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This groundbreaking exploration of experimental Latin American film applies Deleuzian theories of cinema in a comparative approach to examine multiple genres and works from the most important national cinematic traditions
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This groundbreaking exploration of experimental Latin American film applies Deleuzian theories of cinema in a comparative approach to examine multiple genres and works from the most important national cinematic traditions
Produktdetails
- Produktdetails
- Verlag: University of Texas Press
- Seitenzahl: 306
- Erscheinungstermin: 15. Februar 2013
- Englisch
- Abmessung: 229mm x 152mm x 18mm
- Gewicht: 466g
- ISBN-13: 9780292762091
- ISBN-10: 0292762097
- Artikelnr.: 40753327
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
- Verlag: University of Texas Press
- Seitenzahl: 306
- Erscheinungstermin: 15. Februar 2013
- Englisch
- Abmessung: 229mm x 152mm x 18mm
- Gewicht: 466g
- ISBN-13: 9780292762091
- ISBN-10: 0292762097
- Artikelnr.: 40753327
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
Cynthia Tompkins, Professor of Spanish and Latin American Cultural Production at Arizona State University, was born and raised in Argentina. She is the author of Latin American Postmodernisms: Women Writers and Experimentation, as well as a significant number of refereed articles, and has translated and coedited numerous other publications.
1. Acknowledgments
2. Introduction. Mise-en-ScÈne, a Seemingly International Staging
3. Part 1. A Neonoir Skew to the Action-Image
* Chapter 1. A Shimmering Suture: FabiÁn Bielinsky's Epileptic El aura
* Chapter 2. Slippery Criminal Pleasures: Intermediality and Voyeurism
in Jorge Furtado's O homem que copiava
* Chapter 3. Endless Quest: Chasing Sex, Lies, and Money at the Gates
of Hell in Heitor Dhalia's O cheiro do ralo
4. Part 2. Road Movies
* Chapter 4. The Paradoxical Effect of the Documentary: Walter Salles's
Central do Brasil
* Chapter 5. Twin Piques: The Double Discourse of Carlos SorÍn's El
camino de San Diego
* Chapter 6. Orphans' Solidarity: MarÍa Victoria Menis's El cielito
5. Part 3. Drama
* Chapter 7. Sculpting Time: InÉs de Oliveira CÉzar's Como pasan las
horas
* Chapter 8. The Past Engulfs the Present: JosuÉ MÉndez's DÍas de
Santiago
6. Part 4. Experimental Auteurism
* Chapter 9. Whether or Not to End One's Life: Carlos Reygadas's JapÓn
* Chapter 10. Crime and Self-Inflicted Punishment: Carlos Reygadas's
Batalla en el cielo
7. Part 5. Experimental Auteurism and Intertextuality
* Chapter 11. The Miracle of Female Bonding in Patriarchal Society:
Carlos Reygadas's Stellet licht (2008)
* Chapter 12. Cyclical Scapegoating: InÉs de Oliveira CÉzar's
Extranjera
* Chapter 13. The Irrevocable Nature of Curses: InÉs de Oliveira
CÉzar's El recuento de los daÑos
* Chapter 14. Splintered Mirrors, Echoes, and Reverberations: Fernando
PÉrez ValdÉs's Madrigal
8. Part 6. Experimental Pseudo-Documentary
* Chapter 15. Room with a View: Fernando PÉrez ValdÉs's Suite Habana
* Chapter 16. Life Is and Is Not: Paz Encina's Hamaca paraguaya
9. Conclusion: Possible Futures
10. Notes
11. Bibliography
12. Index
2. Introduction. Mise-en-ScÈne, a Seemingly International Staging
3. Part 1. A Neonoir Skew to the Action-Image
* Chapter 1. A Shimmering Suture: FabiÁn Bielinsky's Epileptic El aura
* Chapter 2. Slippery Criminal Pleasures: Intermediality and Voyeurism
in Jorge Furtado's O homem que copiava
* Chapter 3. Endless Quest: Chasing Sex, Lies, and Money at the Gates
of Hell in Heitor Dhalia's O cheiro do ralo
4. Part 2. Road Movies
* Chapter 4. The Paradoxical Effect of the Documentary: Walter Salles's
Central do Brasil
* Chapter 5. Twin Piques: The Double Discourse of Carlos SorÍn's El
camino de San Diego
* Chapter 6. Orphans' Solidarity: MarÍa Victoria Menis's El cielito
5. Part 3. Drama
* Chapter 7. Sculpting Time: InÉs de Oliveira CÉzar's Como pasan las
horas
* Chapter 8. The Past Engulfs the Present: JosuÉ MÉndez's DÍas de
Santiago
6. Part 4. Experimental Auteurism
* Chapter 9. Whether or Not to End One's Life: Carlos Reygadas's JapÓn
* Chapter 10. Crime and Self-Inflicted Punishment: Carlos Reygadas's
Batalla en el cielo
7. Part 5. Experimental Auteurism and Intertextuality
* Chapter 11. The Miracle of Female Bonding in Patriarchal Society:
Carlos Reygadas's Stellet licht (2008)
* Chapter 12. Cyclical Scapegoating: InÉs de Oliveira CÉzar's
Extranjera
* Chapter 13. The Irrevocable Nature of Curses: InÉs de Oliveira
CÉzar's El recuento de los daÑos
* Chapter 14. Splintered Mirrors, Echoes, and Reverberations: Fernando
PÉrez ValdÉs's Madrigal
8. Part 6. Experimental Pseudo-Documentary
* Chapter 15. Room with a View: Fernando PÉrez ValdÉs's Suite Habana
* Chapter 16. Life Is and Is Not: Paz Encina's Hamaca paraguaya
9. Conclusion: Possible Futures
10. Notes
11. Bibliography
12. Index
1. Acknowledgments
2. Introduction. Mise-en-ScÈne, a Seemingly International Staging
3. Part 1. A Neonoir Skew to the Action-Image
* Chapter 1. A Shimmering Suture: FabiÁn Bielinsky's Epileptic El aura
* Chapter 2. Slippery Criminal Pleasures: Intermediality and Voyeurism
in Jorge Furtado's O homem que copiava
* Chapter 3. Endless Quest: Chasing Sex, Lies, and Money at the Gates
of Hell in Heitor Dhalia's O cheiro do ralo
4. Part 2. Road Movies
* Chapter 4. The Paradoxical Effect of the Documentary: Walter Salles's
Central do Brasil
* Chapter 5. Twin Piques: The Double Discourse of Carlos SorÍn's El
camino de San Diego
* Chapter 6. Orphans' Solidarity: MarÍa Victoria Menis's El cielito
5. Part 3. Drama
* Chapter 7. Sculpting Time: InÉs de Oliveira CÉzar's Como pasan las
horas
* Chapter 8. The Past Engulfs the Present: JosuÉ MÉndez's DÍas de
Santiago
6. Part 4. Experimental Auteurism
* Chapter 9. Whether or Not to End One's Life: Carlos Reygadas's JapÓn
* Chapter 10. Crime and Self-Inflicted Punishment: Carlos Reygadas's
Batalla en el cielo
7. Part 5. Experimental Auteurism and Intertextuality
* Chapter 11. The Miracle of Female Bonding in Patriarchal Society:
Carlos Reygadas's Stellet licht (2008)
* Chapter 12. Cyclical Scapegoating: InÉs de Oliveira CÉzar's
Extranjera
* Chapter 13. The Irrevocable Nature of Curses: InÉs de Oliveira
CÉzar's El recuento de los daÑos
* Chapter 14. Splintered Mirrors, Echoes, and Reverberations: Fernando
PÉrez ValdÉs's Madrigal
8. Part 6. Experimental Pseudo-Documentary
* Chapter 15. Room with a View: Fernando PÉrez ValdÉs's Suite Habana
* Chapter 16. Life Is and Is Not: Paz Encina's Hamaca paraguaya
9. Conclusion: Possible Futures
10. Notes
11. Bibliography
12. Index
2. Introduction. Mise-en-ScÈne, a Seemingly International Staging
3. Part 1. A Neonoir Skew to the Action-Image
* Chapter 1. A Shimmering Suture: FabiÁn Bielinsky's Epileptic El aura
* Chapter 2. Slippery Criminal Pleasures: Intermediality and Voyeurism
in Jorge Furtado's O homem que copiava
* Chapter 3. Endless Quest: Chasing Sex, Lies, and Money at the Gates
of Hell in Heitor Dhalia's O cheiro do ralo
4. Part 2. Road Movies
* Chapter 4. The Paradoxical Effect of the Documentary: Walter Salles's
Central do Brasil
* Chapter 5. Twin Piques: The Double Discourse of Carlos SorÍn's El
camino de San Diego
* Chapter 6. Orphans' Solidarity: MarÍa Victoria Menis's El cielito
5. Part 3. Drama
* Chapter 7. Sculpting Time: InÉs de Oliveira CÉzar's Como pasan las
horas
* Chapter 8. The Past Engulfs the Present: JosuÉ MÉndez's DÍas de
Santiago
6. Part 4. Experimental Auteurism
* Chapter 9. Whether or Not to End One's Life: Carlos Reygadas's JapÓn
* Chapter 10. Crime and Self-Inflicted Punishment: Carlos Reygadas's
Batalla en el cielo
7. Part 5. Experimental Auteurism and Intertextuality
* Chapter 11. The Miracle of Female Bonding in Patriarchal Society:
Carlos Reygadas's Stellet licht (2008)
* Chapter 12. Cyclical Scapegoating: InÉs de Oliveira CÉzar's
Extranjera
* Chapter 13. The Irrevocable Nature of Curses: InÉs de Oliveira
CÉzar's El recuento de los daÑos
* Chapter 14. Splintered Mirrors, Echoes, and Reverberations: Fernando
PÉrez ValdÉs's Madrigal
8. Part 6. Experimental Pseudo-Documentary
* Chapter 15. Room with a View: Fernando PÉrez ValdÉs's Suite Habana
* Chapter 16. Life Is and Is Not: Paz Encina's Hamaca paraguaya
9. Conclusion: Possible Futures
10. Notes
11. Bibliography
12. Index







