Book contents
- Frontmatter
- Contents
- Foreword to the Second Edition
- Preface to the First Edition
- Acknowledgments
- Notes on the Essays
- The “I” of the camera
- 1 Hollywood Reconsidered: Reflections on the Classical American Cinema
- 2 D. W. Griffith and the Birth of the Movies
- 3 Judith of Bethulia
- 4 True Heart Griffith
- 5 The Ending of City Lights
- 6 The Goddess: Reflections on Melodrama East and West
- 7 Red Dust: The Erotic Screen Image
- 8 Virtue and Villainy in the Face of the Camera
- 9 Pathos and Transfiguration in the Face of the Camera: A Reading of Stella Dallas
- 10 Viewing the World in Black and White: Race and the Melodrama of the Unknown Woman
- 11 Howard Hawks and Bringing Up Baby
- 12 The Filmmaker in the Film: Octave and the Rules of Renoir's Game
- 13 Stagecoach and the Quest for Selfhood
- 14 To Have and Have Not Adapted a Film from a Novel
- 15 Hollywood and the Rise of Suburbia
- 16 Nobody's Perfect: Billy Wilder and the Postwar American Cinema
- 17 The River
- 18 Vertigo: The Unknown Woman in Hitchcock
- 19 North by Northwest: Hitchcock's Monument to the Hitchcock Film
- 20 The Villain in Hitchcock: “Does He Look Like a ‘Wrong One’ to You?”
- 21 Thoughts on Hitchcock's Authorship
- 22 Eternal Véritées: Cinema-Vérité and Classical Cinema
- 23 Visconti's Death in Venice
- 24 Alfred Guzzetti's Family Portrait Sittings
- 25 The Taste for Beauty: Eric Rohmer's Writings on Film
- 26 Tale of Winter: Philosophical Thought in the Films of Eric Rohmer
- 27 The “New Latin American Cinema”
- 28 Violence and Film
- 29 What Is American about American Film Study?
- Index
27 - The “New Latin American Cinema”
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Foreword to the Second Edition
- Preface to the First Edition
- Acknowledgments
- Notes on the Essays
- The “I” of the camera
- 1 Hollywood Reconsidered: Reflections on the Classical American Cinema
- 2 D. W. Griffith and the Birth of the Movies
- 3 Judith of Bethulia
- 4 True Heart Griffith
- 5 The Ending of City Lights
- 6 The Goddess: Reflections on Melodrama East and West
- 7 Red Dust: The Erotic Screen Image
- 8 Virtue and Villainy in the Face of the Camera
- 9 Pathos and Transfiguration in the Face of the Camera: A Reading of Stella Dallas
- 10 Viewing the World in Black and White: Race and the Melodrama of the Unknown Woman
- 11 Howard Hawks and Bringing Up Baby
- 12 The Filmmaker in the Film: Octave and the Rules of Renoir's Game
- 13 Stagecoach and the Quest for Selfhood
- 14 To Have and Have Not Adapted a Film from a Novel
- 15 Hollywood and the Rise of Suburbia
- 16 Nobody's Perfect: Billy Wilder and the Postwar American Cinema
- 17 The River
- 18 Vertigo: The Unknown Woman in Hitchcock
- 19 North by Northwest: Hitchcock's Monument to the Hitchcock Film
- 20 The Villain in Hitchcock: “Does He Look Like a ‘Wrong One’ to You?”
- 21 Thoughts on Hitchcock's Authorship
- 22 Eternal Véritées: Cinema-Vérité and Classical Cinema
- 23 Visconti's Death in Venice
- 24 Alfred Guzzetti's Family Portrait Sittings
- 25 The Taste for Beauty: Eric Rohmer's Writings on Film
- 26 Tale of Winter: Philosophical Thought in the Films of Eric Rohmer
- 27 The “New Latin American Cinema”
- 28 Violence and Film
- 29 What Is American about American Film Study?
- Index
Summary
In her important book The New Latin American Cinema: A Continental Project [here after abbreviated as NLAC (Austin: University of Texas Press, 1993)], Zuzana Pick argues that what has been called the “New Latin American Cinema” has been a continent-wide effort to create a cinema that speaks for and to Latin America as a whole. However, she argues that this idea of the movement, this idea of the New Latin American Cinema as a movement – it is her idea that this movement sees itself as a movement – emerged more and more explicitly as the movement evolved. This idea of the movement emerged hand-in-hand with the movement's developing practices, and hand-in-hand, as well, with the idea of Latin America as a distinct historical entity.
In Pick's view, the idea of a distinctive Latin America identity has emerged within a process, of which the New Latin American Cinema movement has been an integral part, of questioning the myths of progress that displaced the colonial legacy after Latin American countries consolidated themselves as modern nations. This idea of Latin America as a distinctive entity is based on a sense of a shared history and destiny, she argues, and also on a sense of a multiplicity of cultures that do not conform to state-defined allegiances and differences. “Latin Americans have assumed the history and envisioned the future of the continent,” she writes, “in the layering of regional specificities (those inflected by locality) and through narrative negotiations of nation, class, race and gender.
- Type
- Chapter
- Information
- The 'I' of the CameraEssays in Film Criticism, History, and Aesthetics, pp. 340 - 347Publisher: Cambridge University PressPrint publication year: 2003