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Explores experimental cinema and alternative film formats from across the Luso-Hispanic Atlantic, from the 1960s to the present.
This is the first book on experimental cinemas of Latin American and Spain to offer a comprehensive look at old and new technologies, including Super 8, VHS, cell phones, virtual reality, artificial intelligence, and more. From the militant films of the 1960s to today's expanded reality experiences, filmmakers in Argentina, Spain, Cuba, Colombia, Brazil, and Mexico have continually used alternative formats both to dialogue with international movements and to counter commercial cinematic trends. To make this argument and cover this vast geographic and historical terrain, Eduardo Ledesma adopts a transnational and intermedial approach, examining exchanges and associations between cineastes to better understand how their films were created and circulated. Ledesma works to untangle both the relations between media and the associations of experimental cinema to cultural phenomena such as diaspora, exile, displacement, and immigration. Throughout the book, connections are further made to other global avant-garde and alternative cinemas and formats, including in the United States.
"Experimental collectives, understudied auteurs, film shorts, cell phones, and VR: this book is a must read for anyone interested in global cinema's past and future. Eduardo Ledesma's cinema-eye zooms in and out, from a transatlantic view to the single frame—cutting cinematic history, biography, industry, culture, and politics together. A sweeping history of radical intermediality and immersive viewing." — Benjamin Fraser, University of Arizona
List of Illustrations
Acknowledgments
Introduction: Border Crossings in Intermedial and Transnational (Luso-Hispanic) Film Studies
1. Transatlantic Exchanges in 1960s Militant Cinemas: Helena Lumbreras's Debt to the Cinema of Fernando Solanas and Santiago Álvarez
2. Brazilian Cinema Novo and the Iberian Escuela de Barcelona: Art Cinema under Authoritarianism
3. Remediating Past Filmic Technologies: The Return of Super 8 and Video in the Era of Global Digital Cinema
4. Cell Phone Cinema and Amateur Genre Film in the Luso-Hispanic Atlantic
5. Expanded and Immersive Cinema: VR, AR, and MR Film in Latin America, Latinx US, and Spain
Coda: Future Trends in Experimental Cinema and Audiovisual Technology across the Luso-Hispanic Atlantic
Notes
Works Cited
Index