ISBN:
9780816523894
,
9780816523313
Language:
English
Pages:
XIV, 215 S.
,
Ill.
DDC:
070.1/8
Keywords:
Documentary films History and criticism
;
Lateinamerika
;
Dokumentarfilm
;
Geschichte
Abstract:
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)
Description / Table of Contents:
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).
Description / Table of Contents:
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).
Note:
Includes bibliographical references and index
URL:
http://www.uapress.arizona.edu/Books/bid2409.htm
URL:
http://www.uapress.arizona.edu/catalogs/dlg_show_excerpt.php?id=2409
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