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THEA 8400: Latin American Cinema: History and Theory Prof

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THEA 8400: Latin American Cinema: History and Theory Prof THEA 8400: Latin American Cinema: History and Theory Prof. Rielle Navitski Spring 2014 Class: T/Th 12:30-1:45 - 310 Fine Arts Building Screening: Th 6:30-9:15 - 277 Miller Learning Center Office Hours: Th 11-12, W 12-1 - 260 Fine Arts Building This course is a survey of the film history of Spanish-speaking Latin America, viewed through the lens of key theoretical problems and critical debates. Working chronologically, we will study the initial reception of cinema in the region and early attempts at film production in the silent era; the rise and fall of film industries from the 1930s to the 1950s in the context of cultural nationalism; the emergence of politicized, formally experimental New Latin American Cinema movements in the 1960s and 1970s; filmmakers’ responses to dictatorship and civil war in the 1980s and 1990s; the contemporary “New Waves” of Latin American cinema and the globalization of film production and consumption. Throughout the course, we will trace recurring questions and problems, focusing on the intersection of aesthetics and politics. We will interrogate cinema’s privileged role in discourses of modernization in Latin America; ongoing attempts to theorize Latin American culture in relation to (neo)colonial power, from critiques of cultural colonization to models of cultural hybridity; shifting relationships between cinema and the nation, from state protectionism to media globalization; and the role of moving images in negotiating gender, race, and ideologies of racial mixture in Latin America. Much of the course will follow the development of cinema in Latin America’s most prolific film-producing countries, including Argentina, Cuba, and Mexico. However, we will also address film production elsewhere in the region, viewing films from Bolivia, Chile, Paraguay, and Peru. Course Objectives: By the end of the course, students should: - be able to account for regional patterns of development in Latin American film history, making reference to economic, political, and social factors, and noting national exceptions to broad trends - be conversant with scholarly debates in Latin American cultural criticism and post- colonial studies relevant to the study of Latin American film - develop a clear, persuasive essay that combines detailed formal analysis of film texts with consideration of relevant social and historical contexts and theoretical issues For the final seminar paper, students may complete essays that are comparative in nature; they must engage with the course materials and/or themes, but they are welcome to address other art forms and/or geographic contexts. Required Texts: Lisa Jarvinen, The Rise of Spanish-Language Filmmaking (Rutgers UP, 2012) Michael T. Martin, New Latin American Cinema: Theories, Practices and Transcontinental Articulations (Wayne State University Press, 1992) Books listed are available at the UGA bookstore; articles will be posted on the elc-New site. All course readings will be available in English. Starred readings are also available in the Spanish or Portuguese original; students fluent in these languages are asked to complete their readings in the original. Course Requirements: Sequence Analysis Exercise 15% One conference paper presentation 15% Two in-class presentations: 30% Seminar Paper (15-20 pgs): including paper proposal 40% Week 1: Frameworks and Debates 01/07 – Welcome 01/09 *Paulo Emílio Salles Gomes, “Cinema: A Trajectory Within Underdevelopment,” 245- 255 *Jesús Martín Barbero, “Modernization and Mass Media in Latin America,” 149-186 Néstor García Canclini, "Entrance" from Hybrid Cultures, 1-11 Screening: El automóvil gris (The Grey Automobile), dir. Enrique Rosas, Mexico, 1919 Week 2: Silent Cinema and Modernization in Latin America 01/14 Marilyn Fabe, Glossary from Closely Watched Films Charles Ramírez Berg, "El automóvil gris and the Advent of Mexican Classicism," 3-32 Ana M. López, “Early Cinema and Modernity in Latin America,” 50-78 01/16 *João do Rio, Introduction to Cinematograph, 185-187 Jason Borge, "Ex Machina: Hollywood, Latin America and the Cinematic Imaginary," from Latin American Writers and the Rise of Hollywood Cinema, 18-47 Screening: Santa, dir. Antonio Moreno, Mexico, 1931 Week 3: The Transition to Sound and the Birth of National Film Industries 01/21 Marvin D’Lugo, “Early Cinematic Tangos,” 9-23 Lisa Jarvinen, The Rise of Spanish Language Filmmaking, 1-83 01/23 Lisa Jarvinen, The Rise of Spanish Language Filmmaking, 83-167 Screening: Flor Silvestre (Wild Flower), dir. Emilio Fernández, Mexico, 1943 2 Week 4: Consolidating National Cinema and Identity in Mexico 01/28 *Carlos Monsiváis, “All the People Came and Did Not Fit on the Screen: Notes on the Cinema Audience in Mexico,” 145-151 Seth Fein, “From Collaboration to Containment: Hollywood and the International Political Economy of Mexican Cinema after the Second World War,” 123-164 01/30 Laura Podalsky, “Disjointed Frames: Melodrama, Nationalism and Representation in 1940s Mexico,” 57-73 Charles Ramírez Berg, “The Cinematic Invention of Mexico: The Poetics and Politics of the Fernández Figueroa Style,” 13-24 Screening: Las aguas bajan turbias (Troubled Waters), dir. Hugo del Carril, Argentina, 1952 Week 5: Melodrama and Populism in Argentina 02/04 SEQUENCE ANALYSIS DUE Matthew B. Karush, “Populism, Melodrama, and the Market: The Mass Cultural Origins of Peronism,” 21-52 02/06 Timothy Barnard, “Popular Cinema and Populist Politics” Screening: La mano en la trampa (The Hand in the Trap), dir. Leopoldo Torre Nilsson, Argentina, 1961 Week 6: New Waves before New Latin American Cinema 02/11 *Gustavo Castagna, “From One Vanguard to Another: Is there a Tradition?” Laura Podalsky, “High-Rise Apartments, Hoteles de Cita, and the Public-Private Divide,” 118-138 02/13 Susan Martin-Márquez, “Coloniality and the Trappings of Modernity in Viridiana and The Hand in the Trap,” 96-114 Screening: La hora de los hornos (Hour of the Furnaces), part I, dir. Fernando Solanas and Octavio Getino, Argentina, 1968 3 Week 7: Towards a Third Cinema in Argentina 02/18 Fernando Solanas and Octavio Getino, “Towards a Third Cinema,” in Martin, 33-58 Robert Stam, “The Hour of the Furnaces and the Two Avant-Gardes,” 254-268 02/20 Zuzana M. Pick, “Convergences and Divergences” in The New Latin American Cinema, 13-37 Screening: LBJ, dir. Santiago Álvarez, 1968, Cuba De cierta manera (One Way or Another), dir. Sara Gómez, 1974, Cuba Week 8: Filmmaking and Revolution in Cuba 02/25 Michael Chanan, “The Documentary in the Revolution" and “One Way or Another” from Cuban Cinema, 184-217, 332-352 02/27 Julio García Espinosa, “For an Imperfect Cinema” in Martin, 71-82 Tomás Gutiérrez Alea, “The Viewer’s Dialectic” in Martin, 108-131 Screening: Yawar Mallku/Sangre de condor (Blood of the Condor), dir. Jorge Sanjinés, Bolivia, 1969 Week 9: From Indigenism to Indigenous Media in Bolivia 03/4 John Hess, “Neo-realism and Latin American Cinema: Bicycle Thieves and Blood of the Condor” *Jorge Sanjinés, “The All-Encompassing Sequence Shot” 03/06 David M.J. Wood, “Andean Realism and the Integral Sequence Shot,” 1-21 Freya Schiwy, “Casting New Protagonists” from Indianizing Film, 63-84 NO SCREENING MARCH 10-14 - SPRING BREAK 4 Week 11: From Exilic to Postnational Cinema 03/18 PAPER PROPOSAL DUE Néstor García Canclini, “Will There Be Latin American Cinema in the Year 2000?,” 246- 258 Hamid Naficy, An Accented Cinema, 11-28 03/20 Marvin D’Lugo, “Authorship, Globalization and the New Identity of Latin American Cinema,” 103-120 Kathleen Newman, “National Cinema after Globalization: Sur and the Exiled Nation,” 242-256 Screening: Tangos, el exilio de Gardel (Tangos, the Exile of Gardel), dir. Fernando Solanas, France/Argentina, 1983 Week 12: Documentary, Memory, and Re-Democratization 03/25 Elizabeth Jelin, “The Politics of Memory: The Human Rights Movement and the Construction of Democracy in Argentina,” 38-58 Ksenija Bilbija and Leigh A. Payne, “Time is Money: The Memory Market in Latin America,” 1-40 Clips: Los rubios, dir. Albertina Carri, Argentina, 2010 03/27 Antonio Traverso, “Dictatorship Memories: Working Through Trauma in Chilean Post- Dictatorship Documentary,” 179-191 Screening: Chile, la memoria obstinada (Chile, Obstinate Memory), dir. Patricio Guzmán, Chile, 1997 Week 13: Debating “New” New Latin American Cinemas and Globalization 04/01 Jeffe Menne, “A Mexican Nouvelle Vague: The Logic of New Waves Under Globalization,” 70-92 Luisela Alvaray, “Are We Global Yet? New Challenges to Defining Latin American Cinema," 69-86 04/03 Dolores Tierney, “Alejandro González Iñárritu, Director Without Borders,” 101-117 Screening: Amores perros, dir. Alejandro Iñárritu, Mexico, 2000 5 Week 14: (Gendered) Transnational Auteurism and Peruvian Cinema 04/08 René Weber, “A Dossier on Cultural Exception in Peru,” 155-163 Jean Franco, “Virtual Apartheid: The Peruvian Way,” in Cruel Modernity, 56-76 04/10 Sarah Barrow, “New Configuration for Peruvian Cinema: Globalisation, Transnational Networks and the Rising Star of Claudia Llosa,” 198-215 Juli A. Kroll, “Between the ‘Sacred’ and the ‘Profane’: Cultural Fantasy in Madeinusa by Claudia Llosa,” 113-125 Screening: Madeinusa, dir. Claudia Llosa, Peru/Spain, 2006 Week 15: “Slow Cinema” Between National Cinema and the Global Market 04/15 Larry Rohter, “Floating Below Politics,” 1-3 Daniel Steinhart, “Fostering International Cinema: The Rotterdam Film Festival, CineMart, and the Hubert Bals Fund,” 1-13 04/17 Catherine Leen, “The Silenced Screen: Fostering a Film Industry in Paraguay,” 155-180 Eva Karene Romero, “Hamaca paraguaya (2006): Temporal Resistance and Its Impossibility,” 311-330 Screening: Hamaca paraguaya (Paraguayan Hammock), dir. Paz Encina, Paraguay, 2006 Week 16 04/22 - Student Conference 04/24 - Student Conference FINAL PAPERS DUE MAY 5 BY 5 PM Course Policies The course syllabus is a general plan for the course; deviations announced to the class by the instructor may be necessary. Disability Notice If you need disability-related accommodations in this class, please register with the Disability Resource Center. They will provide you with an accommodation letter if appropriate. Please speak privately with me if you have been provided with an accommodation.
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