Experimental Latin American Cinema: History and Aesthetics

Acknowledgments

I thank Arizona State University for providing research funds to present preliminary versions of the material included in this book at local, national, and international venues. I am grateful to audiences in Arizona (Council for Latin American Studies and Association of Spanish Professors—ADEUU, 2010), Utah (International Association of Feminine Literature and Culture Conference—AILCFH, 2006), San Diego (American Association of Teachers of Spanish and Portuguese—AATSP, 2007), and San Francisco (National Popular Culture Association and American Culture Association, 2007). Feedback and comments at international venues was crucial in rethinking the theoretical approach. My appreciation extends to colleagues in London and Cambridge, England (Visual Synergies conference, 2006); Seville, Spain; Córdoba (Facultad de Lenguas, 2007) and Buenos Aires, (Argentine Association of Film and Media Studies, ASECA Argentina, 2009); Rio de Janeiro (Latin American Studies Association, 2009); and Morelia, Mexico (Permanent Seminar on Film Analysis, SEPANCINE conference , 2009). I am especially appreciative for the interaction and feedback provided by students and faculty at the eight-hour workshop offered at the first regional conference of the Brazilian Society of Cinema and Audiovisual Studies—SOCINE, Universidade Federal de São Carlos, Brazil , May 2011. I am extremely grateful to Inés de Oliveira Cézar, Fernando ACKNOWLEDGMENTS x Experimental Latin American Cinema Pérez, Carlos Reygadas, and Carlos Sorín for sharing frames of their films and to the Learning Support System at the School of International Letters and Cultures at ASU, and especially to Zach Mills and Andrew Ross, for the invaluable technical support throughout this process. Preliminary versions of chapters appeared in the following refereed articles: “Fabián Bielinsky’s El aura [The Aura]: Neo-Noir Inscription and Subversion of the Action Image,” Confluencia 24.1 (Fall 2008): 17–27; “A Deleuzian Approach to Carlos Reygadas’ Japón and Battle of Heaven,” Hispanic Journal 29.1 (Spring 2008): 155–169; “Paradoxical Inscription and Subversion of the Gendered Construction of Time, Space, and Roles in María Victoria Menis’ El cielito (2004) and Inés de Oliveira Cézar’s Como pasan las horas (2005) and Extranjera (2007),” Chasqui 38.1 (May 2009): 38–56; “Walter Salles’s Central do Brasil: The Paradoxical Effect of the Conventions of the Documentary,” Studies in Twentieth and Twenty-First Century Literature 33.1 (Winter 2009): 9–27; “A Deleuzian Approach to Jorge Furtado’s O Homem que Copiava (2003) and Heitor Dhalia’s O Cheiro do Ralo (2006),” Dissidences 6–7 (May 2010): 1–31; “A Deleuzian Approach to Carlos Reygadas’s Stellet Licht [Silent Light] (2008),” University of New Mexico Latin American and Iberian Institute Research Paper Series, no. 51 (November 15, 2010); and “Montage in Fernando Pérez’s Suite Habana (2003),” Confluencia 26.2 (Spring 2011): 31–45. My debt of gratitude to Elizabeth Rosa Horan, editor extraordinaire, David William Foster, and Isis Costa McElroy at Arizona State University for their generous and sustained intellectual support throughout this project . I extend my appreciation for the keen observations of the anonymous readers and especially to Jim Burr at University of Texas Press for believing in this project. I am also grateful to Lynne Chapman at UT Press for her keen sense of structure and to Tana Silva for a superb copyediting job. Finally, all shortcomings are only my own. ...