Contemporary Hispanic Cinema - Interrogating the Transnational in Spanish and Latin American Film -- Dennison, Stephanie(ed.)
￥21,780
税込
商品コード： 126355
商品コード(SBC): 126355
ISBN13: 9781855662612
サイズ: 15.5 x 23.5 x 2.2 cm
頁 数: 260 pgs.
重 量: 0.55 kgs
装 丁: hard cover
出版社: Boydell & Brewer
発行年: 2013
発行地: London
双書名: Tamesis A/Monografias, 323
ISBN13: 9781855662612
サイズ: 15.5 x 23.5 x 2.2 cm
頁 数: 260 pgs.
重 量: 0.55 kgs
装 丁: hard cover
出版社: Boydell & Brewer
発行年: 2013
発行地: London
双書名: Tamesis A/Monografias, 323
Descripción:
This collection of original essays focuses on the cross-currents and points of contact among Spain, Portugal and Latin America and their impact on the regions’ film industries.
This book focuses on the cross-currents and points of contact in film production among so-called Hispanic countries (Spain, Portugal and Latin America), and in particular the impact that co-production and supranational funding initiatives are having on both the film industries and the films of Latin America in the twenty-first century. Together with chapters that discuss and further develop transnational approaches to reading films in the Hispanic and Latin American context, the volume includes chapters that focus on funding initiatives, such as IBERMEDIA, that are aimed at Spain, Portugal and Latin America. An analysis of such initiatives facilitates a nuanced discussion of the range of meanings afforded to the term transnationalism: from the workings of those driven by economic imperatives, such as co-productions and ‘Hispanic’ film festivals, to the cultural, for example the invention of a marketable ‘Latinamericaness’ in Spain, or a ‘Hispanic aesthetic’ elsewhere.
This collection of original essays focuses on the cross-currents and points of contact among Spain, Portugal and Latin America and their impact on the regions’ film industries.
This book focuses on the cross-currents and points of contact in film production among so-called Hispanic countries (Spain, Portugal and Latin America), and in particular the impact that co-production and supranational funding initiatives are having on both the film industries and the films of Latin America in the twenty-first century. Together with chapters that discuss and further develop transnational approaches to reading films in the Hispanic and Latin American context, the volume includes chapters that focus on funding initiatives, such as IBERMEDIA, that are aimed at Spain, Portugal and Latin America. An analysis of such initiatives facilitates a nuanced discussion of the range of meanings afforded to the term transnationalism: from the workings of those driven by economic imperatives, such as co-productions and ‘Hispanic’ film festivals, to the cultural, for example the invention of a marketable ‘Latinamericaness’ in Spain, or a ‘Hispanic aesthetic’ elsewhere.
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