In the late 1990s and early 2000s Latin American films Amores perros, Diarios de motocicleta, El hijo de la novia, Y tu mamá también, and Cidade de Deus enjoyed unprecedented critical and commercial success in global markets. Benefiting from external financial and/or creative input, these films were considered examples of transnational cinema. This book examines the six transnational directors (Iñárritu, Cuarón, del Toro, Meirelles, Salles and Campanella), who made these and the subsequent commercially successful and mostly ‘deterritorialized’ films (21 Grams, Babel, Biutiful, El espinazo del Diablo, El laberinto del fauno, Blindness, The Constant Gardener, Children of Men, On the Road, El secreto de sus ojos). Arguing against criticism in which these films’ commercial (Hollywood) and transnational features efface the authorial sensibilities of these directors and make them irrelevant to Latin American trends and politics, this book shows how they engage with national, continental and hemispheric politics and identity. Bringing a new perspective to the transnational films of Latin America’s transnational auteurs, including the recent Gravity, The Revenant, Birdman, and Crimson Peak, this book facilitates understanding how different genres function across cultures.
Divergent Accounts of Equivalent Narratives: Russian-Swedish Interdevochka Meets Swedish-Russian Lilya 4-ever
