16, 1896
  2. pp. 15-17
  3. restricted access Download |
  1. 1 Gabriel Veyre and Fernand Bon Bernard, Representatives of the Lumière Brothers in Mexico
  2. Aurelio de los Reyes
  3. pp. 18-33
  4. restricted access Download |
  1. Primary text: Tic-Tac (Carlos Villafañe), “The Show on June 15th,” Películas (Bogotá), June 1919
  2. pp. 34-38
  3. restricted access Download |
  1. 2 Films on Paper: Early Colombian Cinema Periodicals, 1916–1920
  2. Juan Sebastián Ospina León
  3. pp. 39-65
  4. restricted access Download |
  1. Primary text: Enrique Méndez Calzada, “The Lover of Rudolph Valentino,” from And Christ Returned to Buenos Aires (1926)
  2. pp. 66-72
  3. restricted access Download |
  1. 3 Manipulation and Authenticity: The Unassimilable Valentino in 1920s Argentina
  2. Giorgio Bertellini
  3. pp. 73-98
  4. restricted access Download |
  1. Part II. The Interwar Period: Between Hollywood and the Avant-Garde
  2. pp. 99-100
  3. restricted access Download |
  1. Primary text: Felipe de Leiva, “Memoirs of an Extra,” Cinelandia (Hollywood), November–December 1927
  2. pp. 101-111
  3. restricted access Download |
  1. 4 Mediating the “Conquering and Cosmopolitan Cinema”: US Spanish-Language Film Magazines and Latin American Audiences, 1916–1948
  2. Rielle Navitski
  3. pp. 112-146
  4. restricted access Download |
  1. Primary text: Octávio de Faria, “Russian Cinema and Brazilian Cinema,” O Fan (Rio de Janeiro), October 1928
  2. pp. 147-150
  3. restricted access Download |
  1. 5 Parallel Modernities?: The First Reception of Soviet Cinema in Latin America
  2. Sarah Ann Wells
  3. pp. 151-175
  4. restricted access Download |
  1. Primary text: Guillermo de Torre, “The ‘Cineclub’ of Buenos Aires,” La Gaceta Literaria (Madrid), April 1, 1930
  2. pp. 176-179
  3. restricted access Download |
  1. 6 A Gaze Turned Toward Europe: Modernity and Tradition in the Work of Horacio Coppola
  2. Andrea Cuarterolo
  3. pp. 180-210
  4. restricted access Download |
  1. Part III. The Golden Age of Latin American Film Industries: Negotiating the Popular and the Cosmopolitan
  2. pp. 211-212
  3. restricted access Download |
  1. Primary text: John Alton, “Motion Picture Production in South America,” International Photographer (Hollywood), May 1934
  2. pp. 213-216
  3. restricted access Download |
  1. 7 John Alton in Argentina, 1932–1939
  2. Nicolas Poppe
  3. pp. 217-240
  4. restricted access Download |
  1. 8 The Golden Age Otherwise: Mexican Cinema and the Mediations of Capitalist Modernity in the 1940s and 1950s
  2. Ignacio M. Sánchez Prado
  3. pp. 241-266
  4. restricted access Download |
  1. Primary text: Gabriel García Márquez, “The Mambo,” El Heraldo (Barranquilla), January 12, 1951
  2. pp. 267-268
  3. restricted access Download |
  1. 9 Bad Neighbors: Pérez Prado, Cinema, and the Politics of Mambo
  2. Jason Borge
  3. pp. 269-292
  4. restricted access Download |
  1. Part IV. The Afterlives of Moving Images: Cinephilia and Cult Spectatorship
  2. pp. 293-294
  3. restricted access Download |
  1. 10 Film Culture and Education in Republican Cuba: The Legacy of José Manuel Valdés-Rodríguez
  2. Irene Rozsa
  3. pp. 298-323
  4. restricted access Download |
  1. 11 The Secret History of Aztlán: Speculative Histories, Transnational Exploitation Film, and Unexpected Cultural Flows
  2. Colin Gunckel
  3. pp. 324-348
  4. restricted access Download |
  1. Index
  2. pp. 349-376
  3. restricted access Download |
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.