About the Book:During the 1967 festival of Latin American Cinema in Via del Mar, Chile, a group of filmmakers who wanted to use film as an instrument of social awareness and change formed the New Latin American Cinema. Nearly three decades later, the New Cinema has produced an impressive body of films, critical essays, and manifestos that uses social theory to inform filmmaking practices.This book explores the institutional and aesthetic foundations of the New Latin American Cinema. Zuzana Pick maps out six areas of inquiryhistory, authorship, gender, popular cinema, ethnicity, and exileand explores them through detailed discussions of nearly twenty films and their makers, including Camila (Mara Luisa Bemberg), The Guns (Ruy Guerra), and Frida (Paul Leduc). These investigations document how the New Latin American Cinema has used film as a tool to change society, to transform national expressions, to support international differences, and to assert regional autonomy.Table of Contents: Preface and AcknowledgmentsIntroduction. The New Latin American Cinema: A Continental Project1. Convergences and Divergences History and InstitutionsPioneers and Early ManifestationsBirth of a MovementState Intervention and GrowthTurning Point and Consolidation2. Creativity and Social Intervention Authorship and Cultural MilitancyThe Discovery of Self and Other: The BrickmakersThe Authority of Daily Life: Up to a PointThe Collective and the Nation: The Hour of the Furnaces3. Gendered Identities and Femininity Women Filmmakers and Representations of GenderMachismo and Gender: A Man, When He Is a ManExperiences of Femininity: Mujer transparenteReviewing Womens History: CamilaIdentity and Representation: Frida: Naturaleza viva4. Popular Memory and the Power of Address Popular Cinema and Social ClassSocial Inquiry and Los inundadosThe Sertao and Cinema Nvo: The GunsPopular Memory and The Courage of the People5. Cultural Difference and Representation Ethnicity and MestizajeThe Dialectics of Race and Class: One Way or AnotherMetaphor and Difference: IracemaThe Aesthetics of Carnival: QuilomboImmigration and Identity: Gaijin: The Road to Liberty6. Exile and Displacement Exile: Discourse and RepresentationThe Politics of the Personal: Unfinished DiarySpectacle and the Displaced Body: Tangos: The Exile of GardelPhantasmagoria and Displacement: The Three Crowns of the SailorConclusion. The New Latin American Cinema: A Modernist Critique of ModernityNotesBibliographyIndex