1st Edition
Routledge Handbook on the Sociology and History of Cinema and Television in Latin America
Acknowledgments
Editor’s Introduction
Paula Halperin
PART I
Constructing the Latin American Audiovisual as an Object of Inquiry
1 Historical Research on Brazilian Cinema: A Case Study and Contemporary Perspectives
Eduardo Victorio Morettin
2 Georges Sadoul and the Historiography of Argentine Cinema (1952–1974)
Rafael Morato Zanatto
3 Television News Archives: Toward a Method for Historical Research
Fernando Seliprandy
4 ¡YA FUE!: Overcoming Androcentric Approaches to Latin American Cinema History
Lorena Best and Isabel Seguí
PART II
Transitions: From the Long 1960s to Re-Democratization
5 Revolution and Unionism in Argentine Cinema, 1968–1976
Javier Campo
6 Rewriting the Past in 1970s Mexican Cinema
Israel Rodríguez
7 Thinking about the Past, Planning the Future: Brazilian Cinema’s Journey Toward a New Democracy
Reinaldo Cardenuto
8 Foreign Television and the Chilean Dictatorship: Between Institutionality and Clandestinity
Carolina Amaral de Aguiar
9 Cuba in the 1980s: Through the Lens of Noticiero ICAIC Latinoamericano
Mariana Villaça
10 The Appropriation of Children by Argentina’s Dictatorship in Carlos Echeverría’s Work for Cinema and Television
Paola Margulis
11 Joaquim Pedro de Andrade’s Cinematic Writing of History
Luiz Ancona
12 Uruguayan Fiction Film on Local Television in the Late 1980s: Prospects and Challenges for National Audiovisual Production
Mariel Balás
PART III
Circulation
13 The Cinematheque of the Museum of Modern Art of Rio De Janeiro as a Cultural Insurgent, 1948–1978
Fabián Núñez
14 A Key Figure: Walter Achugar and the New Latin American Cinema
Cecilia Lacruz and Mariano Mestman
15 Prohibitions and Omissions: The Elusive Presence of Latin American Cinema in the Chile of Pinochet
Jorge Iturriaga
16 Moments of Uncertainty: Cinemateca Uruguaya, the Democratic Transition, and the Latin American Turn
Mariana Amieva
PART IV
National/Regional/Transnational
17 Landscapes of the Amazon and the Encounter with the Foreigner in Cinematic Narratives from the 1960s to the 1990s
Alexandre Busko Valim and Naiara Leonardo Araújo
18 Breaking the Concentration in Buenos Aires: 21st-Century Audiovisual Practices in
Argentina’s Provinces
Clara Kriger
19 Notes on Contemporary Central American Cinema (2000–2025)
María Lourdes Cortés
PART V
Identities and Differences: Absent Images
20 Recovering Filmmaker José Rodrigues Cajado Filho’s Trajectory in Brazilian Black Cinema
Noel dos Santos Carvalho
21 Beyond the Map: Shadows of Dictatorship in Paraguayan Cinema and the Healing Poetics of Guapo’y
Andréa C. Scansani
22 Jorge Sanjinés and the Ukamau Group Against Q’ara History
Yanet Aguilera Viruez Franklin de Matos
23 Phantasmagoric Images of the Colonial Past in the Film Açúcar by Renata Pinheiro and Sérgio Oliveira
Alberto da Silva
PART VI
Collective Memory and the Writing of Historical Narratives on TV and Cinema
24 The “Civil-Military” Question in Documentary Representations of the Memory of the
Chilean Dictatorship
Ignacio del Valle-Dávila
25 History and Cultural Memory Under Debate: Television Representations of the Conquest of Mexico
Álvaro Vázquez Mantecón
26 National Identities in Historical Television Fiction: The Case of Gritos de Muerte y Libertad (2010)
Adrien Charlois Allende
27 The Audiovisual Expression of Brazil’s New Right: Tracing a Conservative Wave
Marcos Napolitano
28 Materialist Horror and Woman-Centered Narratives in Latin American Cinema: Medusa (2023) and The Bone Woman (2022)
Jack A. Draper III
29 Manufacturing Violence in Colombian Cinema: Critical Constructions of Memory in Bad at Painting Figures
Juan Carlos Arias
30 Narcos: Mexico: Narrative and Cultural Memory
Janny Amaya Trujillo and Adrien Charlois Allende
31 Between Love and Exile: Salvador Allende (Patricio Guzmán, 2004)
María Aimaretti
PART VII
Cinema, Expanded Television, and Digital Communities:
Dialogues and Circulation
32 Models and General Principles of Alternative Television in Argentina and Chile
Natalia Vinelli
33 Religion Making Media Culture: The Confluence of Television, the Internet, and Religion in Contemporary Brazil
Cacilda Rêgo
34 The Practice of Audiovisual Democracy in the Wambra Digital Community Media Outlet
Miguel Alfonso Bouhaben
35 The Digitization of Television Images in the Twenty-First Century: Principles of a Technological History of TV Globo’s Telenovelas (Brazil)
Marina Cavalcanti Tedesco
36 Streaming the Nation: Telenovelas and the Reimagining of Brazil on Digital Platforms
Rachel Fabian and Paula Halperin
Biography
Paula Halperin is Associate Professor of Cinema and Television Studies and History, and Director of the School of Film and Media Studies at Purchase College, SUNY, as well as Visiting Professor at the Universidade Federal do Estado do Rio de Janeiro (UNIRIO). Her research examines the intersections of visual culture, nationalism, and the public sphere in Latin America, with a particular emphasis on Brazil and Argentina from the 1960s to the 1980s. She has published widely in peer-reviewed journals and edited volumes in Brazil, Argentina, the US, and France, contributing to scholarly debates on media history, television cultures, and the politics of representation. Interdisciplinary in scope, her work bridges film and media studies, cultural history, and Latin American studies.
“This Handbook is extremely useful because often students and even researchers are not aware of the different scholarly approaches to the study of cinema and TV in the Humanities and Social Sciences, or how a Cultural and Film Studies approach differs from a Sociological one. Halperin bridges these approaches constructively. Undergraduate courses are increasingly interdisciplinary in nature, and this volume’s study of history, cinema, and society will suit them well. This Handbook will undoubtedly become a valuable resource and contribution to the study of cinema and television.”
Mercedes Vázquez, Assistant Professor of Communication, University of Nottingham
“This Handbook will be of high interest for researchers and students from different areas and interdisciplinary lines of work such as sociology, media, cinema, and cultural studies. It will also be of interest for researchers on feminist, indigenous, and Afro-American studies. The significance of this book is that it is grounded in a cross disciplinary approach and the vast scope of periods and countries covered. Until recently, approaches to Latin American cinema and media were categorized by periods, national cinemas, film directors or movie titles. Moreover, much of these books rely on film and media “canons” and are focused on a specific time period (e.g. the 1960s or the 1970s). In the case of this Handbook, the approach is not only interdisciplinary but simultaneously reaches a historical and contemporary scope. Also, the idea of cinema and television as a political practice gives this volume a subtle yet strong unity.”
María Fernanda Arias, Professor of Cultural Studies, Universidad de Antioquia
