000			03913nam a2200325 a 4500
001			ebr10656988
003			CZ PrNK
005			20230521111601.0
006			m u
007			cr cn
008			120702s2013 xxua sb 001 0 eng d
020			_z978-0-292-74415-8 _q(cloth ; _qalk. paper)
020			_z978-0-292-74416-5 _q(e-book)
035			_a(OCoLC)827944895
040			_aCaPaEBR _bcze _dABA001
043			_acl-----
100	1		_aTompkins, Cynthia, _d1958-
245	1	0	_aExperimental Latin American cinema _h[elektronický zdroj] : _bhistory and aesthetics / _cby Cynthia Tompkins.
250			_a1st ed.
260			_aAustin : _bUniversity of Texas Press, _c2013
300			_a1 online zdroj (x, 294 p.) : _bill.
504			_aObsahuje bibliografické odkazy a rejstřík
505	0		_aIntroduction: mise-en-scene, a seemingly international staging -- A neonoir skew to the action-image. A shimmering suture: Fabián Bielinsky's epileptic El aura -- Slippery criminal pleasures: intermediality and voyeurism in Jorge Furtado's O homem que copiava -- Endless quest: chasing sex, lies, and money at the gates of hell in Heitor Dhalia's O cheiro do ralo -- Road movies. The paradoxical effect of the documentary: Walter Salles's Central do Brasil -- Twin piques: the double discourse of Carlos Sorín's El camino de San Diego -- Orphans' solidarity: María Victoria Menis's El cielito -- Drama. Sculpting time: Inês de Oliveira Cézar's Como pasan las horas -- The past engulfs the present: Josue Mendez's Días de Santiago -- Experimental auteurism. Whether or not to end one's life: Carlos Reygadas's Japón -- Crime and self-inflicted punishment: Carlos Reygadas's Batalla en El cielo -- Experimental auteurism and intertextuality. The miracle of female bonding in patriarchal society: Carlos Reygadas's Stellet licht (2008) -- Cyclical scapegoating: Inês de Oliveira Cézar's Extranjera -- The irrevocable nature of curses: Inês de Oliveira Cézar's El recuento de Los Daños -- Splintered mirrors, echoes, and reverberations: Fernando Pérez Valdés's Madrigal -- Experimental pseudo-documentary. Room with a view: Fernando Pérez Valdés's Suite Habana -- Life is and is not: Paz Encina's Hamaca Paraguaya -- Conclusion: possible futures.
520			_aWhile there are numerous film studies that focus on one particular grouping of films—by nationality, by era, or by technique—here is the first single volume that incorporates all of the above, offering a broad overview of experimental Latin American film produced over the last twenty years. Analyzing seventeen recent films by eleven different filmmakers from Argentina, Brazil, Cuba, Mexico, Paraguay, and Peru, Cynthia Tompkins uses a comparative approach that finds commonalities among the disparate works in terms of their influences, aesthetics, and techniques. Tompkins introduces each film first in its sociohistorical context before summarizing it and then subverting its canonical interpretation. Pivotal to her close readings of the films and their convergences as a collective cinema is Tompkins’s application of Deleuzian film theory and the concept of the time-image as it pertains to the treatment of time and repetition. Tompkins also explores such topics as the theme of decolonization, the consistent use of montage, paratactically structured narratives, and the fusion of documentary conventions and neorealism with drama. An invaluable contribution to any dialogue on the avant-garde in general and to filmmaking both in and out of Latin America, Experimental Latin American Cinema is also a welcome and insightful addition to Latin American studies as a whole. [books.google.cz]
533			_aElektronická reprodukce. _bPalo Alto, Calif. : _cebrary, _d2013.
650	0	7	_aexperimentální filmy _2czenas
655		7	_aelektronické knihy _2czenas
710	2		_aebrary, Inc.
942			_2ddc _cKNIHA _n0
999			_c893 _d893