: Latin American Cinema: Film and History . E. Bradford Burns.

Beatriz Palacios’s instrumental role in the Ukamau group has been largely ignored by film historiography and criticism. The authorial persona of her comrade and husband, Jorge Sanjinés, has eclipsed Palacios’s work and ideas. Her erasure is due to the perspectives chosen to analyze Ukamau (male-centered auteurist and formalist approaches) and to the almost exclusive use of the voice of Sanjinés (interviews, essays, and films interpreted in an authorial key) to construct the group’s history. Ignoring the contribution and importance of Palacios’s work and not accounting for her share in the authorship of the films made during the years they lived and worked together impedes a correct understanding of the complexity of the production context and the amplitude of the contribution of Ukamau to Latin American cinema. While her work as a producer is increasingly recognized, delving into her roles as a disseminator of political cinema in alternative circuits, evaluator of the impact of the movies on the popular classes, and documentary director completes the portrait of her all-encompassing life and career. En gran medida, el papel instrumental de Beatriz Palacios en el grupo Ukamau ha sido ignorado por la historiografía y la crítica cinematográficas. La persona autoral de su camarada y esposo, Jorge Sanjinés, ha eclipsado la obra e ideas de Palacios. Dicha eliminación se debe a las perspectivas elegidas para analizar Ukamau (enfoques y formalistas) y al uso casi exclusivo de la voz de Sanjinés (entrevistas, ensayos y películas interpretadas en clave autoral) para construir la historia del grupo. Ignorar la contribución e importancia del trabajo de Palacios, así como su participación en la autoría de las películas realizadas durante los años que vivieron y trabajaron juntos, impide una correcta contribución de Ukamau al cine latinoamericano. Mientras que su trabajo como productora es cada vez más reconocido, ahondar en su labor como divulgadora de cine político en circuitos alternativos, evaluadora del impacto de las películas en las clases populares y directora de documentales, completa debidamente retrato de su vida y carrera.

Evolving Images: Jewish Latin American Cinema

Review Literature and Arts of the Americas ◽

10.1080/08905762.2019.1681838 ◽

2019 ◽

Vol 52 (2) ◽

pp. 287-289

Author(s):

Saúl Sosnowski

Keyword(s):

Latin American ◽

American Cinema ◽

Latin American Cinema

Reviews. New Latin American Cinema. MT Martin [ed]\Tropical Multiculturalism. R Stam\Based on a True Story: Latin American History at the Movies. DF Stevens [ed]\Allegories of Underdevelopment: Aesthetics and Politics in Modern Brazilian Cinema. I Xavier

Screen ◽

10.1093/screen/41.3.339 ◽

2000 ◽

Vol 41 (3) ◽

pp. 339-347

Author(s):

C Grant

Keyword(s):

Latin American ◽

American History ◽

Aesthetics And Politics ◽

Latin American History ◽

True Story ◽

American Cinema ◽

Latin American Cinema ◽

Brazilian Cinema ◽

New Latin American Cinema

The New Latin American Cinema. An Annotated Bibliography 1960-1980

Chasqui ◽

10.2307/29739855 ◽

1983 ◽

Vol 13 (1) ◽

pp. 77

Author(s):

E. Bradford Burns ◽

Julianne Burton

Keyword(s):

Latin American ◽

Annotated Bibliography ◽

American Cinema ◽

Latin American Cinema ◽

New Latin American Cinema

Jewish Puberty in Contemporary Latin American Cinema:

Returning to Babel ◽

10.1163/9789004217669_011 ◽

2011 ◽

pp. 143-155

Keyword(s):

Latin American ◽

American Cinema ◽

Latin American Cinema

CAROLINA ROCHA AND GEORGIA SEMINET, EDS. Screening Minors in Latin American Cinema. Lanham: Lexington Books, 2014. xx + 203 pp.

Revista Canadiense de Estudios Hispánicos ◽

10.18192/rceh.v38i3.1718 ◽

2014 ◽

Vol 38 (3) ◽

pp. 625-628

Author(s):

Inela Selimovic

Keyword(s):

Latin American ◽

American Cinema ◽

Latin American Cinema

After New Latin American Cinema

Cinema Journal ◽

10.1353/cj.2012.0014 ◽

2012 ◽

Vol 51 (2) ◽

pp. 87-112 ◽

Cited By ~ 5

Author(s):

Paul A. Schroeder Rodríguez

Keyword(s):

Latin American ◽

American Cinema ◽

Latin American Cinema ◽

New Latin American Cinema

Globalization and Latin American Cinema

10.1007/978-3-319-57060-0 ◽

2018 ◽

Cited By ~ 2

Author(s):

Sophia A. McClennen

Keyword(s):

Latin American ◽

American Cinema ◽

Latin American Cinema

Domestic Labor in Twenty-First Century Latin American Cinema, Elizabeth Osborne and Sofía Ruiz-Alfaro (eds) (2020)

Studies in Spanish & Latin-American Cinemas ◽

10.1386/slac_00040_5 ◽

2021 ◽

Vol 18 (1) ◽

pp. 108-110

Author(s):

Andrea Meador Smith

Keyword(s):

Latin American ◽

First Century ◽

Domestic Labor ◽

American Cinema ◽

Latin American Cinema ◽

Twenty First Century

Review of: Domestic Labor in Twenty-First Century Latin American Cinema, Elizabeth Osborne and Sofía Ruiz-Alfaro (eds) (2020) Cham, Switzerland: Palgrave Macmillan, 242 pp., ISBN 978-3-03033-295-2, h/bk, €103.99, e/bk, €85.59

Shifting conceptions of Alejandro González Iñárritu: Interpreting the auteur

Studies in Spanish & Latin-American Cinemas ◽

10.1386/slac_00032_2 ◽

2021 ◽

Vol 18 (1) ◽

pp. 3-8

Author(s):

Dolores Tierney

Keyword(s):

Virtual Reality ◽

Latin American ◽

American Identity ◽

Special Issue ◽

American Cinema ◽

Feature Films ◽

Latin American Cinema ◽

Alejandro Gonzalez Inarritu

This introduction to a Special Issue of Studies in Spanish and Latin American Cinema charts the shift in Alejandro González Iñárritu's directorial persona from transnational auteur to mainstream figure over the course of his six feature films and virtual reality installation: Amores perros (2000), 21 Grams (2003), Babel (2006), Biutiful (2010), Birdman or (The Unexpected Virtue of Ignorance) (2014), The Revenant (2015) and the installation Carne y arena (Virtually Present, Physically invisible) (2017). It argues that this shift into a (predominantly Anglo) mainstream is reflected in the different ways in which his last names (apellidos) are used, abbreviated or even excised altogether, and in the differing approaches to him as auteur employed by the authors of the different articles, but that Iñárritu’s persona and creative collaborators continue to be primarily determined by his Mexican and Latin American identity.