Journeys in Argentine and Brazilian Cinema

Copyrighted material – 9781137336033

Contents

List of Illustrations ix

ForewordLouis Bayman xi

Acknowledgments xv

Introduction 1

1 National and Transnational Film Studies: The Argentine and Brazilian Case 9

2 Home: National Crisis, Fragmented Family, and Death 29

3 Europe as Destination and Point of Departure 59

4 Bordercrossing in the Southern Cone 103

5 The Return to the Sert ã o and Patagonia 127

Conclusion 149

Notes 163

Bibliography 169

Index 181



JOURNEYS IN ARGENTINE AND BRAZILIAN CINEMA

Copyright © Nat á lia Pinazza, 2014.

All rights reserved.

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Introduction

Since the early 1990s, Argentine and Brazilian film policies have strug-gled to repair the damage caused by the economic crisis that followed the end of the dictatorships in these countries and to expand the national cin-ema’s share of their home markets, in a context of domination by the US film industry. In little more than a decade, Argentina and Brazil, as well as other Latin American countries, have experienced a boom in film pro-duction that has transformed the international visibility and recognition of their national cinemas. At the time of writing, the growth in national production shows no signs of abating: eight commercially released feature films in 1994, increasing to 79 in 2009 in Argentina, 1 and 14 such films in 1995 to 84 in 2009 in Brazil. 2 Many of these productions have been commercially successful and acclaimed by national and international crit-ics. Internationally acclaimed contemporary films include Nine Queens ( Nueve reinas , Fabian Bielinsky, 2000) and The Holy Girl from Argentina, and Central Station ( Central do Brasil , Walter Salles, 1998) and City of God ( Cidade de Deus , Fernando Meirelles and K á tia Lund, 2002) from Brazil.

The increase in international funding opportunities, in particular, schemes such as the Hubert Bals project of the Rotterdam Film Festival and the Ibermedia programme, has secured access for a number of Latin American films to screens around the world. Nevertheless, recent litera-ture has put great emphasis on the global and transnational dimensions of Latin American filmmaking and on a few successful international coproductions, thereby concealing the inequalities of the transnational exchange, in particular (but not only) US film industry domination of both distribution and exhibition sectors. Although the internationaliza-tion process has been one of the crucial motors of Latin America’s boom in filmmaking, little attention has been given to the imbalances of power that still govern transnational exchange in the film industry. Furthermore, growing academic interest in Latin America has been instrumental in fur-thering scholarship in Latin American cultural studies. As a consequence,



Journeys in Argentine and Brazilian Cinema2

film studies have experienced a geopolitical decentering, as Kathleen Newman has argued:

Current scholarship on the transnational scale of cinematic circulation now takes for granted a geopolitical decentering of the discipline. Areas once considered peripheral (that is, less developed countries, the so-called Third World) are now seen as integral to the historical development of cinema. (2010: 4)

This books aims to examine the interfaces between global and local, national and transnational, and assess the effects of globalization on the ideological construction of the nation in contemporary Argentine and Brazilian road films. It does this by focusing in particular on the adoption of the neolib-eral economic model and the increase in transnational practices in the last 20 years in Argentina and Brazil. More specifically, the central purpose of this book is to investigate how these films negotiate differences and simi-larities within the national and supranational community and, metacriti-cally, pose questions regarding the situatedness of the countries within a transnational context. It examines how they do this in ways that now tran-scend national cinemas, in terms of production, distribution, subject mat-ter, and aesthetics. In essence, by exploring the blurred discourses between a community and its others, the differences and tensions within a com-munity, and the problems in categorizing films as national, this book aims to uncover some of the main ways in which contemporary Argentine and Brazilian cinema have engaged with discourses and practices of globaliza-tion, and to contribute to the current decentering of cultural studies.

While film studies provide the core of this research project, its over-all objectives and implications are, in fact, far broader. This is because it acknowledges that films are informed by and respond to the sociopolitical climate and conditions of production, which, in turn, feed into the actual themes and subject matter of the films. The filmic analysis will also take into account coproduction protocols and coproduction programs that are likely to have influence on the representation of a specific community in the film texts selected for my specific case studies. Thus, analytical discus-sion of individual films serves as a point of departure for critical reflection on the function of cinema as a representation of and a cultural commen-tary on social reality. In this book, therefore, I look at the ways in which films respond to the growing impact of globalized identities as well as the conditions of their production, and investigate how they reassert or contest traditional notions of center and periphery that situate the country and its culture in the margins of capitalism. In other words, I assess how the films selected for the case study move away from aesthetics and themes that



Introduction 3

marked Third Cinema films and embrace global aesthetics and a transna-tional mode of production.

An increasing number of Argentine and Brazilian (and more generally Latin American) films have adopted the format of the road movie, which is defined as “a fluid and open-ended genre which uses the narrative trajec-tory of road as an extended metaphor of quest and discovery through which to approach fundamental concepts of identity” (Everett, 2004: 19). Such a preoccupation with identity is now placed within a neoliberal context, in which culture and the postmodern condition (Harvey, 1990) appear to have an impact on the subject matter and aesthetics of not only those national cinemas but also cinemas of the world. Since their reemergence 20 years ago, films dealing with journey narratives appear to testify to a postmodern fragmentation of both the self and of narratives of nationhood, and thus they move away from the relationship between cinema, anticolonial think-ing, and national liberation that characterized New Cinemas of the 1960s and 1970s, an inevitable point of reference of Latin American cinematic tra-dition. If the nation was for the New Cinemas, the focal point of resistance for utopic struggles, the cinema that has emerged in neoliberal Argentina and Brazil transcends national projects and centers on characters as individ-uals rather than as actors for social mobilization. This shifted focus explains the increasing number of road movies that use geographical and cultural displacement as a means of self-discovery. Individuals on the road enhance the opportunity for “unexpected encounter,” a motif identified by Ismail Xavier as key not only in contemporary Brazilian cinema but also in other national cinemas, in which “wanderers, travelling characters, unexpected cross-cultural encounters are frequent in today’s cinema” (2003: 49).

This is a comparative study of the filmic construction of national iden-tity in two very different societies with distinct histories and experiences of globalization. The countries selected for this book are the two South American nations that have followed the pattern of political development that has predominated in Latin American history, including populism, militarism, and, more recently, neoliberalism. Furthermore, they are the cofounders of Mercosur, which, although fundamentally based on eco-nomic agreements, has also stimulated other forms of integration, espe-cially cultural integration, as discussed in chapter 3 . Broadly speaking, both countries have experienced similar macro socioeconomic changes, and the legislation that transformed the Argentine and Brazilian film indus-tries was, in both cases, enacted in the mid-1990s. In a similar manner, there are significant thematic and formal convergences between these two national cinemas as argued throughout this book. Argentine and Brazilian cinema can therefore be taken together as a corpus of films charting issues relating to the adoption of the neoliberal economic model and its social




and cultural consequences, in particular regarding discourses around the nation and its position in a changing global system.

The films that have been selected as case studies for detailed textual analysis date from the mid-1990s, when new film policies were imple-mented and clear aesthetic shifts took place. The selection of films reflects both filmic qualities and their pertinence to the issues discussed here. Moreover, most of the films selected for this book have been coproduced between two or more countries, and significant space is dedicated to those that have become widely associated with contemporary Argentine and Brazilian cinemas. However, alongside films to which international audi-ences have access, others that have not travelled much outside Argentina and Brazil, owing to the nature of the market and, in particular, the dif-ficulties encountered when trying to secure distribution deals with glob-ally powerful companies, are also included. I contend that the selection of films provides a balanced sample of the range and diversity of Argentine and Brazilian films made between 1996 and 2009. With the exception of Sandra Kogut’s documentary, The Hungarian Passport (2001), the material examined is restricted to fiction film. However, I argue that one of the key characteristics of recent Argentine and Brazilian films is their capacity for observing and exploring reality by blurring the boundaries between fiction and documentary.

The main interest of the analysis lies in the ways in which discourses pertaining to globalization are expressed formally and stylistically in the films selected. Since the theme “globalization” is central in the organiza-tion of my argument, choosing such an externally imposed perspective might overdetermine my readings of the films. For this reason, I have sought to balance contextual and formal readings of the films as well as showing some of their shared concerns with national and supranational identities. In each chapter, a thematic introduction is followed by the anal-ysis of selected films, including discussion of the political and historical background. The blend of textual and contextual analysis of the chosen films serves to demonstrate that, despite their relationship with the inter-national market, they are deeply rooted in national preoccupations. All the films examined, not merely those with a specific national focus (examined in chapter 5 ), address national issues, yet they also transcend national bor-ders by addressing local and global concerns.

The book is divided into five chapters and the order of the chapters adopts the format of journey: “home,” “point of departure and destina-tion,” “bordercrossing,” and “the return.” Chapter 1 engages with ques-tions of the national and transnational, in order to establish a critical framework that makes it possible to move beyond the binary approach to national/transnational contexts. A framework is thus constructed, which



Introduction 5

incorporates the notion that a critical form of transnationalism need not exclude the nation as a paradigm, at least for the analysis of contemporary Argentine and Brazilian films. This perspective provides fertile ground for interrogating the usefulness and limitations of the concept of transnational cinema in the context of two national cinemas that remain largely depen-dent on the state. Uncovering the mechanisms of community building in contemporary Argentine and Brazilian cinemas and exploring the validity of the national as a categorization feed into another aim: to examine how films have used self-reflexivity to produce a sense of place and identity that reflects the globalized context in which they were made. I argue that deter-mining the position of the cinemas of Argentina and Brazil within a global industry is vital to understanding their articulation of global and local, as films are in constant dialogue with their political and economic contexts. Here the argument suggests a move away from theoretical work that fixes Argentine and Brazilian culture as peripheral/marginal in order to explore the current position of contemporary Argentine and Brazilian cinema in the context of recent changes in the global economic system such as the emergence of new economies and the establishment of a multipolar world order.

Chapter 2 presents how some of the films discussed in this book have registered in different ways the economic crisis and the relationship between filmmaking, and more broadly culture, and the public sphere. It also explores how the marked absence of the father figure and the break-down of the family unit seem to reflect global transformations, which have complicated models of belonging, including predetermined notions of nation and self. In exploring the instability of home and notions of belong-ing, the chapter indicates how the increase in Argentine and Brazilian films that adopt the road movie genre can be related to the need to deal with national issues through displacement and encounters, which are more often than not between individuals from different nationalities or cultural backgrounds.

Chapter 3 shows how contemporary international coproductions from Argentina and Brazil speak to national concerns and simultaneously explore and undermine national identity and the notion of “Europeanness.” Daniel Burman’s The Lost Embrace ( El Abrazo Partido , 2003) and Sandra Kogut’s The Hungarian Passport ( Um Passaporte H ú ngaro , 2001) chart the stories of Argentine and Brazilian diasporic subjects who claim their “Europeanness” through their grandparents’ history of displacement. In these films, images of European embassies and documents such as pass-ports, work permits, and visas are a persistent motif. I suggest that the presence of the foreigner emerges as a key reference for the reconstruction of Argentine and Brazilian national identity. My analysis of the Argentine




film Inheritance ( Herencia , Paula Hern á ndez, 2001) and the Brazilian film Cinema, Aspirins and Vultures ( Cinema, aspirinas e urubus , Marcelo Gomes, 2005) will focus on the presence of European immigrants in these films and their role in Argentine and Brazilian national narratives. This chapter also explores the interface between international agreements and changing filmmaking practices in Argentina and Brazil and offers a critical view of the colonial legacy in contemporary cinema, which has included uneasy alliances involving coproduction schemes, in particular with their former colonizers, Spain and Portugal. The chapter will focus on the films Mart í n (Hache) (Adolfo Aristarain, 1997), a coproduction between Argentina and Spain, and Foreign Land , one between Brazil and Portugal. The films are set both in South America and the Iberian Peninsula and engage with notions of supranational identity, more precisely, Ibero-American and Lusophone identities. The former colonizer emerges as a point of reference for the Argentine and Brazilian subjects whose experiences of economic and political crisis led to the fragmentation of narratives of nationhood. I argue that the films in question pose metacritical questions for their analysis as coproductions with Portugal and Spain, while revealing how discourses surrounding Lusophone and Ibero-American communities depend on the perpetuation of colonial discourses to construct a shared sense of identity.

In chapter 4 , the approach already applied in theorizing the transna-tional dimension of Argentine and Brazilian cinemas is reconfigured in a discussion of the transnational as a regional phenomenon, reflecting the dimension of the regional trade pact of the Latin American Southern Cone, Mercosur. This chapter examines the ways that contemporary films—whose production Argentina and Brazil are involved in—portray borders within the region, and whether these representations reaffirm or challenge regional integration efforts, by engaging with the notion of a Pan-Latin American identity and exposing ethnic and social tensions. Films selected for their representation of the Mercosur borders are The Motorcycle Diaries (Walter Salles, 2004), Rolling Family ( Familia Rodante, Pablo Trapero, 2004), Lion’s Den ( Leonera , Pablo Trapero, 2008), and The Fish Child ( El ni ñ o pez , Luc í a Puenzo, 2009). Attention is also drawn to Bolivia (Adri á n Caetano, 2001), which does not portray physical/geographical borders as it is set solely in Buenos Aires, but engages with metaphorical borders within the Southern Cone region.

Chapter 5 explores the trends that have emerged in representations of the nation in contemporary Argentine and Brazilian films. These emphasize the internal fragmentation of the nation, and also reflect the consolidating effect of shared experiences, such as the economic crisis in Argentina and social chaos in Brazil. A third aspect of recent Argentine and Brazilian films, in particular Born and Bred ( Nacido y criado , Pablo



Introduction 7

Trapero, 2006) and Central Station , is the depiction of national spaces as fractured and heterogeneous through exploration of the contrast between the city and the country, and the destabilization of traditional notions of central and peripheral identities and places within national boundaries. In examining how these two contemporary films revisit important loca-tions that are often associated with but mark a departure from the militant cinema of the 1960s, I also engage with current debates on the relation-ship between contemporary Latin American cinema, their Third Cinema status, political cinema, and allegory.

Finally, in my conclusion, the role of Argentine and Brazilian cinema within the respective national imaginaries is examined, both as cultural product and as a factor influencing the national self-image. The notions of national imaginary and national cinema are revisited in the light of my findings. My conclusion points to new directions for the analysis of Argentine and Brazilian cinema that go beyond the historical positioning of these countries, and their cultures, as dependent and marginal within a global system without neglecting the continued imbalance of power between countries.



18 J, 5, 50400 Blows, The, 90

Acordo de Co-Produção Cinematográfica Luso-Brasileiro, 21, 85

Aguilar, Gonzalo, 36Aguirre, Wrath of God, 87Aïnouz, Karim, 147Alfonsín, Raúl, 9Alice in the Cities, 47, 136All about My Mother, 88allegory, 7, 159Almodóvar, Pedro, 88americanization, 18, 35, 74AMIA, 50Amorim, Vicente, 146, 147ANCINE, 27, 111, 159, 163, 164And Your Mother Too, 19–20Anderson, Benedict, 27, 29–32, 60,

61, 136, 152Anderson, Mark, 131–2Appadurai, Arjun, 17Aragón, Manuel, 84Aranoa, Fernando de, 166Araujo, José, 133Aristarain, Adolfo, 6, 34–6, 82, 88,

96–7, 108, 152Armendáriz, Montxo, 84Arrigucci Jr, Davi, 143Autumn Sun, 50Avellar, José Carlos, 150Ayala, Fernando, 36

Bad Times, 119, 146Bar el Chino, 34–6, 57–9, 96–9,

100–2, 155, 160Barone, Daniel, 10Barren Lives, 131, 142Barreto, Bruno, 13, 101Barreto, Fábio, 13, 75Battle of Canudos, The, 133Baudrillard, Jean, 17, 144Bauman, Zygmunt, 38, 65, 155, 164–5Beck, Ulrick, 57Benjamin, Walter, 80Bentes, Ivana, 44, 79, 133, 135, 136Bergfelder, Tim, 15, 60Bernal, Gael García, 19, 105, 109Bhabha, Homi, 61, 87, 88, 128,

132, 133Birmajer, Marcelo, 50Black God, White Devil, 90, 133, 142Blindness, 19, 37Bolaño, César, 26Bolivia, 6, 56, 69, 117–19, 122Bollaín, Icíar, 84, 166Bombón, el perro, 134Bonaerense, El, 45, 47Bones, 84borders, 4, 6, 18, 19, 25, 30, 31, 45,

65–9, 77, 92, 93, 103–5, 107, 108, 110–26, 128, 152–6, 165

Borges, Jorge, 86Born and Bred, 6, 45, 47, 57, 120, 127,

128, 130, 134, 135, 143, 145–7, 149, 151, 155

Index



Index182

Brown, Jonathan, 73, 99Buena Vida Delivery, 70Buenos Aires, 6, 9, 11, 36, 39–42,

44–7, 49–51, 53–5, 57, 63, 64, 69, 70–2, 74, 75, 86, 96, 97, 110, 117–20, 122, 123, 127–9, 144–6, 151, 155, 158, 159, 161

Buenos Aires Independent Film Festival (BAFICI), 11

Burak, Daniel, 42Burman, Daniel, 50, 51–4, 56, 62, 96,

120, 164Butcher, Pedro, 12, 13Bwana, 84

Caetano, Adrián, 6, 10, 56, 117, 119, 164Campanella, Juan José, 19Camurati, Carla, 13Canclini, Néstor García, 17, 18,

24, 163Cannes Film Festival, 165Canudos (war), 131Carancho, 45Cardoso, Fernando Henrique, 14, 141Carlota Joaquina: Princess of Brazil, 13Cavarozzi, Marcelo, 24Cedrón, Lucía, 18-J, 164Central Station, 1, 7, 13, 19, 20, 47, 48,

57, 76, 105, 116, 128, 130, 133, 135–9, 141–3, 145–9, 150–3, 158–60

Chanan, Michael, 20Che…Ernesto, 105Che Guevara, 19, 105, 108–10Che: Parts 1 and 2, 105Chomsky, Alejandro, 96Cinema, Aspirins and Vultures, 6, 33,

62, 73, 76, 100–1, 128, 137, 149, 152, 154, 155, 157, 159

cinema laws, 13, 14Audiovisual Law in Brazil, 9, 10, 12New Cinema Law in Argentina,

9, 10Rouanet Law, 12

Cinema Novo, 18, 109, 128, 133, 137, 138, 141, 147

cinemagoing, 26, 27City of God, 1, 20, 116Collor de Mello, Fernando,

12, 35, 166colonialism, 34, 84, 85, 87–9, 93, 94,

100, 108, 153Colossal Youth, 84Common Places, 36, 88, 96conquest of the desert, 132Constant Gardener, The, 19Contreras, Patricio, 36Cops (Comodines), 10Costa, Pedro, 84Crane World, 11, 45, 47, 134Cuarón, Alfonso, 19Cunha, Euclides da, 131, 132

Dahl, Gustavo, 14, 27, 160, 164Dayton, Jonathan, 45, 110De Certeau, Michel, 48, 139De Rosa, Mariano, 146Dead King, 11Deal, The, 36democracy, 9, 12, 57, 84, 91, 27, 30,

36, 129, 150diaspora, 52, 55, 61–3, 65, 153,

159, 165dictatorship, 1, 23, 30, 34, 90, 180,

109, 118, 149, 151Argentine dictatorship, 9, 36,

91, 97Brazilian dictatorship, 12Franco dictatorship, 84Salazar’s regime, 84, 166

documentary, 42, 43, 40, 63, 65, 73, 106, 116, 159

Dodds, Klaus-John, 132, 144Domingues, José, 26Doria, Alejandro, 164Drexler, Jorge, 19Dribbling Fate, 85Dufoix, Stephane, 66



Index 183

Easy Rider, 106Elkington, Trevor, 22Entranced Earth, 90epistolarity, 41, 160

cassette tape, 41, 160letters, 47, 49, 107, 136, 139, 141, 160video tape, 41, 160

European cinema, 15, 16, 60, 65, 67European heritage, 69, 76, 97, 99,

101, 117European Union (EU), 24, 56, 59, 64,

103, 115, 150, 154, 155Everett, Wendy, 3, 67Ezra, Elizabeth, 52

Falicov, Tamara, 10, 16, 20, 21, 25, 26, 54, 97, 134

familydeaths of family member, 32, 35–8,

44, 47, 57, 97, 128, 145, 147European family member, 5, 39, 53,

54, 59, 63, 64, 66–8, 70, 75, 101, 118, 124, 153–6

fathers, 5, 36, 41, 45, 47, 48, 57, 64, 86, 87, 89, 99, 127, 128, 136, 138, 143, 147, 149, 151, 152, 160

grandparents, 53, 55, 57, 61, 63, 64, 66, 68, 75, 154, 166

mothers, 35–8, 41, 55, 75, 128, 166reconciliation, 41, 94, 127, 136,

143, 147, 150–3Family Law, 50, 51Faris, Valerie, 45, 110Faust, 37, 39, 95favela, 133, 142Feldman-Bianco, Bela, 83, 93Ferreira, Carolin, 22film coproductions, 1, 2, 5, 6, 10, 11,

12, 14, 17, 20, 21, 22, 32, 59, 60, 62, 81, 82, 85, 86, 96, 110–12, 153, 154

Fish Child, The, 6, 30, 57, 69, 117–20, 122–8, 151, 155, 159

Flowers from Another World, 84, 166

Foreign Land, 6, 34, 35, 37–9, 41, 42, 44, 57, 59, 62, 82, 87, 89–96, 100–2, 128, 129, 143, 147, 149, 151–6, 157, 158, 160

Four Days in September, 13, 100Franco, Itamar, 12

Gachassin, Diego, 56Galperin, Hernán, 24, 26, 31, 32Garretón, Manuel Antonio, 163Germany, Year Zero, 48Germany Year 90 Nine Zero, 48Getino, Octavio, 109globalization, 62, 66, 74, 81, 92, 103,

104, 117, 120, 125, 126, 133, 137, 150, 152, 154, 155, 160, 161, 165, 167

glocalization, 18McDonaldization, 74, 165

Godard, Jean-Luc, 48Goethe, Johann Wolfgang von, 37, 95Grimson, Alejandro, 16, 42, 69, 74,

75, 103, 104, 108, 110, 115, 115, 118, 126, 127, 146, 151

Grupo Cine Liberación, 11, 109, 134Guerra, Ruy, 133Guevara, Che, 19, 105, 108, 109, 110

Haircut, 85Hamburger, Cao, 50Harvey, David, 3, 17, 33, 41, 48, 66,

130, 139, 164Hayward, Susan, 106Hendler, Daniel, 50, 53, 55Hernández, Paula, 6, 96Herzog, Werner, 87Higbee, Will, 15, 51, 61Higson, Andrew, 15, 16, 30, 51Historias Breves, 10Hjort, Mette, 15Hollywood cinema, 10, 16, 17, 18, 20,

25, 34, 60, 106, 152Holy Girl, The, 1, 11Hopper, Dennis, 106



Index184

Hour of the Furnaces, The, 105, 109Hungarian Passport, The, 4, 5, 30,

33, 59, 61–8, 75, 77, 99–100, 101, 128, 129, 149, 152–6, 157–60, 166

Hunt, Leon, 22Hwee Lim, Song, 15, 51

immigration, 29, 33, 56, 59, 60, 62, 67, 69, 75, 83–5, 92, 93, 95, 97, 99–100, 101, 115, 153, 165

In Vanda s Room, 84INCAA (Argentine National Institute

for Film and Audiovisual Arts), 10, 21, 25, 26

indigenous, 30, 56, 100, 108, 117, 118, 122–4, 132, 144, 159, 167

Inheritance, 6, 33, 62, 69–71, 73–5, 100, 101, 128, 150, 154, 155, 157, 158, 160, 166

J Zone, 85Jameson, Frederic, 17, 48, 52, 135,

138, 149Johnson, Randal, 20, 21

Kessler, Gabriel, 42, 69, 74, 75, 103–5, 108, 110, 115, 116, 126, 127, 146, 151

Kings of the Road, 166Kirchner, Néstor, 126, 160, 168Kogut, Sandra, 4, 5, 62–8, 129, 154,

158, 159, 165–6

Landscapes of Memory, 133language, 23, 32, 33, 85–7, 89, 117,

124, 153, 163cinematic language, 129Guaraní, 117, 124indigenous language, 117Portuguese language, 93Portuñol, 117Spanish language, 19, 88

Lecchi, Alberto, 164

Letters from Alou, 84ley de la Frontera, La, 36Lion’s Den, 6, 45, 47, 123, 127, 151, 157Little Miss Sunshine, 45, 110Little Sky, 146Llosa, Claudia, 124Lluvia, 96Lost Embrace, 5, 30, 32, 41, 50–7, 59,

61–3, 70, 75, 96, 99, 101, 120, 127, 149, 150, 151, 153–6, 157, 158, 160, 166

Love for Sale, 147Love’s a Bitch, 20Lund, Katia, 1, 116Luppi, Federico, 36, 97

Madeinusa, 124Maestro, Mía, 19Mar del Plata Film Festival, 11, 26, 160Marks, Laura, 61Martel, Lucrecia, 11Martín (Hache), 6, 34–41, 44, 57, 59, 62,

82, 86–9, 91, 94–8, 99, 101, 127, 128, 151–4, 155, 158, 160, 166

Martín-Barbero, Jesús, 18McLeod, John, 89, 166Me, You, Them, 137Meirelles, Fernando, 1, 13, 19, 116Menem, Carlos, 9, 10, 47Menis, María, 146Mercosur/Mercosul, 3, 6, 21, 23–6, 32,

33, 103, 104, 111–13, 115–17, 119, 122, 124–6, 150, 153, 154, 167

Mercosur Film Market, 25OMA (Observatorio Mercosur

Audiovisual), 21RECAM (Reunión Especializada de

Autoridades Cinematográficas y Audiovisuales del Mercosur), 20, 25, 26, 163, 164

Meyrowitz, Joshua, 30Middle of the World, The, 146Middleton, Peter, 105Midnight, 47, 138



Index 185

Mignolo, Walter, 23Milk of Sorrow, 124Miller, Toby, 24, 32, 119Minimal Stories, 134Moisés, José Alvaro, 13, 25, 143Monjardim, Jayme, 77Moreno, Rodrigo, 146Motorcycle Diaries, The, 6, 18, 19, 30,

49, 104, 105, 109, 112, 116, 123, 125, 126, 139, 154, 158

Mutum, 165

Naficy, Hamid, 41, 51, 53–5, 61, 65–8, 112, 114, 136, 146, 159, 160

accented cinema, 51, 61, 65, 67, 68, 112, 150, 160

Nagib, Lúcia, 12, 48, 65, 90, 133, 135, 137, 138, 142, 143

Negocios, 11neocolonialism, 21, 22, 34, 87, 96, 98,

101, 129neoliberalism, 3, 10, 17, 23, 30, 32,

34, 35, 98, 103, 127, 130, 135, 149, 151, 155

neorealism, 145, 160Nestingen, Andrew, 22Newman, Kathleen, 2, 104Nine Queens, 1, 18, 19, 96Nisco, Jorge, 10

Official Story, The, 36Olga, 77Olivera, Héctor, 134Once Trilogy, 50Oricchio, Luiz Zanin, 12, 47, 133, 136otherness, 30, 52, 53, 70, 72, 77, 87

Page, Joanna, 16, 17, 19, 20, 46, 69, 101, 118, 134, 145, 146

passport, 5, 31, 63, 64, 66–8, 76, 77, 94, 96, 101, 154, 155, 157

Patagonia, 45, 46, 130–5, 144–7, 160Pepi, Luci, Bom and Other Girls Like

Mom, 88

Pereira, Miguel, 105Peronism, 69, 134, 146Piwowarski, Eva, 25Pizza, Beer and Cigarettes, 10, 123Place in the World, A, 36, 88, 97, 99,

108, 127, 128, 151, 152Pope’s Toilet, The, 58, 111, 112, 115–

17, 122, 126, 128, 154postcolonialism, 15, 22, 23, 61, 62,

66, 81, 82, 86, 91–3, 95, 96, 123, 124, 166

postmodernism, 3, 17, 41, 48, 52, 61, 65, 84, 128–30, 133, 135–8,

Potter, Sally, 99Princesas, 166Programa Ibermedia, 1, 16, 21, 22, 32,

85, 111Puenzo, Lucía, 6, 56, 117, 122, 124Puenzo, Luis, 36

quatrilho, O, 13, 75

Ramos, Fernão, 16, 42, 73, 78, 89Ramos, Graciliano, 132Rebella, Juan Pablo, 50RECAM, 20, 25, 26, 163, 164regionalism, 6, 14, 15, 18, 22–7, 30–3,

47, 49, 46, 78, 79, 103, 104, 105, 108–12, 115–17, 119, 121, 122, 124–6, 150, 153, 154, 160, 167

retomada, 12Rezende, Sérgio, 133Richard, Nelly, 18Rio de Janeiro, 41, 47, 137–42, 145,

146, 161Ritzer, George, 74, 165road movies

Brazilian road movie, 104, 135, 138family road movie, 45, 110as a genre, 3, 5, 48, 106, 126,

128, 160Latin American road movie, 19,

105, 130US road movie, 106, 144



Index186

Robertson, Roland, 17Rocha, Carolina, 56, 74, 96Rocha, Glauber, 90, 133, 134,

136, 142‘Aesthetics of Hunger,’ 144,

136, 142Rolling Family, 6, 45, 47, 104,

110, 111Roselli, Salvador, 146Rossellini, Roberto, 48Roth, Cecilia, 97, 108Rougemont, Denis de, 60Rowden, Terry, 52Rúa, Fernando de la, 11Ruiz-Giménez, Guadalupe, 24

Saad, Nicolás, 146Saíd, 84Said, Edward, 23, 88

orientalism, 23, 88Salles, Walter, 1, 6, 13, 19, 34, 42,

47–9, 82, 105, 137, 138, 139, 143, 145, 147, 152

Santos, Boaventura de Sousa, 94Santos, Cristina dos, 26Santos, Nelson Pereira dos, 132São Paulo, 35, 37–9, 49, 79, 129,

142, 158Sapinho, Joaquim, 85Sarmiento, Domingo Faustino, 73Sartre, Jean-Paul, 105Schapces, Marcelo, 64Schengen Agreement, 63, 83, 95,

153, 165Serna, Rodrigo de la, 19, 105sertão, 48, 76–80, 90, 127–39, 141–3,

146, 147, 158, 161, 167Shakespeare, William, 94Shaw, Deborah, 18, 22, 139Shaw, Lisa, 137, 142Siete días en el Once, 50Soderbergh, Steven, 105Solanas, Facundo, 25

Solanas, Fernando, 100, 109Soler, Llorenç, 84Sommer, Doris, 32Sorín, Carlos, 134, 145, 164Stagnaro, Bruno, 10Stagnaro, Juan Bautista, 164Stam, Robert, 86Stavenhagen, Rodolfo, 24Stock, Anne Marie, 17, 19, 52Stoll, Pablo, 50Suar, Adrián, 164Subiela, Eliseo, 96Svampa, Maristella, 16Swamp, The, 11

Talk to Her, 88Tangos, the Exile of Gardel, 99Things I Left in Havana, 84Third Cinema, 7, 43, 58, 109, 129,

138, 149Thomas, Daniela, 34, 47, 82, 138Time for Revenge, A, 36Today and Tomorrow, 96Trapero, Pablo, 6, 7, 11, 44, 45,

47, 110, 120, 123, 134, 145, 146, 164

Truffaut, François, 90

Uribe, Imanol, 84

Vargas, Getúlio, 77, 79Vasquez, Mariana, 25Vendrell, Fernando, 85Vieira, Leonel, 85Villazana, Libia, 21, 22, 25, 26, 85, 98Vladimir en Buenos Aires, 56

Waddington, Andrucha, 13, 137Wainrot, Mauricio, 164Waiting for the Messiah, 50, 96Walsh, Michael, 31Weeks, Jeffrey, 29Wenders, Wim, 47, 136



Index 187

whisky, 50Williams, Claire, 107, 109Wing-Fai, Leung, 22Woods, Tim, 105

Xavier, Ismail, 3, 135–7, 141, 149

Year My Parents Went on Vacation, The, 50

Yudice, George, 24, 32Yuval-Davis, Nira, 29

Zanin Oricchio, Luiz, 47, 133


Journeys in Argentine and Brazilian Cinema

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