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Home , Autumn Sun, Crane World, Daniel Burman, Four Days in September, Lost Embrace, Sandra Kogut

Notes

Introduction

1. Data compiled from http://sinca.cultura.gov.ar/archivos/tablas/Cine_Cantidad _de_titulos_estrenados_segun_origen_del_film_Argentina_1994a2010.xls (accessed July 9, 2011). 2. Data compiled from www.ancine.gov.br/media/SAM/2009/SerieHistorica /1116.pdf (accessed August 4, 2010).

1 National and Transnational Film Studies: The Argentine and Brazilian Cases

1. Data compiled from www.ancine.gov.br (accessed December 4, 2009). 2. Data compiled from http://www.recam.org (accessed May 7, 2010). 3. The number of Latin American countries varies according to different defini- tions. Here the term is taken as meaning a region in the American continent that encompasses countries whose official languages are Romance languages. 4. “La noción de espacio cultural latinoamericano abre, asimismo, el territorio llamado América Latina a los millones de latinoamericanos que migraron a los Estados Unidos, España y otros países” (García-Canclini, 2005). Available at http://www.comminit.com/infancia/node/195442 (accessed November 28, 2011). 5. “Afirmar a América Latina como espacio cultural está muy lejos de ser un invento arbitrario o un gesto voluntarista, puesto que hay muchos rasgos que ya forman parte de lo que hoy podríamos llamar el patrimonio de este espa- cio, más allá de la dimensión geográfica. Por ejemplo, la lengua, ciertos hitos históricos que prácticamente todo el conjunto de países de la región ha vivido, el déficit de racionalidad instrumental, el papel del Estado y la política en la con- formación de nuestras sociedades” (Garretón, 2003). Available at http://www .revistatodavia.com.ar/todavia21/6.garretonnota.html (accessed June 7, 2010). 164 Notes

6. See “Qué es la RECAM?” available at http://www.recam.org/?do=recam (accessed October 9, 2010). 7. “[ . . . ] políticas de integração, que falam em diversidade de vozes, conteúdos e formatos na produção cinematográfica, quando, pelo contrário, o consumo dessa produção se dá num contexto cada vez mais determinado e limitado pelo entorno comercial dos shoppings” (2006: 25). 8. Data compiled from http://www.ancine.gov.br/media/SAM/2010/Salas Exibicao/208.pdf (accessed March 13, 2011). 9. UK Film Council Statistical Yearbook 2009, p. 74. Available at http://www .ukfilmcouncil.org.uk/media/pdf/2/p/2009.pdf (accessed March 20, 2011). 10. Data compiled from http://www.ancine.gov.br/media/SAM/2010/Salas Exibicao/208.pdf (accessed March 13, 2011). 11. “É evidente que a perversa concentração restringe o número de salas e especta- dores. Tomados em conjunto, os brasileiros vão uma vez ao cinema a cada dois anos. Mas as pesquisas feitas pelo exibidores confirmam que, na verdade, dez milhões de brasileiros freqüentam as salas oito vezes por ano” (Dahl, 2002). Available at http://www.ancine.gov.br/media/LEITURAS/arte_ou_industria .pdf (accessed January 3, 2010).

2 Home: National Crisis, Fragmented Family, and Death

1. Drawing on David Harvey’s notion of “time-space compression,” Zygmunt Bauman argues that the economy in a globalized context is subject to the velocity of the electronic signal, which “is practically free from constraints related to the territory inside which it originated” (1998: 55). As a conse- quence, “financial flows are largely beyond the control of national govern- ments” because of a “growing supra-national influence” (1998: 56). In this regard, G. H. von Wright argues that the nation-state, it seems, is eroding or perhaps “withering away” (von Wright in Bauman, 1998: 56). 2. Minhocão translates as “big earthworm” and is so called because of its shape. 3. “Bueno, si voy a ser abogado y acabar de taxista, mejor me dedico a ser músico, por ejemplo, y ser taxista; o, con suerte, me dedico a ser músico y acabo vivi- endo de la música.” interview by Pablo de Cima, http://www .jgcinema.com/single.php?sl=213 (accessed March 12, 2011). 4. 18-J consists of ten short films directed by Adrián Caetano, , Lucía Cedrón, Alejandro Doria, Alberto Lecchi, Marcelo Schapces, Carlos Sorín, Juan Bautista Stagnaro, Adrián Suar, and Maurício Wainrot. 5. J. Gorodischer (2005), “Con la mirada puesta más lejos del Once,” http: //www.pagina12.com.ar/diario/espectaculos/6-53732-2005-07-16.html (accessed August 10, 2010). 6. C. Sosa (2004), “Los tres mosqueteros,” http://www.pagina12.com.ar/diario /suplementos/radar/9-1315-2004-03-21.html (accessed October 6, 2010). Notes 165

3 Europe as Destination and Point of Departure

1. According to historian Jose Moya, more than six million Europeans migrated to and more than four million to between 1820 and 1932. These flows, originating mainly from , , and Portugal, lasted for several decades. Other Europeans such as Germans, Poles, and Ukrainians, migrated as well, although in smaller numbers (Moya in Padilla and Peixoto, 2007). 2. The term “diaspora” in this chapter is used to refer to the dispersion of the in the context of World War II, and the films in question are made by Jewish filmmakers who explore a collective memory of persecution and displacement. It is worth mentioning that the term “diaspora” has expanded in relation to globalization theory. Ritzer argues that “diasporazation and globalisation are closely linked today, and since the latter will continue to develop and expand, we can expect more and more dispersals that are, or at least are called, diasporas” (2010: 322). 3. An analogy with similarities to “Fortress Europe” is that of the “wall around the West” (Andreas and Snyder, 2000), which emphasizes how new borders have been replacing the old ones. 4. While the European Union opened internal barriers within the Schengen area, its immigration policies created new external borders, strengthening dis- courses that divorce European identity from its “others.” 5. Bauman in Globalization: The Human Consequences (1998) argues that travel- ling has increasingly become a commodity. However, as consumer society is stratified, there exist “degrees of mobility”: those who are “high up” (cosmo- politan elite) enjoying much greater mobility than those who are “low down” (refugees and people from poorer countries that are not easily granted a visa). 6. As well as the experimental work in video and installation art for which Kogut is best known, she also directed the film Mutum (2007), which closed the Directors’ Fortnight program in Cannes in 2007. 7. McDonaldization is also concerned with global cultural homogenization, as fast-food restaurants have become increasingly global. 8. Here America is understood within the context of Italian immigration dur- ing the nineteenth and twentieth centuries. The expression “fare l’America” is a well-known phrase used by Italian immigrants in order to say they would make it in the Americas. 9. “Deixando sua pátria em busca de melhores dias, grandes levas de imigrantes italianos dirigiam-se à distante América na segunda metade do século passado. Uma considerável parcela desses aventureiros aportou no extremo sul do Brasil, onde eles, seus filhos e netos, construíram uma sociedade próspera, baseada na pequena propriedade rural e, posteriormente, sobre o comércio e a indústria.” 10. La narrativa, el teatro y el cine han provisto cantidades numerosas de estos inmigrantes que se enorgullecen de ser argentinos y se identifican 166 Notes

completamente con esta nación que los acogió y les permitió prosperar. Esta corriente ha empezado a cambiar en los últimos años, especialmente en el cine donde encontramos un número, cada vez creciente, de películas que revisan la presentación del inmigrante que llega al país, se establece, triunfa, se “argenti- niza” y vive feliz para siempre (2007: 103). 11. “cuando ser argentino no significa ni trabajo, ni comida, ni tiempo, vale poco ser argentino. La nacionalidad no es sólo imaginaria. Se arraiga en su inscrip- ción material sobre los cuerpos” (2001:18). 12. This definition of Ibero-American also includes Portugal and Spain. 13. Brazilian history has been marked by very different waves of migration from Europe, including that of the European explorers in the colonizing process of the sixteenth and seventeenth centuries and those of the European migrants that went to South America in the nineteenth and twentieth centuries. It is these more recent waves of migration that are relevant to some of the charac- ters presented in other chapters of this book, including, for instance, Olinda (Inheritance), Johann (Cinema, Aspirins and Vultures), Kogut’s and Ariel’s grandmother (The Hungarian Passport and ) and, in the context of this chapter, Paco’s mother. More information about the later migration wave such as the estimated numbers and country of origin are provided in this chapter. 14. The term “lost decade,” according to Márcio Moraes Valença, refers to the “less-advantaged” and indebted countries that, subject to the structural adjustment policies of the International Monetary Fund (IMF) and the erosion of financial support, saw their problems—economic and social— aggravated throughout the 1980s. In regard to the Brazilian context, Valença states that the term was used to refer to the “country’s economic stagnation and mounting social problems” and that “the government of Fernando Collor de Mello (1990–92) incorporated the expression into its rhetoric in order to make it clear that the ‘problems’ had been inherited from past administra- tions, especially that of Jose Sarney, whose administration immediately pre- ceded Collor’s” (1998: 1). 15. Although Salazar left his prime ministerial duties in 1968, the fall of his regime, known as the Estado Novo (translated as “New State”), occurred in 1974. 16. In the English subtitles “H” (Hache) is translated as “J” (Jay) the first letter of “Junior.” 17. As a character in Wim Wenders’s Kings of the Road (1976) states: “the Yanks have colonised our subconscious.” 18. McLeod argues that it is more accurate to talk of colonial discourses rather than “colonial discourse” “due to its multifarious varieties and operations which differ in time and space” (2000: 18). 19. “O sertão vai virar mar e o mar vai virar sertão.” 20. Issues of race, gender, and class differences within the postcolonial diasporic community in Spain are often portrayed in contemporary Spanish films, including, for instance, Flowers from Another World (Flores de otro mundo, Icíar Bollaín, 1999) and, more recently, Princesas (Fernando León de Aranoa, 2005). Notes 167

4 Bordercrossing in the Southern Cone

1. “Regionalism” is a response to the processes of regionalization and globaliza- tion while “regionalization” is a process that results from spontaneous forces and intensifies interaction led by nonstate actors (Fawcett, 2004). 2. “El plan: recorrer 8000 kilómetros en 4 meses. El método: la improvisación. Objetivo: explorar el continente latinoamericano que sólo conocemos por los libros.” 3. “Así como Don Quijote tenía a Rocinante, San Martín tenía su mula, nosotros tenemos ‘La Poderosa.’” 4. In Los límites de lo transnacional: Brasil y el Mercosur; Una aproximación antropológica a los procesos de integración, Gabriel Omar Alvarez points out that although Bolívar has not been part of Brazilian history or Brazilian national discourses, Mercosur rhetoric uses his figure in two ways. The first evokes the “sueños de Simón Bolívar” (dreams of Simón Bolívar) in order to strengthen discourses of regional integration, while the second underlines Bolívar’s figure as a reference to regional resistance against domination, in this case, US ter- ritorial interference in (1995: 41). 5. According to Alcida Rita Ramos, the indigenous population represents 0.2 percent of the total population of Brazil (Ramos, A. R., Indigenism: Ethnic Politics in Brazil [Madison: University of Wisconsin Press, 1998], pp. 3–4) while, according to Hector Vázquez, the estimated percentage of indigenous people in Argentina is 1.2 percent (Vázquez, H., Procesos Identitarios y Exclusisn Sociocultural: La Cuestion Indigena En La Argentina [: Editora Biblos, 2000], 133–4). Therefore, the indigenous population in Argentina is proportionally larger than that of Brazil, rendering the perception that Argentina has no indigenous people in comparison to neighboring countries problematic.

5 The Return to the Sertão and Patagonia

1. Etymologically, sertão seems to derive from desertão, the Portuguese augmen- tative form of “desert.” 2. “La presente colección de ensayos sobre cine argentino parte de la premisa de que ya no es posible hablar de militancia política a través de la cámara de la misma maneras en que se había concebido en los años 60” (2007: 11). 3. “Y, a pesar de los paisajes, es una película sobre el interior de un personaje y no sobre el personaje con su entorno. Las imágenes del paisaje, los decorados y la forma en que la cámara se mueve y lo que muestra es cómo se materializa el ánimo de Santiago, donde uno puede ver todo lo que él no dice.” Available at 168 Notes

http://www.pagina12.com.ar/diario/suplementos/radar/9-3343-2006-10-23. html (accessed February 2, 2011).

Conclusion

1. ‘No es casual que cuando éramos un país en crecimiento con justicia, sober- anía y orgullo nacional, teníamos también un cine fuertemente industrial modelo para muchos países y admirado por muchas audiencias’ (Kirchner, 2004). Available at http://www.presidencia.gov.ar/discursos-2007/24543 (accessed September 5, 2011). Bibliography

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18 J, 5, 50 Bad Times, 119, 146 400 Blows, The, 90 Bar el Chino, 34–6, 57–9, 96–9, 100–2, 155, 160 Acordo de Co-Produção Barone, Daniel, 10 Cinematográfica Luso-Brasileiro, Barren Lives, 131, 142 21, 85 Barreto, Bruno, 13, 101 Aguilar, Gonzalo, 36 Barreto, Fábio, 13, 75 Aguirre, Wrath of God, 87 Battle of Canudos, The, 133 Aïnouz, Karim, 147 Baudrillard, Jean, 17, 144 Alfonsín, Raúl, 9 Bauman, Zygmunt, 38, 65, 155, 164–5 Alice in the Cities, 47, 136 Beck, Ulrick, 57 All about My Mother, 88 Benjamin, Walter, 80 allegory, 7, 159 Bentes, Ivana, 44, 79, 133, 135, 136 Almodóvar, Pedro, 88 Bergfelder, Tim, 15, 60 americanization, 18, 35, 74 Bernal, Gael García, 19, 105, 109 AMIA, 50 Bhabha, Homi, 61, 87, 88, 128, Amorim, Vicente, 146, 147 132, 133 ANCINE, 27, 111, 159, 163, 164 Birmajer, Marcelo, 50 And Your Mother Too, 19–20 Black God, White Devil, 90, 133, 142 Anderson, Benedict, 27, 29–32, 60, Blindness, 19, 37 61, 136, 152 Bolaño, César, 26 Anderson, Mark, 131–2 Bolivia, 6, 56, 69, 117–19, 122 Appadurai, Arjun, 17 Bollaín, Icíar, 84, 166 Aragón, Manuel, 84 Bombón, el perro, 134 Aranoa, Fernando de, 166 Bonaerense, El, 45, 47 Araujo, José, 133 Bones, 84 Aristarain, Adolfo, 6, 34–6, 82, 88, borders, 4, 6, 18, 19, 25, 30, 31, 45, 96–7, 108, 152 65–9, 77, 92, 93, 103–5, 107, Armendáriz, Montxo, 84 108, 110–26, 128, 152–6, 165 Arrigucci Jr, Davi, 143 Borges, Jorge, 86 , 50 Born and Bred, 6, 45, 47, 57, 120, 127, Avellar, José Carlos, 150 128, 130, 134, 135, 143, 145–7, Ayala, Fernando, 36 149, 151, 155 182 Index

Brown, Jonathan, 73, 99 Cinema Novo, 18, 109, 128, 133, 137, Buena Vida Delivery, 70 138, 141, 147 Buenos Aires, 6, 9, 11, 36, 39–42, cinemagoing, 26, 27 44–7, 49–51, 53–5, 57, 63, 64, City of God, 1, 20, 116 69, 70–2, 74, 75, 86, 96, 97, 110, Collor de Mello, Fernando, 117–20, 122, 123, 127–9, 144–6, 12, 35, 166 151, 155, 158, 159, 161 colonialism, 34, 84, 85, 87–9, 93, 94, Buenos Aires Independent Film 100, 108, 153 Festival (BAFICI), 11 Colossal Youth, 84 Burak, Daniel, 42 Common Places, 36, 88, 96 Burman, Daniel, 50, 51–4, 56, 62, 96, conquest of the desert, 132 120, 164 Constant Gardener, The, 19 Butcher, Pedro, 12, 13 Contreras, Patricio, 36 Bwana, 84 Cops (Comodines), 10 Costa, Pedro, 84 Caetano, Adrián, 6, 10, 56, 117, 119, 164 Crane World, 11, 45, 47, 134 Campanella, Juan José, 19 Cuarón, Alfonso, 19 Camurati, Carla, 13 Cunha, Euclides da, 131, 132 Canclini, Néstor García, 17, 18, 24, 163 Dahl, Gustavo, 14, 27, 160, 164 , 165 Dayton, Jonathan, 45, 110 Canudos (war), 131 De Certeau, Michel, 48, 139 , 45 De Rosa, Mariano, 146 Cardoso, Fernando Henrique, 14, 141 Dead King, 11 Carlota Joaquina: Princess of Brazil, 13 Deal, The, 36 Cavarozzi, Marcelo, 24 democracy, 9, 12, 57, 84, 91, 27, 30, Cedrón, Lucía, 18-J, 164 36, 129, 150 Central Station, 1, 7, 13, 19, 20, 47, 48, diaspora, 52, 55, 61–3, 65, 153, 57, 76, 105, 116, 128, 130, 133, 159, 165 135–9, 141–3, 145–9, 150–3, dictatorship, 1, 23, 30, 34, 90, 180, 158– 60 109, 118, 149, 151 Chanan, Michael, 20 Argentine dictatorship, 9, 36, Che…Ernesto, 105 91, 97 Che Guevara, 19, 105, 108–10 Brazilian dictatorship, 12 Che: Parts 1 and 2, 105 Franco dictatorship, 84 Chomsky, Alejandro, 96 Salazar’s regime, 84, 166 Cinema, Aspirins and Vultures, 6, 33, documentary, 42, 43, 40, 63, 65, 73, 62, 73, 76, 100–1, 128, 137, 149, 106, 116, 159 152, 154, 155, 157, 159 Dodds, Klaus-John, 132, 144 cinema laws, 13, 14 Domingues, José, 26 Audiovisual Law in Brazil, 9, 10, 12 Doria, Alejandro, 164 New Cinema Law in Argentina, Drexler, Jorge, 19 9, 10 Dribbling Fate, 85 Rouanet Law, 12 Dufoix, Stephane, 66 Index 183

Easy Rider, 106 Foreign Land, 6, 34, 35, 37–9, 41, 42, Elkington, Trevor, 22 44, 57, 59, 62, 82, 87, 89–96, Entranced Earth, 90 100–2, 128, 129, 143, 147, 149, epistolarity, 41, 160 151– 6, 157, 158, 160 cassette tape, 41, 160 Four Days in September, 13, 100 letters, 47, 49, 107, 136, 139, 141, 160 Franco, Itamar, 12 video tape, 41, 160 European cinema, 15, 16, 60, 65, 67 Gachassin, Diego, 56 European heritage, 69, 76, 97, 99, Galperin, Hernán, 24, 26, 31, 32 101, 117 Garretón, Manuel Antonio, 163 European Union (EU), 24, 56, 59, 64, Germany, Year Zero, 48 103, 115, 150, 154, 155 Germany Year 90 Nine Zero, 48 Everett, Wendy, 3, 67 Getino, Octavio, 109 Ezra, Elizabeth, 52 globalization, 62, 66, 74, 81, 92, 103, 104, 117, 120, 125, 126, 133, Falicov, Tamara, 10, 16, 20, 21, 25, 137, 150, 152, 154, 155, 160, 161, 26, 54, 97, 134 165, 167 family glocalization, 18 deaths of family member, 32, 35–8, McDonaldization, 74, 165 44, 47, 57, 97, 128, 145, 147 Godard, Jean-Luc, 48 European family member, 5, 39, 53, Goethe, Johann Wolfgang von, 37, 95 54, 59, 63, 64, 66–8, 70, 75, 101, Grimson, Alejandro, 16, 42, 69, 74, 118, 124, 153–6 75, 103, 104, 108, 110, 115, 115, fathers, 5, 36, 41, 45, 47, 48, 57, 118, 126, 127, 146, 151 64, 86, 87, 89, 99, 127, 128, 136, Grupo Cine Liberación, 11, 109, 134 138, 143, 147, 149, 151, 152, 160 Guerra, Ruy, 133 grandparents, 53, 55, 57, 61, 63, 64, Guevara, Che, 19, 105, 108, 109, 110 66, 68, 75, 154, 166 mothers, 35–8, 41, 55, 75, 128, 166 Haircut, 85 reconciliation, 41, 94, 127, 136, Hamburger, Cao, 50 143, 147, 150–3 Harvey, David, 3, 17, 33, 41, 48, 66, Family Law, 50, 51 130, 139, 164 Faris, Valerie, 45, 110 Hayward, Susan, 106 Faust, 37, 39, 95 Hendler, Daniel, 50, 53, 55 favela, 133, 142 Hernández, Paula, 6, 96 Feldman-Bianco, Bela, 83, 93 Herzog, Werner, 87 Ferreira, Carolin, 22 Higbee, Will, 15, 51, 61 film coproductions, 1, 2, 5, 6, 10, 11, Higson, Andrew, 15, 16, 30, 51 12, 14, 17, 20, 21, 22, 32, 59, 60, Historias Breves, 10 62, 81, 82, 85, 86, 96, 110–12, Hjort, Mette, 15 153, 154 Hollywood cinema, 10, 16, 17, 18, 20, Fish Child, The, 6, 30, 57, 69, 117–20, 25, 34, 60, 106, 152 122–8, 151, 155, 159 Holy Girl, The, 1, 11 Flowers from Another World, 84, 166 Hopper, Dennis, 106 184 Index

Hour of the Furnaces, The, 105, 109 Letters from Alou, 84 Hungarian Passport, The, 4, 5, 30, ley de la Frontera, La, 36 33, 59, 61–8, 75, 77, 99–100, Lion’s Den, 6, 45, 47, 123, 127, 151, 157 101, 128, 129, 149, 152–6, Little Miss Sunshine, 45, 110 157–60, 166 Little Sky, 146 Hunt, Leon, 22 Llosa, Claudia, 124 Hwee Lim, Song, 15, 51 Lluvia, 96 Lost Embrace, 5, 30, 32, 41, 50–7, 59, immigration, 29, 33, 56, 59, 60, 62, 61–3, 70, 75, 96, 99, 101, 120, 67, 69, 75, 83–5, 92, 93, 95, 97, 127, 149, 150, 151, 153 – 6, 157, 99–100, 101, 115, 153, 165 158, 160, 166 In Vanda´s Room, 84 Love for Sale, 147 INCAA (Argentine National Institute Love’s a Bitch, 20 for Film and Audiovisual Arts), Lund, Katia, 1, 116 10, 21, 25, 26 Luppi, Federico, 36, 97 indigenous, 30, 56, 100, 108, 117, 118, 122–4, 132, 144, 159, 167 Madeinusa, 124 Inheritance, 6, 33, 62, 69–71, 73–5, Maestro, Mía, 19 100, 101, 128, 150, 154, 155, 157, Mar del Plata Film Festival, 11, 26, 160 158, 160, 166 Marks, Laura, 61 Martel, Lucrecia, 11 J Zone, 85 Martín (Hache), 6, 34–41, 44, 57, 59, 62, Jameson, Frederic, 17, 48, 52, 135, 82, 86–9, 91, 94–8, 99, 101, 127, 138, 149 128, 151–4, 155, 158, 160, 166 Johnson, Randal, 20, 21 Martín-Barbero, Jesús, 18 McLeod, John, 89, 166 Kessler, Gabriel, 42, 69, 74, 75, Me, You, Them, 137 103–5, 108, 110, 115, 116, 126, Meirelles, Fernando, 1, 13, 19, 116 127, 146, 151 Menem, Carlos, 9, 10, 47 Kings of the Road, 166 Menis, María, 146 Kirchner, Néstor, 126, 160, 168 Mercosur/Mercosul, 3, 6, 21, 23–6, 32, Kogut, Sandra, 4, 5, 62–8, 129, 154, 33, 103, 104, 111–13, 115–17, 119, 158, 159, 165– 6 122, 124–6, 150, 153, 154, 167 Mercosur Film Market, 25 Landscapes of Memory, 133 OMA (Observatorio Mercosur language, 23, 32, 33, 85–7, 89, 117, Audiovisual), 21 124, 153, 163 RECAM (Reunión Especializada de cinematic language, 129 Autoridades Cinematográficas y Guaraní, 117, 124 Audiovisuales del Mercosur), 20, indigenous language, 117 25, 26, 163, 164 Portuguese language, 93 Meyrowitz, Joshua, 30 Portuñol, 117 Middle of the World, The, 146 , 19, 88 Middleton, Peter, 105 Lecchi, Alberto, 164 Midnight, 47, 138 Index 185

Mignolo, Walter, 23 Pereira, Miguel, 105 Milk of Sorrow, 124 Peronism, 69, 134, 146 Miller, Toby, 24, 32, 119 Piwowarski, Eva, 25 Minimal Stories, 134 Pizza, Beer and Cigarettes, 10, 123 Moisés, José Alvaro, 13, 25, 143 Place in the World, A, 36, 88, 97, 99, Monjardim, Jayme, 77 108, 127, 128, 151, 152 Moreno, Rodrigo, 146 Pope’s Toilet, The, 58, 111, 112, 115– Motorcycle Diaries, The, 6, 18, 19, 30, 17, 122, 126, 128, 154 49, 104, 105, 109, 112, 116, 123, postcolonialism, 15, 22, 23, 61, 62, 125, 126, 139, 154, 158 66, 81, 82, 86, 91–3, 95, 96, 123, Mutum, 165 124, 166 postmodernism, 3, 17, 41, 48, 52, 61, Naficy, Hamid, 41, 51, 53–5, 61, 65–8, 65, 84, 128–30, 133, 135–8, 112, 114, 136, 146, 159, 160 Potter, Sally, 99 accented cinema, 51, 61, 65, 67, 68, Princesas, 166 112, 150, 160 Programa Ibermedia, 1, 16, 21, 22, 32, Nagib, Lúcia, 12, 48, 65, 90, 133, 135, 85, 111 137, 138, 142, 143 Puenzo, Lucía, 6, 56, 117, 122, 124 Negocios, 11 Puenzo, Luis, 36 neocolonialism, 21, 22, 34, 87, 96, 98, 101, 129 quatrilho, O, 13, 75 neoliberalism, 3, 10, 17, 23, 30, 32, 34, 35, 98, 103, 127, 130, 135, Ramos, Fernão, 16, 42, 73, 78, 89 149, 151, 155 Ramos, Graciliano, 132 neorealism, 145, 160 Rebella, Juan Pablo, 50 Nestingen, Andrew, 22 RECAM, 20, 25, 26, 163, 164 Newman, Kathleen, 2, 104 regionalism, 6, 14, 15, 18, 22–7, 30–3, , 1, 18, 19, 96 47, 49, 46, 78, 79, 103, 104, 105, Nisco, Jorge, 10 108–12, 115–17, 119, 121, 122, 124–6, 150, 153, 154, 160, 167 Official Story, The, 36 retomada, 12 Olga, 77 Rezende, Sérgio, 133 Olivera, Héctor, 134 Richard, Nelly, 18 Once Trilogy, 50 , 41, 47, 137–42, 145, Oricchio, Luiz Zanin, 12, 47, 133, 136 146, 161 otherness, 30, 52, 53, 70, 72, 77, 87 Ritzer, George, 74, 165 road movies Page, Joanna, 16, 17, 19, 20, 46, 69, Brazilian road movie, 104, 135, 138 101, 118, 134, 145, 146 family road movie, 45, 110 passport, 5, 31, 63, 64, 66–8, 76, 77, as a genre, 3, 5, 48, 106, 126, 94, 96, 101, 154, 155, 157 128, 160 Patagonia, 45, 46, 130–5, 144–7, 160 Latin American road movie, 19, Pepi, Luci, Bom and Other Girls Like 105, 130 Mom, 88 US road movie, 106, 144 186 Index

Robertson, Roland, 17 Solanas, Fernando, 100, 109 Rocha, Carolina, 56, 74, 96 Soler, Llorenç, 84 Rocha, Glauber, 90, 133, 134, Sommer, Doris, 32 136, 142 Sorín, Carlos, 134, 145, 164 ‘Aesthetics of Hunger,’ 144, Stagnaro, Bruno, 10 136, 142 Stagnaro, Juan Bautista, 164 Rolling Family, 6, 45, 47, 104, Stam, Robert, 86 110, 111 Stavenhagen, Rodolfo, 24 Roselli, Salvador, 146 Stock, Anne Marie, 17, 19, 52 Rossellini, Roberto, 48 Stoll, Pablo, 50 Roth, Cecilia, 97, 108 Suar, Adrián, 164 Rougemont, Denis de, 60 Subiela, Eliseo, 96 Rowden, Terry, 52 Svampa, Maristella, 16 Rúa, Fernando de la, 11 Swamp, The, 11 Ruiz-Giménez, Guadalupe, 24 Talk to Her, 88 Saad, Nicolás, 146 Tangos, the Exile of Gardel, 99 Saíd, 84 Things I Left in Havana, 84 Said, Edward, 23, 88 Third Cinema, 7, 43, 58, 109, 129, orientalism, 23, 88 138, 149 Salles, Walter, 1, 6, 13, 19, 34, 42, Thomas, Daniela, 34, 47, 82, 138 47–9, 82, 105, 137, 138, 139, , A, 36 143, 145, 147, 152 Today and Tomorrow, 96 Santos, Boaventura de Sousa, 94 Trapero, Pablo, 6, 7, 11, 44, 45, Santos, Cristina dos, 26 47, 110, 120, 123, 134, 145, Santos, Nelson Pereira dos, 132 146, 164 São Paulo, 35, 37–9, 49, 79, 129, Truffaut, François, 90 142, 158 Sapinho, Joaquim, 85 Uribe, Imanol, 84 Sarmiento, Domingo Faustino, 73 Sartre, Jean-Paul, 105 Vargas, Getúlio, 77, 79 Schapces, Marcelo, 64 Vasquez, Mariana, 25 Schengen Agreement, 63, 83, 95, Vendrell, Fernando, 85 153, 165 Vieira, Leonel, 85 Serna, Rodrigo de la, 19, 105 Villazana, Libia, 21, 22, 25, 26, 85, 98 sertão, 48, 76–80, 90, 127–39, 141–3, Vladimir en Buenos Aires, 56 146, 147, 158, 161, 167 Shakespeare, William, 94 Waddington, Andrucha, 13, 137 Shaw, Deborah, 18, 22, 139 Wainrot, Mauricio, 164 Shaw, Lisa, 137, 142 , 50, 96 Siete días en el Once, 50 Walsh, Michael, 31 Soderbergh, Steven, 105 Weeks, Jeffrey, 29 Solanas, Facundo, 25 Wenders, Wim, 47, 136 Index 187 whisky, 50 Year My Parents Went on Vacation, Williams, Claire, 107, 109 The, 50 Wing-Fai, Leung, 22 Yudice, George, 24, 32 Woods, Tim, 105 Yuval-Davis, Nira, 29

Xavier, Ismail, 3, 135–7, 141, 149 Zanin Oricchio, Luiz, 47, 133