<half title>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS</half title> i Traditions in World Cinema General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema Linda Badley, R. Barton Palmer, and Steven Jay Schneider (eds) Japanese Horror Cinema Jay McRoy (ed.) New Punk Cinema Nicholas Rombes (ed.) African Filmmaking Roy Armes Palestinian Cinema Nurith Gertz and George Khleifi Czech and Slovak Cinema Peter Hames The New Neapolitan Cinema Alex Marlow-Mann American Smart Cinema Claire Perkins The International Film Musical Corey Creekmur and Linda Mokdad (eds) Italian Neorealist Cinema Torunn Haaland Magic Realist Cinema in East Central Europe Aga Skrodzka Italian Post-Neorealist Cinema Luca Barattoni Spanish Horror Film Antonio Lázaro-Reboll Post-beur Cinema ii Will Higbee New Taiwanese Cinema in Focus Flannery Wilson International Noir Homer B. Pettey and R. Barton Palmer (eds) Films on Ice Scott MacKenzie and Anna Westerståhl Stenport (eds) Nordic Genre Film Tommy Gustafsson and Pietari Kääpä (eds) Contemporary Japanese Cinema Since Hana-Bi Adam Bingham Chinese Martial Arts Cinema (2nd edition) Stephen Teo Slow Cinema Tiago de Luca and Nuno Barradas Jorge Expressionism in Cinema Olaf Brill and Gary D. Rhodes (eds) French Language Road Cinema: Borders,Diasporas, Migration and ‘NewEurope’ Michael Gott Transnational Film Remakes Iain Robert Smith and Constantine Verevis Coming-of-age Cinema in New Zealand Alistair Fox New Transnationalisms in Contemporary Latin American Cinemas Dolores Tierney www.euppublishing.com/series/tiwc iii <title page>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS Dolores Tierney <EUP title page logo> </title page> iv <imprint page> Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Dolores Tierney, 2018 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in ■■■■■■■ by ■■■■■■■, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 4573 2 (hardback) ISBN 978 1 4744 1010 6 (webready PDF) ISBN 978 1 4744 1011 3 (epub) The right of Dolores Tierney to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Note: The Introductions to the different national film industries offered in this book endeavour where possible to quote the most up to date figures using available publications. v <CHhead>Contents</CHhead> Acknowledgements 000 List of Figures 000 List of Tables 000 Traditions in World Cinema 000 Introduction: The Cultural Politics of Transnational Filmmaking 000 Mexico: Introduction 1. Alejandro González Iñárritu: Mexican Director Without Borders 000 2. ‘From Hollywood and Back’: Alfonso Cuarón’s Adventures in Genre 000 3. Guillermo del Toro’s Transnational Political Horror: Cronos (1993), El espinazo del diablo (The Devil’s Backbone 2001) and El laberinto del fauno (Pan’s Labyrinth 2006) 000 Brazil: Introduction 4. Fernando Meirelles as Transnational Auteur 000 5. Revolutionary Road Movies: Walter Salles’ Diarios de motocicleta (Motorcycle Diaries 2004) and On the Road (2012) 000 Argentina: Introduction 6. Juan José Campanella: Historical Memory and Accountability in El secreto de sus ojos (The Secret in Their Eyes 2009) 000 Epilogue: Gravity (Alfonso Cuarón 2013), Birdman (Alejandro G. Iñárritu 2014), The Revenant (G. Iñárritu 2015) and Crimson Peak (Guillermo del Toro 2015) 000 Select Filmography 000 Bibliography 000 Index 000 vi <CHhead>Acknowledgements</CHhead> This book would not have been possible without the help and support of many individuals and institutions. I would like to thank Sussex University for two terms and one part-time semester of leave, and in particular the chairs of Media, Film and Music, Sue Thornham and Tim Jordan, and also the subject heads in film, Thomas Austin and Frank Krutnik. I would also like to thank the Center for Latin American and Latino Studies (CLALS) at American University (Washington DC) where a Research Fellowship in Autumn 2016 helped me with writing the final chapters of the manuscript and also Jeffrey Middents for help in organising the Fellowship. Some of the research for this book has also been conducted as part of the research project: ‘Transnational relations in Spanish-American digital cinema: the cases of Spain, Mexico and Argentina’ (CSO2014-52750-P), funded by the Spanish Ministry of Economy and Competitiveness. I thank José Cerdán Los Arcos and Miguel Fernández- Rodríguez Labayen for incorporating me into the project. Additionally, initial research for this book, in Mexico City in 2005/2006, was helped by funding from the Arts and Humanities Research Council. I am eternally grateful to all those who have helped in some way by answering questions, providing information, materials and/or contacts, and friendship and positive energy which have helped in the book writing process: Misha MacLaird (in particular), Rielle Navtiski, Tamara Falicov, Olivia Cosentino, Ignacio Sánchez Prado, Antonio Lázaro- Reboll, Hoi Lun Law, Gabriela Copertari, Gilberto Blasini, Christina Sisk, Carolina Rocha, Rosalind Galt, Victoria Ruétalo and again Jeffrey Middents. I thank Misha MacLaird, Pedro Butcher and Natalia Ames Ramello who gave me their expert answers on different aspects of filmmaking in Mexico, Brazil and Peru. vii I would also like to thank those who have read and offered advice on parts of the manuscript or helped shape it in some way: Misha MacLaird, Ana López, Catherine Grant, Ilene Goldman, Erica Segre, Rob Stone, Alex Marlow Mann, Niall Richardson, and my wonderful co-editors on The Transnational Fantasies of Guillermo del Toro Deborah Shaw and Ann Davies who, in addition to offering feedback on my writing about del Toro, helped me push forward and finish this book. I am also deeply thankful for my great and supportive academic community who in different ways have helped foster my research including: the best mentor in the world Ana López, my colleagues past and present in Film at Sussex (Catherine Grant, Niall Richardson, Thomas Austin, Glenn Ward, Frank Krutnik, Michael Lawrence, Pam Thurschwell, Matilda Mroz, Luke Robinson, Lawrence Webb, Alisa Lebow and Rosalind Galt) and the different scholars in Latin American film studies and beyond in the broader areas of transnational filmmaking in the US and Europe whose work is a constant source of inspiration including everyone in the SCMS Latino/a Caucus (Laura Podalsky, Victoria Ruétalo, Isabel Arredondo, Elissa Rashkin, Catherine Benamou, Kathleen Newman, Rielle Navitski, Laura Isabel Serna, Sergio de la Mora, Gilberto Blasini, Iain Robert Smith, Jamie Sexton, Lúcia Nagib) to name just a few stellar individuals, as well as other cherished colleagues in Ibero- American cinema (Antonio Lázaro-Reboll, Miriam Haddu, the late and great Andrea Noble, Rob Stone, Sarah Barrow, Deborah Shaw, Stephanie Dennison, Lisa Shaw, Tiago de Luca, Tom Whittaker, Niamh Thornton, Belén Vidal, Christian Wehr and Friedhelm Schmidt- Welle) who have organised conferences, symposia or other venues that have enabled me to present and get valuable feedback for this research. I thank the participants of an Alejandro González Iñárritu symposium held at Sussex in May 2016, and in particular the presenters, Deborah Shaw, Niamh Thornton, Catherine Grant and especially Paul Julian Smith and Geoffrey Kantaris, my first two tutors in film who continue to inspire me with their work. I viii also thank my colleagues Michael Lawrence and Catherine Grant for help in organising and recording the day. Similarly, I would like to thank Catherine Grant for organising a Lucrecia Martel symposium at Sussex in June 2011 where part of this research was also presented and the participants of that symposium: Deborah Martin, Joanna Page, and Jens Andermann. I also thank my mother for practical and research help scouring the British broadsheet newspapers for articles about Latin American cinema, my brother-in-law David for bringing my dead computer back to life, and my brothers Patrick and Richard for some great ideas. I thank my students on several iterations of my courses in Spanish Cinema, Race and Ethnicity in Popular Cinema, and Gender and the Cinema at Sussex and Tulane Universities for their enthusiasm and their insights. I am extremely grateful to the series editors, Linda Badley and R. Barton Palmer, for their faith in the project from its proposal stage and their help throughout, and to Richard Strachan at Edinburgh University Press, and Jill Laidlaw for close reading and wonderful editing. I thank Routledge, Palgrave and Intellect for permission to reprint the parts of this book which have already been published. An early version of Chapter One appeared in New Cinemas: Journal of Contemporary Film 7.2 (2009), a shorter version of Chapter Three appeared in The Transnational Fantasies of Guillermo del Toro (2014) and a part of the Introduction to