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Contemporary Latin American Cinema and Resistance to Neoliberalism: Mapping the Field
Claudia Sandberg
Contemporary Latin American Cinema. Resisting Neoliberalism?, 2018
This chapter investigates the relationship between neoliberalism and Latin America filmmaking from the 1990s onwards. Which impact did the privatizing of state-owned companies have on distribution and exhibition arrangements? How did narrative and aesthetic formats reflect these changes? In which way does contemporary Latin American cinema criticize but also benefit from neoliberal advancements? The author argues that there are loopholes within spaces of commodification that invite criticism and resistance. Initiatives on national, regional and pan-regional level support Latin American film and the ever-expanding funding scape offer opportunities to get film projects off the ground. Filmmakers use the subversive potential of genres to capture specifically Latin American experiences and sensibilities, reflecting on neoliberal ideology, its middle-class conventions and moral regimes.
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Film Theory in the Age of Neoliberal Globalization - Introduction to the Special Issue of Framework on the Geopolitics of Film and Media Theory
Masha Salazkina
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Film heritage and neoliberalism
Luca Antoniazzi
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Currencies of The World: Neoliberalism, National Cinema
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Terri Ginsberg
Review of Education, Pedagogy, and Cultural Studies, 2003
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Review of Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System
Jonathan Stubbs
Reviews in History, 2018
Lee Grieveson's bold historical analysis of the relationship between media and capital is nothing if not timely. As I write, a new wave of consolidation among traditional telecommunication and media companies in America is concentrating unprecedented wealth and power in the hands of an ever-narrowing elite. Concurrently, a new generation of technology companies led by Google and Facebook have established themselves as lucrative and persuasive gateways between the public and the world around them. The inequalities created by these concentrations of wealth have become unimaginably vast. Amazon CEO Jeff Bezos, whose estimated personal fortune of $150 billion derives in large part from media distribution, recently declared 'the only way that I can see to deploy this much financial resource is by converting my Amazon winnings into space travel'.(1) But while Bezos shoots his money at the moon, Amazon's median full-time salary is a dollar below America's national living wage.(2) Grieveson makes a compelling case that this dominant form of political economy, and the particular role of the media within it, took shape during the inter-war period. It was at this time, he argues, that 'a corporate media industry was established, and then synchronised with finance capital and other large technology and telecommunications companies, as part of a corporate-dominated consumer economy' (p. 1). In 500 densely printed pages, he maps out the entrenchment of this industrial system while also examining specific ways in which mass media (particularly cinema) has been pressed into the service of corporations and states. Critical to this project is the broader but largely overlooked history of cinema's use as a practical, pedagogic tool.
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Cinematic Arenas of Wealth Production : How Cinema is Shaping Labor and What (New) Film Histories It Reveals
Guilherme Machado
Rethinking Film History Through Global and Digital Approaches, 2022
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Capital and popular cinema: the dollars are coming
Akshaya Kumar
Historical Journal of Film, Radio and Television, 2019
Capital and popular cinema: the dollars are coming! VALENTINA VITALI (ed.), 2016 Manchester, Manchester University Press pp. ix þ 216, bibliography, filmography, index, illus., £75 (cloth)
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Gender, Neoliberalism and Contemporary Asian Cinemas
Jyotsna Kapur
Visual Anthropology, 2009
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New National Cinemas in a Transnational Age
Juan Poblete
Discourse: Journal for Theoretical Studies in Media and Culture, 2004
Integral to the expansion of capitalism since the nineteenth century, the cultural communications complex which used to be analyzed as cultural imperialism has now evolved into the object of study of theories in globalization (Miller, et al. 18). One of the Third World's legitimate and powerful reactions against that earlier cultural imperialism took the form of ideological denunciations of its content-based products. Along with such a political analysis went a search for pure alternative positions which, at the artistic level, were often conflated with the avant-garde forms of the left intelligentsia. In today's epochal climate, I will argue, films such as the ones I explore here, have developed a more complex reaction to better suit the needs of differently acculturated audiences. Pace Audre Lorde (''The master's tools will never dismantle the master's house'') the films I will focus on here use some of the formal tools of dominant Hollywood productions and combine them with more vernacular, regional forms and experiences in an effort to produce a critique of the impact of neoliberalism on the national societies of Latin America in times of globalization. Reworking and re-appropriating some of the ''master's tools'' these films marry the so-called MTV style with classical political allegory and melodrama, thus heralding, perhaps, the emergence of a new type of cinematographic legibility-what I will call here a powerful
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