PROOF Contemporary Latin American Cinema REVISED Claudia Sandberg · Carolina Rocha Editors Contemporary Latin American Cinema Resisting Neoliberalism?PROOF REVISED Editors Claudia Sandberg Carolina Rocha School of Languages and Linguistics Department of Foreign Language and University of Melbourne Literature Melbourne, VIC, Australia Southern Illinois University Edwardsville Edwardsville, IL, USA ISBN 978-3-319-77009-3 ISBN 978-3-319-77010-9PROOF (eBook) https://doi.org/10.1007/978-3-319-77010-9 Library of Congress Control Number: 2018939737 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information inREVISED this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affliations. Cover credit: Martín Turnes, www.martinturnes.com.ar Cover design by Emma Hardy Printed on acid-free paper This Palgrave Macmillan imprint is published by the registered company Springer International Publishing AG part of Springer Nature The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland To Mariano Bertini (1993–2014)PROOF Irene Galberg and Elsbeth Guenter REVISED ACKNOWLEDGEMENTS This project owes much to Manuel Tejada’s initiative and intellectual contri- butions. In addition, we would like to thank other colleagues who are work- ing on similar topics and who have inspired thisPROOF volume: Lucero Fragoso Lugo, Lucila Hinojosa, Sebastian Morales Escoffer, Alejandro Pedregal, Iván Pinto, Cacilda Rêgo and Juan Carlos Reyes Vázquez. The co-editors are grateful to all contributors for their work and energy, and timely meet- ing of deadlines. Special thanks go to photographer Martín Turnes who authorized us to use one of his stunning images for the book cover. We extend our gratitude to Juan Carlos Tarriba, editor of the open access jour- nal Norteamérica for his advice on the permission to reprint Jacobo Asse Dayan’s chapter. Patricia Zline, of the Rowman and Littlefeld Publishing Group, kindly gave us permission to use María Mercedes Vázquez Vázquez’s essay as part of our book. Many thanks to director Maximiliano Schonfeld who gave us access to his flms, as well as to director Anna Muylaert andREVISED producer Márcia Mayer who provided still shots. Carolyn Hutchinson and Pierre Trioli did fantastic editorial work. Victoria Vajda McNab kindly and professionally translated Andrea Molfetta’s essay from Spanish into English. Shaun Virgil has been a steadfast supporter of this pro- ject, which has been enriched by the suggestions of two anonymous read- ers. We thank Glenn Ramirez, another member of the Palgrave team, for his generous advice on all matters regarding the manuscript. The Southern Illinois University Edwardsville and the University of Melbourne have sup- ported us in many ways. Special thanks go to our families, friends and col- leagues for their encouragement along the journey of editing this volume. vii CONTENTS 1 Contemporary Latin American Cinema and Resistance to Neoliberalism: Mapping the Field 1 Claudia Sandberg PROOF Part I Uneasy Neoliberal Narratives and Images 2 Southern Hegemonies and Metaphors of the Global South in También La Lluvia 27 Alfredo Martínez-Expósito 3 Neoliberal Masculinities in Contemporary Peruvian Cinema: Octubre and El Limpiador 43 RosanaREVISED Díaz-Zambrana 4 New Geographies of Class in Mexican and Brazilian Cinemas: Post Tenebras Lux and Que horas ela volta? 65 María Mercedes Vázquez Vázquez 5 Paraíso ¿Cuánto pesa el amor?: Challenging the Neoliberal in Mexican Cinema 83 Niamh Thornton ix x CONTENTS Part II Neoliberal Film Policies and the Global Market 6 Güeros: Social Fragmentation, Political Agency and the Mexican Film Industry Under Neoliberalism 101 Jacobo Asse Dayán 7 Negotiating Neoliberal Demands on Contemporary Cinema: The Role and Infuence of the Socially Committed Film Producer in Peru 119 Sarah Barrow 8 Larraín’s No: A Tale of Neoliberalism 135 María Paz Peirano 9 Crowdfunding Images of Colombia and Ecuador: International Collaborations and Transnational Circulation in a Neoliberal Context PROOF 153 Carolina Rocha 10 Argentine Cinema in the Age of Digitization: Between Foreign Dominance and Discussion of Benefts 171 Andrea Morán Ferrés and Miguel Fernández Labayen Part III Defant Actors and Marginal Spaces 11 Social Cinema in Neoliberal Times: The Macabre Baroque in the Films of Pablo Larraín 197 WalesckaREVISED Pino-Ojeda 12 Between Armed Confict, Social Awareness and the Neoliberal Market: The Case of Alias María 215 Carlos de Oro 13 Maximiliano Schonfeld’s Films of the Volga Germans in Entre Ríos: About the Neoliberal Devil in Argentine Cinema 231 Claudia Sandberg COntents xi 14 Community Film in Southern Greater Buenos Aires: Emerging Voices and the Economy of Film as Resistance to Neoliberalism 249 Andrea Molfetta Index 265 PROOF REVISED NOTES ON CONTRIBUTORS Jacobo Asse Dayán is an independent researcher. He holds a Ph.D. in Philosophy of Science from the National Autonomous University of Mexico (UNAM), a Masters in FilmPROOF Studies from University College London (UCL) and a B.Sc. in Applied Mathematics from the Autonomous Technological Institute of Mexico (ITAM). Sarah Barrow is Professor in Film and Media at the University of East Anglia, UK. Her research on the relationship between cinema, state, society and violence in Peru has been published in a range of co- authored/edited collections, journal special issues, online platforms and encyclopedia entries. Sarah co-edited and authored 50 Key British Films (2008) and the Routledge Encyclopaedia of Films, a collection of 200 essays on world cinemas. Her most recent book is Contemporary Peruvian Cinema: History, Identity and Violence on Screen (I.B. Tauris, 2017). Sarah recently coordinated a major Arts Council England-funded project engagingREVISED young people with arts and human rights. Carlos de Oro is Associate Professor of Spanish at the Southwestern University in Austin, Texas. His research interests include contemporary Latin American literature and flm. Additionally, he is interested in topics related to race, gender and cultural studies. He published in Imagofagia. Rosana Díaz-Zambrana is Professor of Spanish at Rollins College. She completed her Ph.D. in Comparative Literature at the University of Illinois at Urbana-Champaign. She has co-edited Cinema paraíso: xiii xiv NOTES ON CONTRIBUTORS Representaciones e imágenes audiovisuales en el Caribe hispano (Isla Negra, 2010) and Horrofílmico: Aproximaciones al cine de terror en Latinoamérica y el Caribe (Isla Negra, 2012). In 2015, she published the anthology, Terra zombi: El fenómeno transnacional de los muertos vivientes (Isla Negra). Miguel Fernández Labayen is Associate Professor in the Department of Journalism and Media Studies at the Universidad Carlos III de Madrid, Spain. He one of the two leading researchers in the projects “Transnational Relations in Spanish-American Digital Cinema: The Axes of Spain, Mexico and Argentina” and “Cinema of Mobility across the Hispanic Atlantic,” both funded by the Spanish Ministry of Economy. Recent articles have appeared in Transnational Cinemas, Journal of Spanish Cultural Studies, Modern Language Review and in several edited collections such as The Routledge Companion to Latin American Cinema (Routledge, 2017). Alfredo Martínez-Expósito is Professor PROOFof Hispanic Studies and Head of the School of Languages and Linguistics at the University of Melbourne. Formerly, he was Head of the School of Languages and Comparative Cultural Studies at the University of Queensland. He is Fellow of the Australian Academy of Humanities. He has published extensively on gender, sexuality, embodiment, nation and nation-brand- ing in Spanish-language cinemas. His most recent monographs include Live Flesh: the Male Body in Contemporary Spanish Cinema (I.B. Tauris, 2007, with Santiago Fouz-Hernández) and Cuestión de imagen: cine y Marca España (Academia del Hispanismo, 2015). Andrea Molfetta (Buenos Aires, 1965) holds a Ph.D. in Film Studies from the University of Sao Paulo and is a writer and researcher at CONICET/Argentina.REVISED She is the founder and former president of AsAECA (www.asaeca.org). She has taught as a visiting professor at Argentine and Brazilian universities. She is the author of Arte eletrónica en Buenos Aires (1966–1993) (2013) and Documental y Experimental: los diarios de viaje de los videoartistas sudamericanos en Francia (1984– 1995) (2014). Andrea coordinates