{"title":"The perfect spectatorship: Culture and criticism in Mexico’s La dictadura perfecta/The Perfect Dictatorship (2014) and Ingobernable/Ungovernable (2017)","authors":"Pablo Zavala","doi":"10.1386/SLAC.16.2.251_1","DOIUrl":"https://doi.org/10.1386/SLAC.16.2.251_1","url":null,"abstract":"","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90988104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Compulsive memory: The endurance of 1969 in Brazil","authors":"P. Moreira","doi":"10.1386/SLAC.16.2.233_1","DOIUrl":"https://doi.org/10.1386/SLAC.16.2.233_1","url":null,"abstract":"","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"150 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86152526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Minimal gestures: Displacement, affect and urban experience in A hora da estrela/The Hour of the Star (Amaral, 1985)","authors":"Mariana Cunha","doi":"10.1386/SLAC.16.2.177_1","DOIUrl":"https://doi.org/10.1386/SLAC.16.2.177_1","url":null,"abstract":"","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88459024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Digital access, genre bending: Four Seasons in Havana (Viscarret, 2016) and the Ibero-American audio-visual space","authors":"Luisela Alvaray","doi":"10.1386/SLAC.16.2.155_1","DOIUrl":"https://doi.org/10.1386/SLAC.16.2.155_1","url":null,"abstract":"","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89014814","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"La música en el cine español, entre el falangismo y el nacionalcatolicismo: de Tierra y Cielo (1941) a Forja de Almas (1943)","authors":"C. Alonso","doi":"10.1386/SLAC.16.2.195_1","DOIUrl":"https://doi.org/10.1386/SLAC.16.2.195_1","url":null,"abstract":"","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88169486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
William Brown, María Soledad Montañez, David Martin-Jones
This article includes interviews with three contemporary Uruguayan film directors, Guillermo Casanova, Federico Veiroj and Silvana Camors. They answer questions about the state of cinema in contemporary Uruguay, offering varying perspectives on different aspects of Uruguayan film culture, from issues surrounding funding and distribution to the role of digital technology and the importance of maintaining film archives. Although the filmmakers identify numerous difficulties for Uruguayan filmmakers, especially at the level of institutional and financial support, they nonetheless remain grimly optimistic that Uruguayan cinema has a future.
{"title":"Uruguayan cinema today: Interviews with three Uruguayan directors","authors":"William Brown, María Soledad Montañez, David Martin-Jones","doi":"10.1386/SLAC.16.1.111_1","DOIUrl":"https://doi.org/10.1386/SLAC.16.1.111_1","url":null,"abstract":"This article includes interviews with three contemporary Uruguayan film directors, Guillermo Casanova, Federico Veiroj and Silvana Camors. They answer questions about the state of cinema in contemporary Uruguay, offering varying perspectives on different aspects of Uruguayan film culture, from issues surrounding funding and distribution to the role of digital technology and the importance of maintaining film archives. Although the filmmakers identify numerous difficulties for Uruguayan filmmakers, especially at the level of institutional and financial support, they nonetheless remain grimly optimistic that Uruguayan cinema has a future.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"98 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75184423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on the micro-budget Uruguayan horror movie, La casa muda/The Silent House (Hernandez, 2010), as exemplar of the difficulties that Uruguayan filmmakers face in production and (international) distribution and the innovative means that they develop to negotiate these issues. Like many Uruguayan films, La casa muda premiered internationally (at the Cannes Film Festival) and, as outlined in the article, it follows a similar aesthetic and narrative ‘backgrounding’ of the nation (the deliberate erasure of indicators of national identity, such as national monuments) to that of Uruguayan art films. Nevertheless, its production history and journey to international prominence remains rather unique. This distinction reinforces the importance of the festival circuit in facilitating the production and distribution of Uruguayan art films, but, also – as is less often discussed – the television industry and especially the Internet as counter-balances to the dominance of Hollywood’s outreach in the region. Moreover, the ‘ambiguous’ nature of the film’s narrative and iconographic content illustrates how Uruguayan filmmakers simultaneously meet, and depart from, international audience expectations. Ultimately, La casa muda is not of interest specifically for being a Latin American horror film, but because it travelled internationally using the same distribution platforms (the festival circuit, DVD release) and aesthetic strategies as many preceding Uruguayan (and Latin American) art films, only this time to confound established expectations of films travelling these routes.
本文关注的是乌拉圭小成本恐怖电影《寂静之屋》(Hernandez, 2010)，作为乌拉圭电影人在制作和(国际)发行中面临困难的范例，以及他们为解决这些问题而开发的创新手段。像许多乌拉圭电影一样，《muda之家》在国际上(戛纳电影节)首映，正如文章所述，它遵循了与乌拉圭艺术电影相似的国家美学和叙事“背景”(故意抹去国家身份的标志，如国家纪念碑)。然而，它的生产历史和走向国际的旅程仍然是相当独特的。这种区别强化了电影节在促进乌拉圭艺术电影制作和发行方面的重要性，但是，电视行业，尤其是互联网，作为对好莱坞在该地区的主导地位的制衡，这一点很少被讨论。此外，影片叙事和图像内容的“模棱两可”性质说明了乌拉圭电影人如何同时满足或偏离国际观众的期望。最终，La casa muda并不是因为它是一部拉丁美洲的恐怖电影而引起人们的兴趣，而是因为它在国际上使用了与许多之前的乌拉圭(和拉丁美洲)艺术电影相同的发行平台(电影节巡回演出，DVD发行)和美学策略，只是这一次混淆了电影在这些路线上的既定期望。
{"title":"What is the ‘Silent House’?: Interpreting the international appeal of Tokio Films’ Uruguayan horror La casa muda/The Silent House","authors":"David Martin-Jones, María Soledad Montañez","doi":"10.1386/SLAC.16.1.25_1","DOIUrl":"https://doi.org/10.1386/SLAC.16.1.25_1","url":null,"abstract":"This article focuses on the micro-budget Uruguayan horror movie, La casa muda/The Silent House (Hernandez, 2010), as exemplar of the difficulties that Uruguayan filmmakers face in production and (international) distribution and the innovative means that they develop to negotiate these issues. Like many Uruguayan films, La casa muda premiered internationally (at the Cannes Film Festival) and, as outlined in the article, it follows a similar aesthetic and narrative ‘backgrounding’ of the nation (the deliberate erasure of indicators of national identity, such as national monuments) to that of Uruguayan art films. Nevertheless, its production history and journey to international prominence remains rather unique. This distinction reinforces the importance of the festival circuit in facilitating the production and distribution of Uruguayan art films, but, also – as is less often discussed – the television industry and especially the Internet as counter-balances to the dominance of Hollywood’s outreach in the region. Moreover, the ‘ambiguous’ nature of the film’s narrative and iconographic content illustrates how Uruguayan filmmakers simultaneously meet, and depart from, international audience expectations. Ultimately, La casa muda is not of interest specifically for being a Latin American horror film, but because it travelled internationally using the same distribution platforms (the festival circuit, DVD release) and aesthetic strategies as many preceding Uruguayan (and Latin American) art films, only this time to confound established expectations of films travelling these routes.","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"228 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75088889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘One Cinema, One Country’: Cultural value and public recognition of Uruguayan Cinema in the early twenty-first century","authors":"Rosario Radakovich","doi":"10.1386/SLAC.16.1.89_1","DOIUrl":"https://doi.org/10.1386/SLAC.16.1.89_1","url":null,"abstract":"","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86193968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Uruguayan film criticism in the post-dictatorship era: Traditions and ruptures, theoretical perspectives and relationships within the critical field","authors":"M. Amieva","doi":"10.1386/SLAC.16.1.73_1","DOIUrl":"https://doi.org/10.1386/SLAC.16.1.73_1","url":null,"abstract":"","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82066033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fede Álvarez and the impossibility of Uruguayan Cinema","authors":"William Brown","doi":"10.1386/slac.16.1.49_1","DOIUrl":"https://doi.org/10.1386/slac.16.1.49_1","url":null,"abstract":"","PeriodicalId":40780,"journal":{"name":"Studies in Spanish & Latin American Cinemas","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73438009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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