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A history of Latin American cinema, with detailed analysis of the twenty-five best films. Latin American cinema has seen major developments in the past half-century, and some of the most exciting work in contemporary film now originates there. This Companion traces its development from the mid 1890s, with particular attention to the early period when it was dominated by foreign film makers (or foreign models such as Hollywood), through the 1960s when as a genre it found its feet - the New Latin American Cinema movement - and beyond. Detailed analysis of the best twenty-five films of Latin America follows: cast and crew, awards, plots, themes and techniques. The 'Guide to Further Reading' includes important books, articles and Internet sites. FILMS:Que viva México Los olvidados Dos tipos de cuidado Orfeu Negro Memorias del subdesarrollo Lucía El chacal de Nahueltoro Yawar Mallku La batalla de Chile La última cena Pixote: a lei do mais fraco El Norte CamilaLa historia oficial Cartas del parque La tarea Yo, la peor de todas La frontera El viaje Fresa y chocolate Como agua para chocolate Central do Brasil Amores perros Y tu mamá también Cidade de Deus. STEPHEN M. HART is Professor of Hispanic Studies, University College London, and Profesor Honorario, Universidad de San Marcos, Lima.

Motion pictures --- Film Analysis. --- Foreign Film Makers. --- Latin American Cinema. --- Latin American cinema. --- Modern Film. --- New Latin American Cinema. --- Twenty-Five Best Films. --- Western literature. --- awards. --- best films. --- cast. --- crew. --- narrative. --- plots. --- techniques. --- themes.

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In Mock Classicism Nilo Couret presents an alternate history of Latin American cinema that traces the popularity and cultural significance of film comedies as responses to modernization and the forerunners to a more explicitly political New Latin American Cinema of the 1960s. By examining the linguistic play of comedians such as Cantinflas, Oscarito and Grande Otelo, Niní Marshall, and Luis Sandrini, the author demonstrates aspects of Latin American comedy that operate via embodiment on one hand and spatiotemporal emplacement on the other. Taken together, these parallel examples of comedic practice demonstrate how Latin American film comedies produce a ";critically proximate"; spectator who is capable of perceiving and organizing space and time differently. Combining close readings of films, archival research, film theory, and Latin American history, Mock Classicism rethinks classicism as a discourse that mediates and renders the world and argues that Latin American cinema became classical in distinct ways from Hollywood.

Motion pictures --- Motion picture actors and actresses --- Comedy films --- Comedy videos --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Film actors --- Film stars --- Motion picture stars --- Movie stars --- Moving-picture actors and actresses --- Stars, Movie --- Actors --- Actresses --- Production and direction --- History --- History and criticism --- 1960s. --- alternate history. --- archival research. --- cantinflas oscarito. --- comedians. --- comedic practice. --- cultural significance. --- embodiment. --- film comedies. --- film theory. --- films. --- grande otelo. --- latin america. --- latin american cinema. --- latin american history. --- linguistic play. --- luis sandrini. --- modernization. --- new latin american cinema. --- nini marshall. --- popularity. --- spatiotemporal emplacement.