Wiley Blackwell Companions to National Cinemas (CNCZ/2971)

The Wiley Blackwell Companions to National Cinemas showcase the rich film heritages of various countries across the globe. Each volume sets the agenda for what is now known as world cinema whilst challenging Hollywood’s lock on the popular and scholarly imagination. Whether exploring Spanish, German or Chinese film, or the broader traditions of Eastern Europe, Scandinavia, Australia, and Latin America the 20–25 newly commissioned essays comprising each volume include coverage of the dominant themes of canonical, controversial, and contemporary films; stars, directors, and writers; key influences; reception; and historiography and scholarship. Written in a sophisticated and authoritative style by leading experts they will appeal to an international audience of scholars, students, and general readers.

Published:

A Companion to German Cinema, edited by Terri Ginsberg & Andrea Mensch

A Companion to Chinese Cinema, edited by Yingjin Zhang

A Companion to East European Cinemas, edited by Anikó Imre

A Companion to Spanish Cinema, edited by Jo Labanyi & Tatjana Pavlović

A Companion to Contemporary French Cinema, edited by Raphaëlle Moine, Hilary Radner, Alistair Fox & Michel Marie

A Companion to Hong Kong Cinema, edited by Esther M. K. Cheung, Gina Marchetti, and Esther C.M. Yau

A Companion to Latin American Cinema, edited by Maria M. Delgado, Stephen M. Hart, and Randal Johnson

Jens Andermann teaches at the University of Zurich and is an editor of the Journal of Latin American Cultural Studies. Publications include New Argentine Cinema (2015), The Optic of the State: Visuality and Power in Argentina and Brazil (2007; 2014), and Mapas de poder: una arqueología literaria del espacio argentino (2000). He has co‐edited several volumes on Latin American cinema, including La escena y la pantalla: cine contemporáneo y el retorno de lo real (2013) and New Argentine and Brazilian Cinema: Reality Effects (2013).

Michael Chanan is a documentary filmmaker and Professor of Film and Video at Roehampton University, London. His books include Cuban Cinema (2004) and The Politics of Documentary (2007). He has a range of special interests, including Latin American cinema, documentary, the film soundtrack, and the social history of music.

Enrique Colina began his career as a film critic for a number of Cuban newspapers and periodicals, moving on to direct the programme 24 por Segundo for Cuban Television. In the 1980s he made a number of documentary films and shorts; his debut feature Entre ciclones/Between Hurricanes was screened at the Critic’s Week of the Cannes Film Festival in 2003. He has been a senior lecturer at the Radio, TV and Film Faculty of the Instituto Superior de Arte in Cuba for over 20 years and has also served as head of the Documentary Film Department at the Escuela Internacional de Cine y Televisión in San Antonio de los Baños. He has also had visiting positions at Toulouse’s Ecole Supérieure de l’Audiovisuel in Toulouse, Bordeaux’s Université Michel de Montaigne in Bordeaux, and Guadalajara’s Instituto de Cine de la Escuela de Arquitectura.

Joel del Río is a journalist, specializing in the area of arts criticism since 1994 for the newspaper Juventud Rebelde and a range of other publications. He has published on film and screen matters in Cahiers du Cinema (Spain), Cinémas d’Amérique Latine, and Sinergias del cine latinoamericano (among others). He has worked as a journalist at the ICAIC and has taught at the Escuela Internacional de Cine y Televisión in San Antonio de los Baños and the Universidad de La Habana. His books include Latitudes del margen (2004), Los cien caminos del cine cubano (2009, co‐written with Marta Díaz), Melodrama, tragedia y euforia: de Griffith a Von Trier (2012), and El cine según García Márquez (2013).

Maria M. Delgado is Professor and Director of Research at The Royal Central School of Speech and Drama, University of London, and Honorary Fellow at the Institute of Modern Languages Research at the University of London. She has published extensively in the area of Spanish‐language performance and film and has served as a programme advisor on Spanish and Latin American film at the London Film Festival since 1997. She writes regularly for the leading film magazine Sight & Sound; her publications include 10 co‐edited volumes and two monographs.

Mar Diestro‐Dópido is a researcher and regular contributor to Sight & Sound – the monthly film magazine of the British Film Institute – as well as an experienced arts and media translator. Her book publications include a BFI Modern Classic on Guillermo del Toro’s Pan’s Labyrinth (2013) and a forthcoming book on film festivals, built around her doctoral thesis which won the Association of Hispanists of Great Britain and Ireland's Legenda prize for the best new thesis of 2014.

Tamara L. Falicov is Associate Professor in the Department of Film and Media Studies and a core member of the Center for Latin American and Caribbean Studies at the University of Kansas. She is the author of The Cinematic Tango: Contemporary Argentine Film (2007) and Latin American Film Industries (forthcoming). She is the co‐editor, with Marijke de Valck, of the book series Framing Film Festivals for Palgrave Macmillan.

Charlotte Gleghorn is Chancellor’s Fellow‐Lecturer in Hispanic Studies at the University of Edinburgh, and was postdoctoral researcher on the European Research Council project “Indigeneity in the Contemporary World: Performance, Politics, Belonging,” hosted at Royal Holloway, University of London, where she worked from 2009 to 2013. She has contributed to a number of anthologies on Latin American cinema, published on Colombian and Mexican Indigenous film and video in the Journal of Latin American Cultural Studies and Interventions, respectively, and has co‐edited a volume of essays on Indigenous performance, Recasting Commodity and Spectacle in the Indigenous Americas (2014).

Roque González is a consultant to the UNESCO Institute of Statistics. He is the author of two books, multiple chapters in compilations, and dozens of articles and papers on film, the audiovisual, and cultural industries, published in the United States, Spain, Italy, Mexico, Brazil, Argentina, and Colombia. Together with Octavio Getino, he constructed the Observatory of Latin American Film and Audiovisuals (Ocal‐FNCL) and the Observatory of the Common Market of the Southern Cone (OMA‐RECAM). He is the Latin American representative to the European Observatory of Audiovisuals.

Esther Hamburger is Associate Professor of History and Criticism of Film and Television at the University of São Paulo. With a background in anthropology (PhD, University of Chicago), she is the author of O Brasil Antenado: A Sociedade da Novela (2005). She has also published in a wide range of book collections including The Routledge Companion to Media and Gender (2013), and she has contributed to journals such as Significação, Lua Nova, Novos Estudos, and Framework. Current research includes Arne Sucksdorff’s work in Brazil, and contemporary documentary film and television fiction.

Stephen M. Hart is Professor of Latin American Film, Literature and Culture at University College London, general editor of Tamesis, and founder‐director of the Centre of César Vallejo Studies at UCL. He is the director of a documentary filmmaking project which runs an annual summer school in Cuba at the Escuela Internacional de Cine y Televisión in San Antonio de los Baños, operational since 2006. He was awarded the Order of Merit by the Peruvian government and an honorary doctorate by the Universidad Nacional Mayor de San Marcos in 2004, elected to the post of Miembro Correspondiente de la Academia Peruana de la Lengua in 2013, and awarded the Order of Merit by the University of Trujillo in 2014. His book Latin American Film was published in 2015.

Liz Harvey is a Lecturer in Spanish Language and Culture at the University of Westminster, and holds a doctorate from University College London. Her research focuses on the formation of national identity in Costa Rica and how this is constructed and challenged within national literature and film.

Randal Johnson is Distinguished Professor of Brazilian Literature and Cinema at the University of California, Los Angeles. He is the author of Cinema Novo x 5: Masters of Contemporary Brazilian Film (1984), The Film Industry in Brazil: Culture and the State (1987), Antônio das Mortes (1998), and Manoel de Oliveira (2007), and editor or co‐editor of Brazilian Cinema (1982, 1988, 1985), Tropical Paths: Essays on Modern Brazilian Literature (1993), Black Brazil: Culture, Identity and Social Mobilization (1999), and Pierre Bourdieu’s The Field of Cultural Production: Essays on Art and Literature (1993).

Geoffrey Kantaris is Reader in Latin American Culture at the University of Cambridge. He specializes in modern Latin American film and literature, with particular interests in urban film (Argentina, Colombia, Mexico and Brazil), women’s writing, popular culture, and the cultures of globalization. He has published many articles and book chapters on urban film, postmodernity, women’s writing, and dictatorship, and on the theory of Latin American popular culture. He is author of The Subversive Psyche (1995) and co‐editor of Latin American Popular Culture: Politics, Media, Affect (2013).

Leah Kemp is a lecturer in the Spanish and Portuguese Department at the University of Southern California. She received her doctorate from UCLA with a dissertation on depictions of citizenship in Chilean cinema during the transition to democracy.

Denilson Lopes graduated with a BA in communications and journalism (1989), an MA in literature (1992), and a PhD in sociology (1997) from Brasilia University. He subsequently taught at Brasilia University from 1997 until 2007, and he is currently a professor at the Federal University of Rio de Janeiro. He has been invited as visting professor to a number of institutions, including City University of New York, New York University in Montreal, and Leiden University in Holland. He is an expert on contemporary cinema, gender studies, and contemporary art, and the author of a number of monographs, including No Coração do Mundo: Paisagens Transculturais (2012), A Delicadeza: Estética, Experiência e Paisagens (2007), O Homem que Amava Rapazes e Outros Ensaios (2002) and Nós os Mortos: Melancolia e Neo‐Barroco (1999).

Deborah Martin is Senior Lecturer in Latin American Cultural Studies at University College London. She has published several articles on Latin American film, and two books, Of Border Guards, Nomads and Women: Painting, Literature and Film in Colombian Feminine Culture (2012), and The Cinema of Lucrecia Martel (2016). She is currently working on a monograph on representations of childhood in Latin American cinema.

Germán Martínez Martínez is a political theorist and works on Latin American cultural studies, especially film. His academic posts include lecturer and researcher at the University of St Andrews and the Royal Holloway, Queen Mary and King’s colleges of the University of London. He has also been a faculty member at Universidad Iberoamericana and ITESM in Mexico City. In addition to his academic work, he has been the program director of London’s Discovering Latin America film festival since 2009. Until 2014 he was the editor of Foreign Policy Edición Mexicana magazine. He is an active film critic and journalist.

Lúcia Nagib is Professor of Film at the University of Reading. She is the author of World Cinema and the Ethics of Realism (2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (2007), Born of the Ashes: The Auteur and the Individual in Oshima’s Films (1995), and Werner Herzog: Film as Reality (1991). She is the editor of The New Brazilian Cinema (2003) and co‐editor of Impure Cinema: Intermedial and Intercultural Approaches to Film (2013), Theorizing World Cinema (2011) and Realism and the Audiovisual Media (2009).

Joanna Page is Senior Lecturer in Latin American Cultural Studies at the University of Cambridge. She is the author of Crisis and Capitalism in Contemporary Argentine Cinema (2009), Creativity and Science in Contemporary Argentine Literature (2014), and Science Fiction in Argentina: Technologies of the Text in a Material Multiverse (2016). She is also the co‐editor of Visual Synergies in Fiction and Documentary Film from Latin America (2009), and is currently working on the Latin American graphic novel.

André Parente is an artist and a scholar of cinema and new media. In 1987 he obtained his PhD from the University of Paris 8 under the guidance of Gilles Deleuze. In 1991 he founded the Nucleus of Image Technology (N‐Imagem) at the Federal University of Rio de Janeiro, were he is a professor. His works have been exhibited in Brazil, Argentina, Canada, China, Colombia, France, Germany, Mexico, Portugal, Spain, and Sweden, among other countries. He is the author of Imagem‐máquina (1993), Sobre o Cinema do Simulacro (1998), O Virtual e o Hipertextual (1999), Narrativa e Modernidade (2000), Tramas da Rede (2004), Cinema et Narrativité (2005), Preparações e Tarefas (2007), Cinema em Trânsito (2012), cinemáticos (2013), Cinema/Deleuze (2013), and Passagens entre Fotografia e Cinema na Arte Brasileira (2015).

Paul Julian Smith, a Fellow of the British Academy, is Distinguished Professor in the Hispanic and Luso‐Brazilian Program at the Graduate Center in the City University of New York. He was previously, for 19 years, Professor of Spanish at the University of Cambridge, where he took his PhD. He has been visiting professor at 10 universities, including Stanford, NYU, and Carlos III, Madrid. He is the author of 17 books (translated into Spanish, Chinese, and Turkish) and 90 academic articles. He was a regular contributor to Sight & Sound, the monthly journal of the British Film Institute, and is now a columnist for Film Quarterly, published by the University of California Press.

Steve Solot is president of the Latin American Training Center‐LATC, a regional media training and consulting firm. Former MPAA senior VP for Latin America, he is serves as president of the Rio Film Commission. With MA degrees in economics and Latin American studies, his publications on Latin American cinema include Current Mechanisms for Financing Audiovisual Content in Latin America 2 (2014) and Latin American Cinema Today: The Director’s Perspective (2013).

Cecilia Sosa is a permanent researcher at Universidad Nacional Tres de Febrero (CONICET, Argentina). As a sociologist and cultural journalist, she obtained an MA in Critical and Creative Analysis (with Merit) from Goldsmiths and a PhD in Drama from Queen Mary University of London. Her thesis was awarded the inaugural Association of Hispanists of Great Britain and Ireland publication prize and published as a book, Queering Acts of Mourning in the Aftermath of Argentina’s Dictatorship (2014). She works at the crossroads of memory, performance and Latin American studies and has published work in a range of journals and catalogues.

Juana Suárez is a scholar, film critic, media archivist, and cultural entrepreneur. She holds an MA and a PhD in Latin American literature (University of Oregon and Arizona State University, 2000) and an MA in moving image archiving and preservation (New York University, 2013). She is the author of Sitios de contienda: producción cultural y el discurso de la violencia (2010) and Cinembargo Colombia: ensayos críticos sobre cine y cultura colombiana (2009; published in English in 2012). She is also co‐editor of Humor in Latin American Cinema (2015).

Duncan Wheeler is Associate Professor in Spanish Studies at the University of Leeds, and Visiting Fellow of St. Catherine’s College, Oxford. He is editor for Hispanic Studies of the Modern Language Review, and series editor of Studies in Spanish Golden Age studies for Peter Lang International Publishers. His single‐authored monographs include Golden Age Drama in Contemporary Spain (2012). The author of over 30 peer‐reviewed articles and book chapters, his book The Cultural Politics of Spain´s Transition to Democracy appeared in 2016. A published translator, he also writes regularly for newspapers and cultural supplements such as Jot Down, The London Review of Books, Newsweek, the Observer, and the Times Literary Supplement.

Damon Wise, a film writer since 1987, is currently a contributing editor with Empire magazine and an advisor to the BFI London Film Festival’s Thrill strand. As a writer he has had his features, interviews, and reviews published in many notable UK and international newspapers and magazines, and as well as covering set visits all over the world, he is a regular attendee at major film festivals. In 1998 he published his first book, Come By Sunday, a biography of British film star Diana Dors.

Owen Williams has a doctorate from University College London. He has taught on the film studies MA and in the School of European Languages for UCL since 2009 in the subject areas of film studies, post‐production, subtitling, and documentary practice. He is also the post‐production coordinator for a documentary filmmaking project which runs an annual summer school in Cuba at the Escuela Internacional de Cine y Televisión in San Antonio de los Baños, operational since 2006.

We owe a debt of thanks to many individuals and organizations who assisted us with this project.

We would like to express our gratitude to all the contributors to the book who have worked with us on drafts and translations of their chapters and assisted with the location of visual material. Thanks are also due to critics, directors, producers, actors, distributors, exhibitors, and promoters who shared ideas, contacts, and materials with us: Pedro Almodóvar, Bárbara Peiró Aso, and Emmanuelle Depaix at El Deseo; Óscar Alonso at Latido Films; Juliana Arias and Claudia Triana at Proimágenes Colombia; Bogotá Audiovisual Market; Jayro Bustamante; Vicente Canales at Film Factory Entertainment; Dolores Calviño; Canana; Cinempresa; Ciudad Lunar; Celestino Deleyto; Kate Edwards and Katy Sharp‐Watson at Metrodome Distribution Ltd; Evidencia Films; Paz Fábrega; Fábula; Paula Félix‐Didier; Fundación Patrimonio Fílmico Colombiano; Paulina García; Julio García Espinosa; Geko; Globo; Joana Granero; Briony Hanson, Will Massa, Sylvia Ospina and Paula Silva at the British Council; Sandra Hebron; Mariano Kairuz; Diego Lerer; Agustina Llambi Campbell; Rosa Martínez Rivero at Ruda Cine; Demetrios Matheou; Nico Marzano at the ICA London; Fernando Meirelles and Marina Pereira of O2 Filmes; Santiago Mitre; Alejo Moguillansky and El Pampero Cine; Fiorella Moretti; Celina Murga; Sofia Serbin de Skalon; Claire Stewart, Tricia Tuttle and the team at the London Film Festival; Amanda Pontes; Federico Veiroj; Sergio Wolf; Sarah Wright. Special thanks are due to Tim Beddows and Juan Veloza at Network Releasing for their support and generosity.

Thanks are due to those who worked with us on the transcription of interviews, Mar Diestro‐Dópido, Michelle Nicholson‐Sanz, and Anna Wilson. Michelle Nicholson‐Sanz also proved an indispensable research assistant in the final stages of preparing the book. Liz Harvey assisted us with the index. Maria M. Delgado is grateful to Sight & Sound for commissioning three of the reviews on El secreto de sus ojos/The Secret in Their Eyes (2009), Wakolda (2013), and El clan (2015) that provided the genesis of the chapter authored for this volume with Cecilia Sosa, as well as the interview with Diego Luna that served as the backbone for Chapter 30; thanks to Nick James, Kieron Corless, James Bell, and Isabel Stevens. The book was completed with sabbatical support from Queen Mary University of London, the Royal Central School of Speech and Drama, University of London, and University College London. Maria M. Delgado is grateful for the support at Central of Tony Fisher, Dan Hetherington, Ken Mizutani, and Sally Mackey. Thanks are due to Julia Kirk and Denisha Sahadevan at Wiley Blackwell who steered this project from concept to production.

For their patience and support, grateful thanks to Danielle Hart, Tom Delgado‐Little and Henry Little. This book is dedicated to them and to the memory of Aparecida de Godoy Johnson.