Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumière Cinématographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.

Struggles for Recognition traces the emergence of melodrama in Latin American silent film and silent film culture. Juan Sebastián Ospina León draws on extensive archival research to reveal how melodrama visualized and shaped the social arena of urban modernity in early twentieth-century Latin America. Analyzing sociocultural contexts through film, this book demonstrates the ways in which melodrama was mobilized for both liberal and illiberal ends, revealing or concealing social inequities from Buenos Aires to Bogotá to Los Angeles. Ospina León critically engages Euro-American and Latin American scholarship seldom put into dialogue, offering an innovative theorization of melodrama relevant to scholars working within and across different national contexts.

Alton's Paradox builds upon extensive archival and primary research, but uses a single text as its point of departure—a 1934 article by the Hungarian American cinematographer John Alton in the Hollywood-published International Photographer. Writing from Argentina, Alton paradoxically argues of cine nacional, "The possibilities are enormous, but not until foreign technicians will take the matter in their hands and with foreign organization will there be local industry." Nicolas Poppe argues that Alton succinctly articulates a line of thought commonly held across Latin America during the early sound period but little explored by scholars: that foreign labor was pivotal to the rise of national film industries. In tracking this paradox from Hollywood to Mexico to Argentina and beyond, Poppe reconsiders a series of notions inextricably tied to traditional film historiography, including authorship, (dis)continuation, intermediality, labor, National Cinema, and transnationalism. Wide-angled views of national film industries complement close-up analyses of the work of José Mojica, Alex Phillips, Juan Orol, Ángel Mentasti, and Tito Davison.

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. This groundbreaking collection of essays from leading film historians features original research on movie magazines published in China, France, Germany, India, Iran, Latin America, South Korea, the U.S., and beyond. Vital resources for the study of film history and culture, movie magazines are frequently cited as sources, but rarely centered as objects of study. Global Movie Magazine Networks does precisely that, revealing the hybridity, heterogeneity, and connectivity of movie magazines and the important role they play in the intercontinental exchange of information and ideas about cinema. Uniquely, the contributors in this book have developed their critical analysis alongside the collaborative work of building digital resources, facilitating the digitization of more than a dozen of these historic magazines on an open-access basis.

The Routledge Companion to Gender, Sex and Latin American Culture is the first comprehensive volume to explore the intersections between gender, sexuality, and the creation, consumption, and interpretation of popular culture in the Américas. The chapters seek to enrich our understanding of the role of pop culture in the everyday lives of its creators and consumers, primarily in the 20th and 21st centuries. They reveal how popular culture expresses the historical, social, cultural, and political commonalities that have shaped the lives of peoples that make up the Américas, and also highlight how pop culture can conform to and solidify existing social hierarchies, whilst on other occasions contest and resist the status quo. Front and center in this collection are issues of gender and sexuality, making visible the ways in which subjects who inhabit intersectional identities (sex, gender, race, class) are "othered", as well as demonstrating how these same subjects can, and do, use pop-cultural phenomena in self-affirmative and progressively transformative ways. Topics covered in this volume include TV, film, pop and performance art, hip-hop, dance, slam poetry, gender-fluid religious ritual, theater, stand-up comedy, graffiti, videogames, photography, graphic arts, sports spectacles, comic books, sci-fi and other genre novels, lotería card games, news, web, and digital media.

Historically, Los Angeles and its exhibition market have been central to the international success of Latin American cinema. Not only was Los Angeles a site crucial for exhibition of these films, but it became the most important hub in the western hemisphere for the distribution of Spanish language films made for Latin American audiences. Cinema between Latin America and Los Angeles builds upon this foundational insight to both examine the considerable, ongoing role that Los Angeles played in the history of Spanish-language cinema and to explore the implications of this transnational dynamic for the study and analysis of Latin American cinema before 1960. The volume editors aim to flesh out the gaps between Hollywood and Latin America, American imperialism and Latin American nationalism in order to produce a more nuanced view of transnational cultural relations in the western hemisphere.

This volume explores the notion of German cinema as both a national and increasingly transnational entity. It brings together chapters that analyse the international circuits of development and distribution that shape the emerging films as part of a contemporary “German cinema”, the events and spectacles that help frame and re-frame national cinemas and their discoverability, and the well-known filmmakers who sit at the vanguard of the contemporary canon. Thereby, it explores what we understand as German cinema today and the many points where this idea of national cinema can be interrogated, expanded and opened up to new readings. At the heart of this interrogation is a keen awareness of the technological, social, economic and cultural changes that have an impact on global cinemas more broadly: new distribution channels such as streaming platforms and online film festivals, and audience engagement that transcends national borders as well as the cinema space. International film production and financing further heightens the transnational aspects of cinema, a quality that is often neglected in marketing and branding of the filmic product. With particular focus on film festivals, this volume explores the tensions between the national and transnational in film, but also in the events that sit at the heart of global cinema culture. It includes contributions from filmmakers, cultural managers and other professionals in the field of film and cinema, as well as scholarly contributions from academics researching popular culture, film, and events in relation to Germany.

The purpose of this edited volume is to explore the contributions of women to European, Mexican, American and Indian film industries during the years 1900 to 1950, an important period that signified the rise and consolidation of media technologies. Their pioneering work as film stars, writers, directors, designers and producers as well as their endeavors to bridge the gap between the avant-garde and mass culture are significant aspects of this collection. This intersection will be carefully nuanced through their cinematographic production, performances and artistic creations. Other distinctive features pertain to the interconnection of gender roles and moral values with ways of looking, which paves the way for realigning social and aesthetic conventions of femininity. Based on this thematic and diverse sociocultural context, this study has an international scope, their main audiences being scholars and graduate students that pursue to advance interdisciplinary research in the field of feminist theory, film, gender, media and avant-garde studies. Likewise, historians, art and literature specialists will find the content appealing to the degree that intermedial and cross-cultural approaches are presented.

The Routledge Companion to Latin American Cinema is the most comprehensive survey of Latin American cinemas available in a single volume. While highlighting state-of-the-field research, essays also offer readers a cohesive overview of multiple facets of filmmaking in the region, from the production system and aesthetic tendencies, to the nature of circulation and reception. The volume recognizes the recent "new cinemas" in Argentina, Brazil, Chile, and Mexico, and, at the same time, provides a much deeper understanding of the contemporary moment by commenting on the aesthetic trends and industrial structures in earlier periods. The collection features essays by established scholars as well as up-and-coming investigators in ways that depart from existing scholarship and suggest new directions for the field.

In the two decades after World War II, a vibrant cultural infrastructure of cineclubs, archives, festivals, and film schools took shape in Latin America through the labor of film enthusiasts who often worked in concert with French and France-based organizations. In promoting the emerging concept and practice of art cinema, these film-related institutions advanced geopolitical and class interests simultaneously in a polarized Cold War climate. Seeking to sharpen viewers' critical faculties as a safeguard against ideological extremes, institutions of film culture lent prestige to Latin America's growing middle classes and capitalized on official and unofficial efforts to boost the circulation of French cinema, enhancing the nation's soft power in the wake of military defeat and occupation. As the first book-length, transnational analysis of postwar Latin American film culture, Transatlantic Cinephilia deepens our understanding of how institutional networks have nurtured alternative and nontheatrical cinemas.