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TOWARDS A 'THIRD' AND 'IMPERFECT' CINEMA: A THEORETICAL AND HISTORICAL STUDY OF FILMMAKING IN LATIN AMERICA

机译:走向“第三”和“完美”的电影:拉丁美洲电影制片的理论和历史研究

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摘要

The New Latin American Cinema has undergone different formulations, political reversals, economic upheavals, and reformulations since its first "boom" in the 1960's, but it has been most consistently articulated as a Latin American phenomenon which has organized, influenced, and directed the efforts of individual Latin American nations to produce national cinemas. Although the exigencies of particular nations have determined the shapes of specific films and the goals of individual filmmakers, the New Latin American Cinema is, first and foremost, a joint Latin American project of cultural liberation.;The New Latin American Cinema is predicated on the understanding and consciousness of the cultural ramifications of underdevelopment and dependency in the context of specific social changes. Furthermore, the specificity of the New Latin American Cinema within mainstream films studies challenges the categories and strategies through which the cinema is traditionally studied. Standard categories such as "nations" and "auteurs," for example, disintegrate when confronted with the often collective and transnational nature of the New Latin American Cinema.;A historical analysis of the development of the New Latin American Cinema in the national cinemas of Argentina, Brazil, and Cuba in the late 1950's clarifies the confluence of the movement in Latin American festivals, conferences, agreements, and productions in the mid- to late 1960's. This historico-practical confluence also had important ramifications for the production of textual and contextual meaning(s) in the New Latin American Cinema. It is most clearly visible as the imbrication of the fictional and documentary modes of production throughout the continent.;The inevitable dispersion and redefinition of the Pan-Latin American spirit of the movement must then also be seen as the result of the socio-political, economic, industrial, and institutional pressures of the late 1970's throughout Latin America.
机译:自1960年代首次出现“繁荣”以来,新拉丁美洲电影经历了不同的表述,政治逆转,经济动荡和重新制定,但它一直被最清楚地表达为一种拉丁美洲现象,这种现象已经组织,影响并指导了努力个拉丁美洲国家制作国家电影院。尽管特定国家/地区的紧急情况已决定了特定电影的形状和单个电影制片人的目标,但新拉美电影院首先是拉美文化解放的联合项目。;新拉美电影院基于在特定的社会变革的背景下,对不发达和依赖性的文化后果的理解和意识。此外,新拉丁美洲电影在主流电影研究中的特殊性对传统研究电影的类别和策略提出了挑战。例如,当面对新拉丁美洲电影的通常具有集体性和跨国性时,诸如“民族”和“陪审团”之类的标准类别就瓦解了;对美国国家电影院中新拉丁美洲电影发展的历史分析。 1950年代后期,阿根廷,巴西和古巴阐明了运动在1960年代中后期至拉丁美洲的节日,会议,协议和作品中的融合。这种历史实践的交汇对新拉丁美洲电影中文本和上下文含义的产生也产生了重要影响。在整个大陆上,虚构和纪录片生产方式的融合最明显地体现了这一点。泛拉丁美洲运动精神的不可避免的分散和重新定义也必须被视为社会政治的结果, 1970年代后期整个拉丁美洲的经济,工业和机构压力。

著录项

  • 作者

    LOPEZ, ANA M.;

  • 作者单位

    The University of Iowa.;

  • 授予单位 The University of Iowa.;
  • 学科 Film studies.
  • 学位 Ph.D.
  • 年度 1986
  • 页码 613 p.
  • 总页数 613
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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