Latin American documentary filmmaking : major works / David William Foster

Englisch

Tucson : Univ. of Arizona Press, 2013

XIV, 215 S. : Ill.

Includes bibliographical references and index

1305

978-0-8165-2389-4 pbk. : alk. paper

978-0-8165-2331-3 cloth : alk. paper

PrefaceFilming the socially absent. The role of the narrator in Fernando Birri's Tire dié (Argentina, 1958-60) -- Nostalgia as a discursive practice in Arturo Ripstein's El palacio negro (Mexico, 1976) -- Metafilmic devices in Eduardo Coutinho's Boca de lixo (Brazil, 1993) -- Documenting femicide in Juárez: rhetorical decisions in Lourdes Portillo's Señorita extraviada (United States, 2001) -- Gender trouble. This woman which is one: Helena Solberg's The double day (United States, 1976) -- Documenting queer, queer documentary: Cuban sexualities -- Gender dissonance in Fernando Pérez's Suite Habana (Cuba, 2003) -- Working clandestinely. Contesting a revolution: Raymundo Gleyzer's documentary México, la revolución congelada -- Hiding the camera in Miguel Littin's Acta general de Chile -- Historical present. Privileged spectatorship in Carmen Toscano's Memorias de un Mexicano (Mexico, 1950) -- Metonymic discourse in Fernando E. Solanas's La hora de los hornos (Argentina, 1968) -- Patricio Guzmán's La batalla de Chile as sociohistoric bildungsroman (Chile-Cuba, 1975-79).

Preface -- Filming the socially absent. The role of the narrator in Fernando Birri's Tire dié (Argentina, 1958-60) -- Nostalgia as a discursive practice in Arturo Ripstein's El palacio negro (Mexico, 1976) -- Metafilmic devices in Eduardo Coutinho's Boca de lixo (Brazil, 1993) -- Documenting femicide in Juárez: rhetorical decisions in Lourdes Portillo's Señorita extraviada (United States, 2001) -- Gender trouble. This woman which is one: Helena Solberg's The double day (United States, 1976) -- Documenting queer, queer documentary: Cuban sexualities -- Gender dissonance in Fernando Pérez's Suite Habana (Cuba, 2003) -- Working clandestinely. Contesting a revolution: Raymundo Gleyzer's documentary México, la revolución congelada -- Hiding the camera in Miguel Littin's Acta general de Chile -- Historical present. Privileged spectatorship in Carmen Toscano's Memorias de un Mexicano (Mexico, 1950) -- Metonymic discourse in Fernando E. Solanas's La hora de los hornos (Argentina, 1968) -- Patricio Guzmán's La batalla de Chile as sociohistoric bildungsroman (Chile-Cuba, 1975-79).

*Lateinamerika / Dokumentarfilm / Geschichte

*Documentary films -- Latin America -- History and criticism

Klassifikation der Library of Congress: PN1995.9.D6

Dewey Dezimal-Klassifikation: 070.1/8;

Regensburger Verbund-Klassifikation:

Preface -- Filming the socially absent. The role of the narrator in Fernando Birri's Tire dié (Argentina, 1958-60) -- Nostalgia as a discursive practice in Arturo Ripstein's El palacio negro (Mexico, 1976) -- Metafilmic devices in Eduardo Coutinho's Boca de lixo (Brazil, 1993) -- Documenting femicide in Juárez: rhetorical decisions in Lourdes Portillo's Señorita extraviada (United States, 2001) -- Gender trouble. This woman which is one: Helena Solberg's The double day (United States, 1976) -- Documenting queer, queer documentary: Cuban sexualities -- Gender dissonance in Fernando Pérez's Suite Habana (Cuba, 2003) -- Working clandestinely. Contesting a revolution: Raymundo Gleyzer's documentary México, la revolución congelada -- Hiding the camera in Miguel Littin's Acta general de Chile -- Historical present. Privileged spectatorship in Carmen Toscano's Memorias de un Mexicano (Mexico, 1950) -- Metonymic discourse in Fernando E. Solanas's La hora de los hornos (Argentina, 1968) -- Patricio Guzmán's La batalla de Chile as sociohistoric bildungsroman (Chile-Cuba, 1975-79)

http://www.uapress.arizona.edu/Books/bid2409.htm [Inhaltsbeschreibung]

http://www.uapress.arizona.edu/catalogs/dlg_show_excerpt.php?id=2409 [Leseprobe]

BIBTEX - ENDNOTE - RIS