PHILOSOPHY; HISTORY; POLITICS; CULTURAL STUDIES; LATIN AMERICA
v. 4 n. 2 (2020): Sección Estudios de la Cultura. Cine en América Latina: dinámicas de un intercambio histórico.
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Cidade de Deus, Babel, and También la lluvia. Towards a Global Film Language

Maude Havenne
Georgetown University

Publicado 2021-01-10

Como Citar

Havenne, M. (2021). Cidade de Deus, Babel, and También la lluvia. Towards a Global Film Language. Encuentros Latinoamericanos (segunda época), 4(2), 239–257. https://doi.org/10.59999/4.2.1162

Resumo

After decades of struggle against Western hegemony, the success of Third World cinema both from critics and at the box-office attests to a change in the center vs. periphery scheme of cinematic productions worldwide. The case of Ibero-American movies especially, with productions such as Cidade de Deus (Fernando Meirelles and Kátia Lund, 2003), Babel (Alejandro González Iñárritu, 2006) and También la lluvia (Icíar Bollaín, 2010) provides an alternative to David Bordwell’s confident statement in 1985 that “no absolute pure alternative to Hollywood exists” (Bordwell, 1985, p. 624). Building on recent film scholars’ paradigms of a post-classical and more global cinema (such as Deborah Shaw, 2007 and Eleftheria Thanouli, 2009), this essay offers a close-reading of these three contemporary Ibero-American movies in terms of their similarities from a production, distribution, as well as aesthetic perspective. Through an analysis of shared collaborative strategies and patterns of creation (narratives in “network”, preferences for multiple languages, shooting locations, and protagonists, etc.), the following article argues for a general intent both from Hispanic and Lusophone productions to fight alongside instead of against other cinematic currents in a joint effort to gather strength against multinational exploitation, inequality, exclusion, and other negative consequences of globalization.

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