479© The Editor(s) (if applicable) and The Author(s) 2018 S.A. McClennen, Globalization and Latin American Cinema, Palgrave Studies in Globalization, Culture and Society, https://doi.org/10.1007/978-3-319-57060-0

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Filmography

3 efes (3 Fs). Directed by Carlos Gerbase. 2007.21 Grams. Directed by Alejandro González iñárritu. 2003.360. Directed by Fernando Meirelles. 2011.A Day Without a Mexican. Directed by Sergio Arau. 2004.A Little Princess. Directed by Alfonso Cuarón. 1995.All is Lost. Directed by J. C. Chandor. 2013.Amores perros. Directed by Alejandro González iñárritu. 2000.Andahuaylas—suenen las campanas. Directed by María Barea, Grupo Chaski.

1987.Antuca. Directed by María Barea, Grupo Chaski. 1992.

WORkS CiTED 521

Ardiente paciencia (Burning Patience). Directed by Antonio Skármeta. 1983.Avatar. Directed by James Cameron. 2009.Babel. Directed by Alejandro González iñárritu. 2006.“Baja Taste.” Directed by Roberto Nájera. 2015.Barro y Bambu. Directed by María Barea, Grupo Chaski. 1991.The Best Exotic Marigold Hotel. Directed by John Madden. 2012.The Big Short. Directed by Adam Mckay. 2015.Birdman. Directed by Alejandro González iñárritu. 2014.Biutiful. Directed by Alejandro González iñárritu. 2010.Blade II. Directed by Guillermo del Toro. 2002.Blindness. Directed by Fernando Meirelles. 2008.Bolivia. Directed by Adrián Caetano. 2001.The Boy Who Cried Bitch. Directed by Juan José Campanella. 1991.Buena Vista Social Club. Directed by Wim Wenders. 1999.Carancho. Directed by Pablo Trapero. 2010.Carandiru. Directed by Héctor Babenco. 2003.Casa de mi Padre. Directed by Matt Piedmont. 2012.Cazuza: O Tempo Não Pára (Cazuza: Time Doesn’t Stop). Directed by Walter

Carvalho and Sandra Werneck. 2004.Cecilia. Directed by Humberto Solás. 1982.Cenizas del Paraíso (Ashes of Paradise). Directed by Marcelo Piñeyro. 1997.Central do Brasil (Central Station). Directed by Walter Salles. 1998.Children of Men. Directed by Alfonso Cuarón. 2006.Cidade de Deus (City of God). Directed by Fernando Meirelles and kátia Lund.

2002.Cidade dos Homens (City of Men). Directed by Fernando Meirelles and kátia

Lund. TV Miniseries. 2002–2005.Como agua para chocolate (Like Water for Chocolate). Directed by Alfonso Arau.

1992.Comodines (Cops). Directed by Jorge Nisco and Daniel Barone. 1997.Crónica de una fuga (Chronicle of an Escape). Directed by israel Adrián Caetano.

2006.Deep Blue Sea. Directed by Renny Harlin. 1999.Desierto. Directed by Jonás Cuarón. 2015.Deus é brasileiro (God Is Brazilian). Directed by Carlos Diegues. 2003.Deus e o Diabo na Terra do Sol (Black God, White Devil). Directed by Glauber

Rocha. 1964.Di Cavalcanti. Directed by Glauber Rocha. 1977.Diarios de motocicleta (The Motorcycle Diaries). Directed by Walter Salles. 2004.Dois filhos de Francisco (Two Sons of Francisco). Directed by Breno Silveira. 2005.El bonaerense. Directed by Pablo Trapero. 2002.El brigadista (The Literacy Teacher). Directed by Octavio Cortázar. 1977.

522 WORkS CiTED

El callejón de los milagros (Midaq Alley). Directed by Jorge Fons. 1995.El Clan (The Clan). Directed by Pablo Trapero. 2015.El coraje del pueblo (The Night of San Juan, The Courage of the People). Directed

by Jorge Sanjinés. 1971.El crimen del Padre Amaro (The Crime of Padre Amaro). Directed by Carlos

Carrera. 2002.El enemigo principal (The Principle Enemy, Jatun auka). Directed by Jorge

Sanjinés. 1972.El espinazo del diablo (The Devil’s Backbone). Directed by Guillermo del Toro.

2001.El hijo de la novia (Son of the Bride). Directed by Juan José Campanella. 2001.El laberinto del fauno (Pan’s Labyrinth). Directed by Guillermo del Toro. 2006.El mismo amor, la misma lluvia (Same Love, Same Rain). Directed by Juan José

Campanella. 1999.El secreto de sus ojos (The Secret in Their Eyes). Directed by Juan José Campanella.

2009.El violín (The Violin). Directed by Francisco Vargas. 2005.Elefante blanco (White Elephant). Directed by Pablo Trapero. 2012.Erendira. Directed by Ruy Guerra. 1983.Fack ju Göhte (Suck Me Shakespeer). Directed by Bora Dagtekin. 2013.Fahrenheit 9/11. Directed by Michael Moore. 2004.Familia rodante (Rolling Family). Directed by Pablo Trapero. 2004.“Fear the Walking Dead.” Created by Dave Erickson and Robert kirkman. TV

Series. 2015.Fresa y chocolate (Strawberry and Chocolate). Directed by Tomás Gutiérrez Alea.

1993.From Prada to Nada. Directed by Angel Gracia. 2011.Gravity. Directed by Alfonso Cuarón. 2013.Great Expectations. Directed by Alfonso Cuarón. 1998.Gregorio. Directed by Fernando Espinoza, Grupo Chaski. 1982.Habana Blues. Directed by Benito Zambrano. 2005.Harry Potter and the Prisoner of Azkaban. Directed by Alfonso Cuarón. 2004.Hellboy. Directed by Guillermo del Toro. 2004.High School Musical: El desafío (Viva High School Musical). Directed by Eduardo

Ripari. 2008.Hijas de la guerra (Daughters of War). Directed by María Barea, Grupo Chaski.

1998.Il Postino (The Postman). Directed by Michael Radford. 1994.Infancia clandestina (Clandestine Childhood). Directed by Benjamin Ávila. 2011.Johnny cien pesos (Johnny One Hundred Pesos). Directed by Gustavo Graef

Marino. 1993.

WORkS CiTED 523

Juliana. Directed by Fernando Espinoza and Alejandro Legaspi, Grupo Chaski. 1989.

Kiss of the Spider Woman. Directed by Hector Babenco. 1985.La ciudad y los perros (The City and the Dogs). Directed by Francisco Lombardi.

1985.La dictadura perfecta (The Perfect Dictatorship). Directed by Luis Estrada. 2014.La hora de los hornos (The Hour of the Furnaces). Directed by Fernando Solanas

and Octavio Getino. 1968.La larga noche de Francisco Sanctis (The Long Night of Francisco Sanctis).

Directed by Francisco Márquez and Andrea Testa. 2016.La ley de Herodes (Herod’s Law). Directed by Luis Estrada. 1999.La mala educación (Bad Education). Directed by Pedro Almodóvar. 2004.La sexta parte del mundo (The Sixth Part of the World). Directed by Julio García

Espinosa. 1977.Ladrones. Directed by Joe Menendez. 2015.Leonera (Lion’s Den). Directed by Pablo Trapero. 2008.Les quatre cents coups (The 400 Blows). Directed by François Truffaut. 1959.Lista de espera (The Waiting List). Directed by Juan Carlos Tabío. 2000.Little Boy. Directed by Alejandro Monteverde. 2015.Los labios (The Lips). Directed by iván Fund and Santiago Loza. 2010.Los salvajes (The Wild Ones). Directed by Alejandro Fadel. 2012.Love Walked In. Directed by Juan José Campanella. 1997.Lucía. Directed by Humberto Solás. 1968.Luna de Avellaneda (Avellaneda’s Moon). Directed by Juan José Campanella.

2004.Mala (Evil Woman). Directed by Adrián Caetano. 2013.Malabrigo. Directed by Alberto Durant. 1986.Man on Fire. Directed by Tony Scott. 2004.Manuela. Directed by Humberto Solás. 1966.María Candelaria (Xochimilco). Directed by Emilio Fernández. 1944.Master and Commander: The Far Side of the World. Directed by Peter Weir. 2003.Me casé con un boludo. Directed by Juan Taratuto. 2016.“Memín, crónica de un boxeador” (“Memin: Portrait of a Boxer”). Directed by

Rodrigo Alvarez Flores. 2014.Memorias del subdesarrollo (Memories of Underdevelopment). Directed by Tomás

Gutiérrez Alea. 1968.Metegol (Underdogs). Directed by Juan José Campanella. 2013.Miss Universo en el Perú (Miss Universe in Peru). Directed by Grupo Chaski.

1982.“Mozart in the Jungle.” Created by Roman Coppola, Jason Schwartzman, Paul

Weitz. Amazon TV Series. 2014–2017.Mujeres del planeta (Women of the World). Directed by María Barea. 1982.

524 WORkS CiTED

Mundo grúa (Crane World). Directed by Pablo Trapero. 1999.Narcos. Produced by José Padilha. Netflix TV Series. 2015–.Neruda. Directed by Pablo Larraín. 2016.Night of the Iguana. Directed by John Huston. 1964.No. Directed by Pablo Larraín. 2012.No habrá más penas ni olvido (Funny Dirty Little War). Directed by Héctor

Olivera. 1983.No manches Frida. Directed by Nacho G. Velilla. 2016.No se aceptan devoluciones (Instructions Not Included). Directed by Eugenio

Derbez. 2013.Notícias de uma Guerra Particular (News from a Personal War). Directed by

kátia Lund and João Moreira Salles. 1999.Nueve reinas (Nine Queens). Directed by Fabián Bielinsky. 2000.O Ano em Que Meus Pais Saíram de Férias (The Year My Parents Went on

Vacation). Directed by Cao Hamburger. 2006.O Dragão da Maldade contra o Santo Guerreiro (Antonio das Mortes). Directed

by Glauber Rocha. 1969.Ônibus 174 (Bus 174). Directed by José Padilha. 2002.Pixote. Directed by Hector Babenco. 1981.Pizza, birra, faso (Pizza, Beer, and Cigarettes). Adrián Caetano and Bruno

Stagnaro. 1998.Polvo rojo (Red Dust). Directed by Jesús Díaz. 1982.Porcon. Directed by María Barea, Grupo Chaski. 1989, 1992.Porque quería estudiar. Directed by María Barea, Grupo Chaski. 1990.Presunto culpable (Presumed Guilty). Directed by Roberto Hernández and

Geoffrey Smith. 2008.¿Quién es Dayani Cristal? (Who is Dayani Cristal?). Directed by Marc Silver.

2013.Rapado (Cropped Head). Directed by Martín Rejtman. 1992.Rara. Directed by Pepa San Martín. 2016.Relatos salvajes (Wild Tales). Directed by Damián Szifrón. 2014.Retrato de Teresa (Portrait of Teresa). Directed by Pastor Vega. 1979.RoboCop. Directed by José Padilha. 2014.Roman Holiday. Directed by William Wyler. 1953.Rosewater. Directed by Jon Stewart. 2014.Rudo y cursi. Directed by Carlos Cuarón. 2008.Scary Movie franchise. Directed by keenen ivory Wayans, David Zucker, or

Malcolm D. Lee. 2000, 2001, 2003, 2006, 2013.Sexo, pudor, y lágrimas (Sex, Shame and Tears). Directed by Antonio Serrano.

1999.Sin nombre. Directed by Cary Joji Fukunaga. 2009.Sleep Dealer. Directed by Alex Rivera. 2008.

WORkS CiTED 525

Sólo con tu pareja (Only With Your Partner). Directed by Alfonso Cuarón. 1991.Soy Cuba (I Am Cuba). Directed by Mikhail kalatozov. 1964.Sueños lejanos (Distant Dreams). Directed by Alejandro Legaspi, Grupo Chaski.

2006.Suite Habana (Havana Suite). Directed by Fernando Pérez. 2003.También la lluvia (Even the Rain). Directed by icíar Bollaín. 2010.Terra em Transe (Entranced Earth). Directed by Glauber Rocha. 1967.¡Three Amigos! Directed by John Landis. 1986.The Constant Gardener. Directed by Fernando Meirelles. 2005.The Revenant. Directed by Alejandro González iñárritu. 2015.The Shock Doctrine. Directed by Jonás Cuarón. Short Documentary. 2007.The Three Caballeros. Directed by Norman Ferguson. 1944.Tire dié (Throw Ten or Toss Me a Dime). Directed by Fernando Birri. 1960.Titanic. Directed by James Cameron. 1997.Todo el poder. Directed by Fernando Sariñana. 2000.Travesía del desierto. Directed by Mauricio Walerstein. 2012.Tropa de Elite (Elite Squad). Directed by José Padilha. 2007.Tropa de Elite 2: O Inimigo Agora é Outro (Elite Squad: The Enemy Within).

Directed by José Padilha. 2010.Ukamau (And So It Is). Directed by Jorge Sanjinés, Grupo Ukamau. 1966.Un gallo con muchos huevos (Huevos: Little Rooster’s Egg-cellent Adventure).

Directed by Gabriel Riva Palacio Alatriste and Rodolfo Riva-Palacio Alatriste. 2015.

Un oso rojo (Red Bear). Directed by Adrián Caetano. 2002.Wakolda (The German Doctor). Directed by Lucía Puenzo. 2013.Y tu mamá también. Directed by Alfonso Cuarón. 2001.Yawar Mallku (Blood of the Condor). Directed by Jorge Sanjinés. 1969.

527© The Editor(s) (if applicable) and The Author(s) 2018 S.A. McClennen, Globalization and Latin American Cinema, Palgrave Studies in Globalization, Culture and Society, https://doi.org/10.1007/978-3-319-57060-0

index

0–921 Grams (González iñárritu), 385,

409, 422, 424, 426, 440360 (Meirelles), 349

AAcademy Awards, 58, 59, 94, 106,

116, 121, 249, 317, 318, 330, 332, 346, 349, 351, 356, 372, 385, 387, 388, 407, 434, 437, 441, 453. See also Oscars

Aesthetic(s) of Hunger, 334–350, 375. See also Rocha, Glauber

Agamben, Giorgio, 266, 319, 421. See also Bare life

Agência Nacional do Cinema. See ANCiNE

Aguilar, Gonzalo, ix, 261, 270, 279, 284, 291–295, 313, 318, 320, 321, 323, 325

Aide aux cinémas du monde (World Cinema Support), 76, 103, 104, 106, 136

ALBA (Bolivarian Alliance for the Peoples of Our America/Alianza Bolivariana para los Pueblos de Nuestra América), 125

Aldama, Frederick Luis, 153, 187, 228, 229, 243, 420, 447

Alfonsín, Raúl (Argentine President, 1983–88), 274

Aliança Francesa (French Alliance), 233

A-list Film Festivals, 169, 174. See also Cannes Film Festival; Toronto Film Festival

Almodóvar, Pedro, 58, 84, 106, 131, 136, 325, 434, 435

El Deseo, 84, 131Altavista, 153, 420Altruism, problems with, 103, 105,

107, 174Alvaray, Luisela, 27, 36, 63, 65, 70,

71, 122, 123, 138, 150–152, 186, 187, 250, 258, 436, 449

Amaranta. See Producciones AmarantaAmazon (esp. streaming service), 180,

181, 435

528 iNDEX

Ambulante Documentary Film Festival, 121, 182, 240, 436

Ambulante California, 215AMC Cinema and Theaters, 1, 23, 24,

37, 50, 58, 110, 111, 227, 466Americanization of films, 79Amores perros (González iñárritu),

152, 176, 192, 254, 385, 388, 409, 420–423, 424, 426, 434, 440, 442, 447

ANCiNE (Agência Nacional do Cinema–Brazil), 127, 220, 357, 358, 370, 372, 373, 379, 380, 381

Andermann, Jens, 261, 268, 284, 289, 307, 311, 313, 318, 320–322, 325, 326

Anderson, Benedict R., 33Anonymous Content, 423. See also

BabelAntiglobalization, 66, 271Antín, Manuel, 274, 315. See also iNC

(instituto Nacional de Cine)Appadurai, Arjun, 3, 4, 18, 39, 47,

306, 324Araribóia Cine, 233Ardiente paciencia (Burning Patience;

Skármeta), 163, 190Argentina Sono Film, 291Argentine Dirty War, affect on films,

261, 274Arguedas, José María, 201Aries, 291Arriaga, Guillermo, 419Art house theaters, 26, 57, 60, 69, 85,

128, 142, 144, 155, 156, 157, 196, 198, 210, 231–235, 250, 261, 263, 274, 275, 291

Article 226 of the Ley del impuesto Sobre la Renta [income Tax Law], 414. See also EFiCiNE

Artz, Lee, 17, 19, 24, 30, 31, 36, 37, 49, 50, 51, 52

Ashoka, 205Auteur, 199, 237, 264, 265, 268, 270,

275, 283, 289, 290, 307, 310, 413, 419, 420. See also individual filmmakers’ names

Avatar (Cameron), 334, 368Azteca, 153, 249

BBabel (González iñárritu), 42, 102,

176, 248, 385, 386, 397, 405, 409, 422, 423–429, 441, 447

Babenco, Hector, 36, 119, 153, 334, 350–362, 372, 376, 377

BAFiCi (Buenos Aires Festival de Cine independiente (Buenos Aires international Festival of independent Cinema), 169, 180, 193, 276, 316

Barber, Benjamin, 39Bardem, Javier, 430Bare life, 266, 282, 319, 338, 341,

343, 364, 389, 401, 421, 472. See also Agamben, Giorgio

Barreto, Luis Carlos, 147, 198Bauman, Zygmunt, 27, 50, 66, 296,

323, 391, 397, 404, 437, 443, 444, 449

BD Cine, 58Bedoya, Ricardo, 204, 237, 238Bemberg, María Luisa, 271Benevolent altruism, 103. See also

Altruism, problems with; Colonial cultural imbalances; Hegemony; Neoimperialism; Postcolonial

Bentes, ivana, 252, 335, 342, 375Beverley, John, 44, 52Bielinsky, Fabián, 36, 283The Big Short (Mckay), 6“Big Six” media megacorporations or

mega media corporations, 6, 24, 36, 56, 59, 246. See also Comcast;

iNDEX 529

Disney; Fox (NewsCorp); Sony; Warner international

Biopolitics, x, 31, 32, 38, 44, 267, 280, 281, 396, 398, 400. See also Foucault, Michel

biopolitical, 32, 42, 44, 45, 255–256, 267, 306, 336, 339, 343, 353, 364, 389, 396

Birdman (González iñárritu), 249, 258, 433, 441

Birri, Fernando, 63, 77, 199, 225, 242, 268, 269, 270, 272, 319, 320

Santa Fe Documentary School, 199Biutiful (González iñárritu), 409,

429–434, 441, 448Blade II (del Toro), 385Blim, 181. See also Netflix; TelevisaBlind bidding, 142Blindness (Meirelles), 349, 375, 435B-list festivals, 169. See also BAFiCi,

for exampleBlock booking, 142, 225, 274–275Blood Window, 183. See also Ventana

SurBolívar, Simón, 124Bolivarian Alliance for the Peoples of

Our America/Alianza Bolivariana para los Pueblos de Nuestra América. See ALBA

Bolivia (Caetano), 263, 264–267, 270, 277–279, 280–282, 284–286, 317, 319, 320, 321

Bollaín, icíar, 59, 70, 248, 434BOPE (Batalhão de Operações

Policiais Especiais), 334, 365–367, 369–370

Borges, Jorge Luis, 183The Boy Who Cried Bitch (Campanella),

308Brannon Donoghue, Courtney, 108,

117–120, 136, 138, 356, 374, 377

BRiCS nations, 14, 17, 21British Film institute (BFi), 48, 51,

128, 131, 141, 185, 192, 447, 474

Buena Vista Pictures, 36, 58, 70, 114, 149, 150, 152, 157, 188. See also Disney

Buena Vista Social Club (Wenders), 94, 134

Buenos Aires Festival de Cine independiente (Buenos Aires international Festival of independent Cinema). See BAFiCi

Burman, Daniel, 283Burton, Julianne, 81, 130, 132, 185,

188, 189, 236, 258, 320

CCACi (Conferencia de Autoridades

Cinematográficas de iberoamerica), 124, 139. See also Programa ibermedia

Caetano, israel Adrián, 41, 263, 264–289, 297, 316, 317, 319, 320–323

Caliban analogy, 10, 110Cámara nacional de la industria cin-

ematográfica. See CANACiNECampanella, Juan José, 37, 101,

115, 220, 249, 262–264, 297, 307–315, 317, 325

CANACiNE (Cámara nacional de la industria cinematográfica), 226, 418, 419

Canal +, 60, 91, 94, 291Canana films, 120–122, 182, 435,

436, 448. See also Ambulante Documentary Film Festival; García Bernal, Gael; Luna, Diego

Canana OnDemand, 121

530 iNDEX

Cannes Film Festival, 143, 144, 169, 172, 174, 175–177, 183, 192, 193, 317, 318, 334, 420, 436 See also Ventana Sur

Palme d’Or, 175, 176Prix de la mise en scène (Best

Director), 176, 334Carancho (Trapero), 115, 137, 298,

299Carandiru (Babenco), 36, 119, 120,

152, 153, 248, 334, 356, 359, 360, 361, 362, 372

Caravana Documental, 182CARiCOM (Caribbean Community),

125Carpio, Oswaldo, 200, 202, 237Casa de mi Padre (Piedmont), 111,

137Cecilia (Solás), 93Cendejas, Santiago, 253Cenizas del Paraíso (Ashes of Paradise;

Piñeyro), 114Central do Brasil (Central Station;

Salles), 152, 248, 330, 333, 372, 374

Central Films, 423. See also BabelCentro de Capacitación

Cinematográfica (CCC), 436Centro Sperimentale in Rome, ix, 92,

269Cervantes institute, 113Cha Cha Cha, 117, 118, 433, 448. See

also Cuarón, Alfonso; del Toro, Guillermo; González inárritu, Alejandro

Chanan, Michael, 68, 71, 76, 129, 185, 319

Chanchada musicals, 329, 336Chaski. See Grupo ChaskiChe Guevara, 58, 66–67, 165, 167,

207, 273, 434

Children of Men (Cuarón), 22, 42, 385, 387, 389, 391, 392, 397, 398, 400, 402, 403, 424, 425, 441, 444, 471

Churubusco Studios, 454, 457Cidade de Deus (City of God; Meirelles

and Lund), 27, 248, 332–350, 355, 359, 362, 367, 372, 375

Cidade dos Homens (City of Men; Meirelles and Lund), 344

Cine Arte UFF, 233, 244Cine Club Cuzco, 201, 204Cine Club Mon Amour, 233Cine Club Núcleo, 234Cine en Construcción, 106Cine Latino, 200, 212, 236Cinema Center, 219Cinema Nôvo, 78, 129, 146, 186,

206, 251, 258, 329–337, 339, 342, 351, 352, 354, 355, 362. See also Pereira dos Santos, Nelson; Rocha, Glauber

Cinema on demand (COD), 182Cinemark, 110, 197, 218–220, 227,

229Cinema vérité, 92. See also Nouvelle

vagueCinépolis, 24, 198, 214, 222,

226–231, 235, 242, 243, 247, 411, 419

Ruta Cinépolis, 229Vamos Todos a Cinépolis (their phil-

anthropic foundation), 229Clarín, 21, 24, 114, 249, 283, 287,

322, 324Cochabamba Water Crisis, 59, 67, 70,

98, 434Colonial cultural imbalances, 22, 60,

104, 107. See also Hegemony; Neoimperialism; Postcolonial

colonizer and colonized, traditional markers of, 66

iNDEX 531

colonial dynamic, re-iteration of the, 91, 97

paternalistic efforts to counteract the legacies of colonial cultural imbalances, 104

replica of the colonial project, 73Colonialist ideology, 118, 463. See also

NeoimperialismColumbia Pictures, 36, 118, 122, 146,

150, 152, 153, 359COMEFiLM (Comisión Mexicana

de Filmaciones/Mexican Film Commission), 439, 451, 468

Common market, 8, 77, 123–125, 320

Como agua para chocolate (Like Water for Chocolate; Arau), 47, 143, 144, 155, 160–164, 166, 167, 189, 385

Comodines (Cops; Nisco and Barone), 275

Comaroff, Jean and John, 13, 15, 48. See also Ethno-preneurialism

Ethnicity, Inc., 13, 48Millennial Capitalism, 15, 48

Compañía Operadora de Teatros S. A. (COTSA), 221

Compay Segundo, 95Conferencia de Autoridades

Cinematográficas de iberoamerica (Conference of iberian-American Cinematographic Authorities). See CACi

Congreso Hispanoamericano (1931), 73–74, 124

The Constant Gardener (Meirelles), 22, 255, 333, 344–350, 375

Convertibility Law, 290, 317Coproduction bodies that invest in

and support Latin American filmmaking, 74, 76, 96. See also “Aide aux cinémas du monde”

(World Cinema Support); Fonds Sud; Hubert Bals Fund; Programa ibermedia; SØRFOND;World Cinema Fund

Corazón, 153Corporate Philanthropy, benefit to art

house theaters, 232CORTO CREATIVO UDCI Short

Film Festival, 467Creative Europe (European

Commission), 183Crónica de una fuga (Chronicle of an

Escape; Caetano), 284Cuarón, Alfonso, 22, 42, 118, 230,

249, 253, 255, 385, 387–392, 397–408, 412, 419, 422, 424, 433, 434, 439–441, 444, 445, 446, 448, 471

Cuarón, Jonás, 389, 419, 434Cuban films. See also iCAiC

Castro, Fidel, 86, 87, 89, 165Festival of New Filmmakers, 89Propaganda, Castrist, 165RTV Commercial, 89Soviet influence in Cuban film, 87,

88, 92–95, 133, 246Cuban Revolution, 10, 86, 90, 91–93,

94, 130, 132, 134, 170, 196, 273, 337

Cultural homogeneity, vii, 3–4, 18–19, 28, 35, 38, 63, 69, 82, 84, 109, 119, 144, 213, 231, 245, 256, 387, 426

refuting the notion of globalization as, 144

Cultural tourism, 7, 58, 96

DDarín, Ricardo, 302, 303, 309, 311,

323, 324da Silva, Fernando Ramos, 352

532 iNDEX

Dávila, Arlene, 299, 324A Day Without a Mexican (Arau), 177de kirchner, Cristina Fernández

(2007–2015), 299, 317de la Rúa, Fernando (President of

Argentina in 2001), 277, 317del Río, Dolores, 457del Toro, Guillermo, 42, 117, 230,

253, 325, 385, 422, 433, 436, 448

de Mello, Fernando Collor (Brazil, 1990–92), 251, 329, 355, 371, 372

Dennison, Stephanie, 66, 69, 71, 76, 80, 82, 129, 130, 131, 182, 193, 330, 331, 374

Dependency theory, 9, 11, 20, 266–273, 278, 320, 321

de Sica, Vittorio, 269Desierto (Jonás Cuarón), 419, 434Deus e o Diabo na Terra do Sol (Black

God, White Devil; Rocha), 338Developmentalist economics, 12, 262,

266, 271–273, 276, 278development theory, 266, 271, 272

Diarios de motocicleta (The Motorcycle Diaries; Salles), 58, 59, 61, 63–67, 70, 75, 151, 152, 333, 388, 434

Di Cavalcanti (Rocha), 176, 335Difilme, 147Direct TV, 200Disney, 6, 30, 36, 37, 56, 58, 70, 76,

109, 114, 116, 118, 144, 149, 154, 156, 157, 158, 159, 168, 188, 189, 191, 249, 253, 283, 385. See also Buena Vista Pictures; Merchant-ivory; Miramax

Donostia-San Sebastián international Film Festival. See San Sebastián international Film Festival

Doubleday Publishing, 167Duhalde, Eduardo, 277, 290, 291, 317Duncombe, Stephen, 26, 50Dynamo, 120–122

EEFiCiNE (Article 226 of the Ley del

impuesto Sobre la Renta [income Tax Law]), 414, 441, 450. See also Article 226

Eimbcke, Fernando, 387Ejidos, 400El amante cine, 268, 276El bonaerense (Trapero), 263, 286,

290, 291–297, 298, 302, 317, 323

El callejón de los milagros (Midaq Alley, Fons), 385

El Clan (The Clan; Trapero), 290, 292El coraje del pueblo (The Night of San

Juan, The Courage of the People; Sanjinés), 206, 238

El crimen del Padre Amaro (Carrera), 413, 434, 446

El Deseo. See Almodóvar, PedroElefante blanco, 299, 300, 304, 324Elefante blanco (White Elephant;

Trapero), 27, 36, 115, 262, 263, 290, 291, 299, 300, 302, 303, 305, 310, 312, 317, 323, 324, 327

El enemigo principal (The Principle Enemy, Jatun auka; Sanjinés), 201

El espinazo del diablo (The Devil’s Backbone; del Toro), 385

El hijo de la novia (Son of the Bride; Campanella), 37, 114, 115, 152, 262, 307, 309–311, 313, 317, 326

iNDEX 533

El laberinto del fauno (Pan’s Labyrinth; del Toro), 42, 102, 385

El mismo amor, la misma lluvia (Same Love, Same Rain; Campanella), 248, 308, 325

El secreto de sus ojos (The Secret in Their Eyes; Campanella), 249, 262, 317, 326

El violín (The Violin; Vargas), 436, 449

Embrafilme (Empresa Brasileira de Filmes/Brazilian Film Company), 10, 147, 250, 329, 331, 332, 334, 350–352, 355, 371

Escalante, Amat, 387Espinosa, Julio García. See García

Espinosa, JulioEthical turn in Latin American cultural

studies, 4, 8, 17, 43–44Ethno-preneurialism, 13EU (European Union), 28, 81, 101,

124, 198, 234EU Media Mundus Program, 103Eurimages, 59, 96–99, 134Euro-altruistic funds, 103, 105European Cinema Support Fund, 59European Convention on Cinematic

Co-productions (1992), 98European Union. See EU (European

Union)Europe-Latin American

Co-Production Forum, 179. See also Rencontres de Toulouse

FFabula, 120–122Falicov, Tamara, ix, xi, 60, 70, 80,

99–102, 124, 126, 128, 130, 135, 139, 262, 269, 270, 274, 275, 289, 291, 295, 318–323, 326, 457, 475

Familia rodante (Rolling Family; Trapero), 297

Fanon, Frantz, 268, 272Fernández Retamar, Roberto, 10Ferrell, Will, 111, 137Festival de cine de Viña del Mar in

Chile. See Viña del Mar Film Festival

Festival do Rio. See The Rio de Janeiro international Film Festival

Festival internacional de Cine de Mar del Plata. See Mar del Plata Film Festival

FiAPF (Fédération internationale des Associations de Producteurs de Films [international Federation of Film Producers Associations]), 174

FiDECiNE (Fondo de inversión y Estímulos al Cine/Film investment and Stimulus Fund), 413, 436, 440, 441, 450

Figueroa, Luis, 201, 204Filme B, 333Film4, 24, 58Filmproduktion, 91, 94. See also Road

Movies FilmproduktionFilms in Progress, 179. See also

Rencontres de ToulouseFine Line Features, 152, 177First Cinema, 196Focus Features, 22, 58, 109, 117,

150, 152, 333, 349, 435. See also NBCUniversal

Fonds Sud, 76, 103FOPROCiNE (Fund for Quality Film

Production–Mexican), 413, 414, 439, 440

Foreign direct investment, 97, 108Foucault, Michel, 33, 51, 353, 354,

367, 377. See also BiopoliticsFox Baja Studios, 453, 466, 473, 477

534 iNDEX

Fox international, 117, 118. See also News Corp.

Francia, Aldo, 170, 191Fraser, Nancy, 44, 45, 53, 256, 259,

347, 376, 438, 449Fresa y chocolate (Strawberry and

Chocolate; Gutiérrez Alea), 88, 144, 155, 160, 165–168, 190

From Prada to Nada (Gracia), 111

GGarcía Bernal, Gael, 59, 99, 121, 176,

182, 215, 230, 240, 387, 388, 423, 434–437

García Canclini, Néstor, 17, 19, 49, 50, 81, 131, 188, 197, 205, 211, 215, 236, 238, 239, 240, 342, 384, 397, 442, 444

García Espinosa, Julio, 86, 92, 93, 269GATT (General Agreement on Tariffs

and Trade), 158, 188, 384Getino, Octavio, 71, 81, 102, 123,

124, 126–128, 133, 139, 140, 145, 147, 148, 185, 186, 196, 201, 206, 210, 215, 224, 235, 236, 238, 240, 242, 249, 258, 262, 268, 269, 271, 275, 298, 316, 318, 320, 321, 323, 357, 359, 377, 412

Giroux, Henry, xi, 267, 277, 319, 320, 321, 341, 343, 375, 396, 426, 437, 443, 448, 449

Global Film initiative, 106, 136Global south, 10, 20, 41, 46, 79, 103,

104, 268, 334, 346, 375, 407, 447

Globo Filmes, 24, 331, 334, 349, 356, 370, 377

Globo TV, 182, 241, 258, 363, 375–378

Golden Bear in Berlin, 330

González iñárritu, Alejandro, 42, 118, 176, 230, 231, 243, 248, 249, 253, 254, 385–388, 397, 405, 408, 409, 413, 419–424, 426, 427, 429–434, 438, 440, 441, 442, 445, 447–449

Good Films, 176Gravity (Alfonso Cuarón), 249, 385,

388, 403, 405–407, 441, 444, 445

Great Expectations (Alfonso Cuarón), 397, 440

The Green Zone, also known as the “international Zone of iraq”, 388–391, 393, 395, 405, 464

Gregorio (Espinoza), viii, 200, 203, 207

Grupo Chaski, viii, 197, 198–214, 235–239

Grupo Clarín, 21, 24, 114, 249, 283Grupo Severiano Ribeiro, 220Grupo Televisa, 46, 77, 110Grupo Ukamau, 68, 145, 185, 196,

201, 205–209, 215, 238, 267, 319

Guadalajara international Film Festival, viii, 179–180, 193

Gutiérrez Alea, Tomás, 86–88, 92, 132, 165, 190, 252, 258, 269, 279

HHabana Blues (Zambrano), 99Haciendo cine, 276, 319Hardt, Michael, 11Harry Potter and the Prisoner of

Azkaban (Alfonso Cuarón), 255, 385, 440

Harvey, David, 2, 14, 15, 35, 47, 48, 52, 267, 321, 391, 395, 443

iNDEX 535

Spaces of Global Capitalism: Towards a Theory of Uneven Geographical Development, 15, 48

Spaces of Hope, 15, 48, 267, 391, 443

Hegemony, 10, 13, 24, 25, 40, 42, 43, 46, 50, 57, 84, 94, 98, 100, 119, 120, 122, 128, 135, 137, 142, 149, 168, 172, 179, 202, 203, 237, 247, 331, 349, 383. See also Colonial cultural imbalances; Neoimperialism; Postcolonial

Hollywood’s hegemonic position, 119–120

Spanish, 100, 179US, 10, 13, 24

Hellboy (del Toro), 385Herlinghaus, Hermann, 341, 375,

421, 447Hollywood dominance, 3, 22, 25–27,

84, 142, 143, 146, 149, 204, 245, 330, 458

Hollywood majors, 57, 112, 114, 117, 118, 121, 143, 145, 151, 153, 157, 177, 181, 182, 330, 453, 458. See also Buena Vista; Disney; Sony; Fox; Universal; Warner and Paramount

Holt, Jennifer, 13, 48, 52Homogeneity, refuting the notion

of globalization as cultural. See Cultural homogeneity

Hopewell, John, 137, 192, 244, 327, 371, 379, 450

House Un-American Activities Committee (HUAC), 457

Hoyts General Cinemas, 197, 217–219, 240

Hubert Bals Fund, 74, 76, 103, 105, 136, 253, 291

Hulme-Lippert, Michelle, 61, 68, 70, 71Hussein, Saddam, 388

Iibermedia, ix, 56, 76, 80, 81, 90, 91,

94, 97–103, 105, 106, 112–114, 124, 130, 135, 168, 291, 316, 326. See also Programa ibermedia

ibero-American Film Market, 70, 99, 116, 121, 135, 180, 182

iCAiC (instituto Cubano del Arte e industria Cinematográficos/Cuban institute of Cinematographic Art and industry), 10, 86–89, 92–94, 132, 146, 170. See also RTV Commercial

Castrist propaganda, 165Castro, Fidel, 86, 89Festival of New Filmmakers, 89

iFC, 137, 152, 177, 200, 370Il Postino (The Postman; Radford),

155, 157, 160, 163, 164, 166–168, 189

iMCiNE (instituto Mexicano de Cinematografía/Mexican Film institute), 143, 185, 222, 224, 232, 233, 241, 243, 244, 250, 251, 257, 411, 414–417, 420, 441, 442, 445, 468, 477

iM Global, 121import substitution, 10–12, 123, 272

import-substitution industrializa-tion, 10, 272

iñárritu. See González iñárritu, Alejandro

iNCAA (instituto Nacional de Cine y Artes Audiovisuales/Argentine institute for Cinema and Audiovisual Arts), ix, 36, 105–106, 127, 143, 183, 233–235, 276, 287, 288, 290, 291, 316–318, 325, 327. See also Ventana Sur

incentives to participate in film pro-cess, 73, 79, 108, 112, 116, 119,

536 iNDEX

204–205, 331, 355, 373, 414, 440, 441, 451, 458, 460, 463, 466–468, 475, 476

policies that were based on offer-ing corporations incentives for investing in films, 355, 475, 476

tax rebates, 415, 440, 463. See also Tax credits

iNC (instituto Nacional de Cine/Argentine National Film institute), 10, 36, 274, 275, 315–316. See also iNCAA

iNC (instituto Nacional do Cinema/National Film institute–Brazil), 10, 355

“indie” films, 56–58, 85, 120, 151, 154, 155, 157–158, 168, 177, 185, 289, 333

Infancia clandestina (Clandestine Childhood; Ávila), 116

instituto Cubano del Arte e industria Cinematográficos (Cuban institute of Cinematographic Art and industry). See iCAiC

instituto Mexicano de Cinematografía/Mexican Film institute (iMCiNE). See iMCiNE

instituto Nacional de Cine/Argentine National Film institute (iNC). See iNC

instituto Nacional de Cine y Artes Audiovisuales/institute for Cinema and Audiovisual Arts (iNCAA). See iNCAA

instituto Nacional do Cinema/National Film institute–Brazil (iNC). See iNC

Instructions Not Included. See No se aceptan devoluciones

international Monetary Fund (iMF), 63, 67, 264, 271, 274

issuetainment films, 57, 61, 98, 151. See also Social-issue films

italian neorealism, 25, 92, 206, 269, 342. See also Neorealism

JJameson, Fredric, vii, 11, 261, 313, 325Johnny cien pesos (Johnny One Hundred

Pesos; Graef Marino), viii, 171Johnson, Randal, 65, 78, 129, 146,

147, 186, 241, 251, 258, 330, 331, 337, 351, 352, 355–357, 362, 374–378

Juliana (Espinoza and Legaspi), viii, 200

Justiça Global, a human rights NGO, 369

Kkirchner, Néstor (Argentine president

2003–07), 277, 299, 317Kiss of the Spider Woman (Babenco), 351klein, Naomi, 61, 70, 278, 321,

388–389, 391, 397, 442, 443

LLa ciudad y los perros (The City and the

Dogs; Lombardi), 199La dictadura perfecta (The Perfect

Dictatorship; Estrada), 230, 243La hora de los hornos (The Hour of the

Furnaces; Solanas and Getino), 78, 145, 206, 268

La ley de Herodes (Herod’s Law; Estrada), viii

La mala educación (Bad Education; Almodóvar), 58, 434–435

Lantica Media, formerly indomina, 112Larraín, Pablo, 176, 434Latido Films, 179

iNDEX 537

Legaspi, Alejandro, 198, 201, 206, 236, 238, 239

Leonera (Lion’s Den; Trapero), 115, 262, 298, 299

Ley Cinematográfica, 413, 439Lezama Lima, José, 167Lima, Peru, viii, 28, 197, 200, 202,

210, 236, 239Linzor Capital, 218, 240Lionsgate, 1, 24, 46, 77, 110, 137,

150, 176Lista de espera (The Waiting List;

Tabío), 88, 91A Little Princess (Alfonso Cuarón),

397, 439Local characteristics and how mar-

keted, 8–9, 14, 18–19, 21, 23, 35–36, 46, 57, 112–113, 115, 118–120, 143, 168, 172–173, 247, 253, 255, 306, 436

Local-language productions (LLPs), 117–119, 136, 138, 246, 332, 374, 377, 462

Lombardi, Francisco, 199, 205, 207, 212, 238

López, Ana, 131, 142, 146, 185, 186, 195, 235, 383, 441

Lost decade, 63Love Walked In (Campanella), 308Lowes theaters, 58Lubezki, Emmanuel, 249, 387Lucía (Solás), 87Lumiere, 153, 187Luna de Avellaneda (Avellaneda’s

Moon; Campanella), 101, 307, 310, 311, 313, 315

Luna, Diego, 121, 215, 230, 240, 435

MMacLaird, Misha, 21, 27, 49, 50, 221,

222, 225, 241, 242, 251, 258, 414, 415, 446, 452, 465, 466, 474, 477

Major independent Studio, 154, 187, 190

Mala (Evil Woman; Caetano), 41, 285, 289

Manuela (Solás), 170–171Marché du Film, 143, 172, 173, 176,

183–184, 192. See also Cannes Film Festival

Mar del Plata Film Festival (Festival internacional de Cine de Mar del Plata), 174, 192, 244, 276

María Candelaria (Xochimilco; Fernández), 175

Mariátegui, José Carlos, 201Martel, Lucrecia, 263, 283, 284Martí, José, 124, 167Martín-Barbero, Jesús, 29, 50, 202,

237, 342Maya Entertainment Group, 177Me casé con un boludo (Taratuto), 315Media Mundus Program. See EU

Media Mundus ProgramMedia Rights Capital, 423. See also

BabelMeirelles, Fernando, 22, 27, 118,

255, 333, 335, 336, 338–340, 343–350, 355, 362, 372, 375, 376, 435

Melorealism, 63–64. See also También la lluvia and Diarios de motocicleta

Memorias del subdesarrollo (Memories of Underdevelopment; Gutiérrez Alea), 87, 279

Menem, Carlos (Argentine president, 1989–99), 251, 261, 262, 270, 273, 274–276, 292, 299, 316, 326

Mercado Común del Sur/Common Market of the South (MERCOSUR). See MERCOSUR

Merchant ivory, 157

538 iNDEX

MERCOSUR (Mercado Común del Sur/Common Market of the South), ix, 8, 77, 123–128, 139, 140, 182, 183, 198, 231, 232, 234–235, 242, 244

Cultural integration Protocol, 125Mercosur Film Market, 128, 182

Metanoia Films, 466Metegol (Underdogs; Campanella),

220, 314, 325MGM, 122Middents, Jeffrey, xi, 34, 52Mignolo, Walter, 14, 48Millennial globalization, 2–5, 14, 42,

46, 47, 55, 57, 58, 65, 69, 109, 113, 115, 143, 182, 198, 223, 252

Miller, Toby, x, 22, 29, 48, 52, 74, 75, 120, 128, 142, 147, 154, 185, 186, 187, 452, 453, 454, 457, 458, 460–466, 472–473, 474, 475, 476, 477, 478

Global Hollywood 2, 48, 49, 50, 52, 128, 185, 462, 474, 475, 476, 477, 478

Miramax, 142–144, 151–161, 163–168, 177, 182, 187, 188, 190, 191

Miravista, 116, 117Mirrlees, Tanner, x, 16, 17, 20, 24,

29, 31, 37, 49–51, 424, 447, 455, 474

Global Entertainment Media: Between Cultural Imperialism and Cultural Globalization, 49, 50, 51, 447, 474

Miss Universo en el Perú (Miss Universe in Peru; Grupo Chaski), 200, 205

Monroe Doctrine, 158, 188The Montalbán Theater, 232, 244Motion Picture Association of America

(MPAA). See MPAA

Motion Picture Export Association of America (MPEAA), 142

“Mozart in the Jungle” (Coppola, Schwartzman, Weitz), 435

MPA-AL (Latin American branch of the Motion Picture Association), 150–151

MPAA (Motion Picture Association of America), 84, 120, 131, 150, 223, 240

MPA (Motion Picture Association), 149–150, 151, 216, 356, 375

Mugica, Padre Carlos, 300, 301, 304, 306, 324

Multiplex or megaplex, 57, 184, 197, 198, 210, 211, 214–217, 220, 223, 225–229, 231, 232, 234, 235, 240

Mundial, 121Mundo grúa (Crane World; Trapero),

105, 114–115, 290, 291, 296, 316

Murdoch, Rupert, 122, 453, 455

NNAFTA (North American Free Trade

Agreement), 48, 111, 113, 124, 126, 158, 160, 161, 188, 221, 355, 384, 385, 390–394, 396, 398, 409, 410, 411, 415, 416, 425, 434, 436, 439, 443, 446, 449, 451, 452, 476

Nagib, Lúcia, 329, 373, 374, 380Narcos (Padilha), 181, 371, 379Nava, Gregory, 110Navarro, Ramón, 457NBCUniversal, 333, 349Negri, Antonio, 11Neoimperialism, 57, 60, 66, 84, 91,

101. See also Altruism, problems with; Colonial

iNDEX 539

cultural imbalances; Hegemony; Paternalism; Postcolonial; Subalternity

global imbalance of power, 19, 22, 60, 107, 148

Neoliberal aesthetic, 154–155, 158–166, 182

Neoliberalism, 5–8, 10–13, 15, 19, 31, 33, 35, 39, 42, 45, 46, 55, 60, 62, 67, 126, 139, 144, 174, 178, 184, 197, 223, 235, 247, 248, 251, 254, 256, 264–267, 371–273, 276, 277, 279, 281, 285, 293, 294, 296, 304, 307, 310, 311, 313, 318, 320–322, 341–344, 349, 364, 387–397, 399, 402, 404, 412, 420, 421, 424, 426, 430, 431, 433, 437, 438, 466

neoliberal agenda, 159–160, 411neoliberal globalization, 4, 5, 7, 16,

20, 22, 40, 45, 47, 111, 123, 143, 329, 430, 437, 439, 452, 455, 456, 468, 469

Neoliberal market, 3, 7, 8, 14, 19, 25, 55, 56, 58, 76, 113, 154, 172, 174, 229, 248, 261, 343, 437, 463, 468

characteristics of the (privatization, deregulation, media conver-gence, and commercialization), 113

Neorealism, 25, 92, 269, 270, 280, 335. See also italian neorealism

Neruda (Larraín), 176, 435Neruda, Pablo, 160, 163–165, 167,

435Netflix, 60, 168, 180, 181, 191, 193,

371, 379Network Distributing, 176New Argentine Cinema (NAC), 105,

114, 262, 263, 264, 269, 270,

273, 274, 283, 284, 286, 318, 319, 320, 321, 322, 325, 326, 330, 362

New Cinema Law of 1994 (Argentine), 262

New international Division of Cultural Labor (NiCL), 452, 460, 461, 463, 464, 472

New international Division of Labor (NiDL), 452, 460, 463

New Latin American Cinema (NLAC), viii, 9, 20, 21, 34, 62–64, 68, 77, 78, 81, 85, 86, 90, 123, 145, 146, 149, 153, 170, 171, 176, 181, 182, 184, 196, 200, 201, 206, 207, 209, 214, 225, 249, 253–254, 256, 262, 263, 265–269, 271, 280, 284, 286, 289, 298, 307, 319, 336, 337, 411, 412. See also Third Cinema

New Line Cinema, 110News Corp, 122. See also FoxNew Yorker Films, 143Nichols, Bill, 143, 172, 185, 191Nike, 232NLAC. See New Latin American

Cinema (NLAC)No (Larraín), 434North American Free Trade

Agreement (NAFTA). See NAFTANo se aceptan devoluciones (Instructions

Not Included; Derbez), 1, 24, 111, 396

Notícias de uma Guerra Particular (News from a Personal War; Lund and Moreira Salles), 362

Nouvelle vague, 25, 92, 337, 338, 342, 446. See also Cinema vérité

Nueve reinas (Nine Queens; Bielinsky), 114, 283

540 iNDEX

OO Ano em Que Meus Pais Saíram de

Férias (The Year My Parents Went on Vacation; Hamburger), 116

Ônibus 174 (Bus 174; Padilha), 334, 362–366, 370

Ortiz, Fernando, 10Oscars, 249, 442, 453. See also

Academy Awards

PPadilha, José, 177, 254, 334, 362–

366, 369–371, 372, 373, 378, 379

Page, Joanna, 217, 240, 263, 264, 266, 269, 270, 276, 277, 278, 279, 282, 283, 284, 286, 293, 295, 318, 319, 320, 321, 323

Pantelion Films, 1, 24, 46, 76, 110–113, 129, 137

Paramount Pictures, 6, 47, 149, 423Paramount Vantage, 423. See also

BabelParticipant Media, 120–121, 122,

138, 176, 246, 407–408, 445TakePart, 120

Participant PanAmerica, 121Patagonik, ix, 37, 56, 76, 114–116,

249, 283, 291, 318. See also Disney

Paternalism, 107. See also Neoimperialism

Pereira dos Santos, Nelson, 206, 233Perón, Juan, 276, 299, 300, 304Petrobras, Brazilian petroleum com-

pany, 359, 370–371Piffl Medien, 176Pinewood Dominican Republic

Studios, 112Piñeyro, Marcelo, 283Pinochet, Augusto, 121, 164,

170–171, 190, 434

Pixote (Babenco), 334, 351–355, 360–362, 376, 377

Pizza, birra, faso (Pizza, Beer, and Cigarettes; Caetano and Stagnaro), 105, 263, 264–267, 270, 274, 277, 280–283, 285, 316, 319, 321

Pol-ka production company, 283, 291, 318

Pornochanchada, 331, 333Porno miseria, 66, 302. See also

Poverty porn; Revolutionary pornPortillo, José López, 410Postcolonial, 2, 3, 4, 9, 10, 11, 13,

15, 17, 20–22, 24, 30, 34, 37, 39, 41, 49, 52, 65, 77, 85, 110, 132, 179, 247, 260, 268, 272, 337, 341, 342. See also Benevolent altruism; Colonial cultural imbalances; Hegemony; Neoimperialism

center/periphery relationships, holdovers or postcolonial analy-sis of, 271

postcolonial center-periphery model, 37, 73, 100, 103, 169, 271, 272, 342

Poverty porn, 62, 105. See also Porno miseria; Revolutionary porn

Prebisch, Raúl, 271–272, 320Primer Festival de Cine y Encuentro

de Cineastas Latinoamericanos, 170

Producciones Amaranta, 91Programa ibermedia. See ibermediaProtection of films, 5, 9–10, 12, 23,

43, 66, 96, 106–107, 108, 147, 148, 150, 251, 262, 272–273, 275, 276, 287, 337, 342, 384, 410, 414, 440, 457, 461, 462, 463, 473

Puenzo, Luis, 106, 271, 283Puenzo, Lucía, 105, 283

iNDEX 541

Q¿Quién es Dayani Cristal? (Who is

Dayani Cristal?; Silver), 435Quota systems, 5, 23, 40–41, 148,

195, 226, 272, 273, 274, 291, 317, 351, 384, 411, 416, 419, 451

RRama, Ángel, 10Rapado (Cropped Head; Rejtman),

261, 330Reagan, Ronald, 158Reagan-Bush era, 159RECAM (La Reunión Especializada

de Autoridades Cinematográficas y Audiovisuales delMercosur [Special Meeting of Specialized Cinematic and Audiovisual Authorities of Mercosur]), 125, 126, 139, 234

Red de Salas chain of art house theat-ers, 128, 198, 231, 232, 234, 244

Redford, Robert, 58, 177, 466Wildwood Enterprises, 58

Regal Entertainment, 110Rêgo and Rocha, eds., New Trends in

Argentine and Brazilian Cinema, 8, 47, 288, 322, 323, 332, 374, 377

Rejtman, Martin, ix, 261, 263, 283, 284, 330

Relatos salvajes (Wild Tales; Szifrón), 176, 220, 418

Rencontres de Toulouse, 106. See also Europe-Latin American Co-Production Forum; Films in Progress

Renier, Jérémie, 302Retomada do cinema brasileiro

[rebirth of Brazilian cinema], 329, 330, 331, 333, 358, 362, 377

The Revenant (González iñárritu), 433, 441

Revolutionary porn, 58. See also Porno miseria; Poverty porn

Reygadas, Carlos, 106, 230, 387Riocin, 219The Rio de Janeiro international Film

Festival (Festival do Rio), 180Rivera, Alex, ix, 177–178, 192, 232,

243, 244, 456, 469, 471, 477RkO, 457Road Movies Filmproduktion, 91, 94.

See also FilmproduktionRobertson, Roland, 3, 4, 18, 34, 39,

47, 49, 52Robinson, William, x, 12, 14, 21, 32,

48, 49, 51, 310, 325, 344, 375, 389

RoboCop (Padilha), 371Rocha, Carolina, 8, 47, 285–288, 290,

307, 322, 323, 325, 374, 377Rocha, Glauber, 146, 147, 176, 186,

206, 334, 335, 336–338, 342, 343, 374, 375

Rodriguez, Robert, 177Roosevelt Corollary, 158, 188Ross, Miriam, 101, 105, 106, 135,

136, 149, 153, 154, 186, 187, 210, 214, 239, 240

Rothlisberger, Leisa, 413–415, 425, 446, 447, 449

Rotterdam Film Festival, 103, 105, 136, 264. See also Hubert Bals Fund

RTC (Cuban television), 88RTV Commercial, 89Rudo y cursi (Carlos Cuarón), 118,

138, 433, 435Runaway Productions, ix, 46, 116,

451–478Creative Runaway, 457, 460Economic Runaway, 455, 458,

474–476, 478

542 iNDEX

SSala escura, 233Salinas de Gortari, Carlos (Mexican

president, 1988–94), 251, 384–385, 413, 439

Salles, Walter, 61, 65, 70, 330, 333, 372, 434

Samuel Goldwyn Films, 110Sánchez Prado, ignacio, ix, 7–8, 47,

162, 189, 197, 221–223, 236, 241, 242, 247, 257, 310, 325, 386, 387, 399, 407, 412, 415, 420, 421, 422, 442, 444, 445, 446, 447

Screening Neoliberalism: Transforming Mexican Cinema 1988–2012, 7, 47, 189, 236, 241, 242, 257, 325, 386, 442, 444, 445, 446, 447

Sanjinés, Jorge, 68, 145, 148, 149, 185, 186, 201, 206, 209, 238, 239

San Sebastián international Film Festival, viii, 106, 144, 178–179, 192, 193, 467

Santa Fe documentary school, 199. See also Birri, Fernando

Santaolalla, Gustavo, 428Sassen, Saskia, 16, 154, 394, 395,

397, 443Scholte, Jan Aart, 18, 39, 49Schroeder Rodríguez, Paul A., 62, 63,

64, 70, 71, 182, 193, 252, 258, 326

Screen Actors Guild (SAG), 461Second cinema, 7, 196Sendero Luminoso, 203, 237Sexo, pudor, y lágrimas (Sex, Shame and

Tears; Serrano), 223–224Shaw, Deborah, xi, 421, 424, 428,

429, 447, 448Shaw, Lisa, 241, 258, 330–331, 374,

375

Shell companies, 36, 75The Shock Doctrine (Jonás Cuarón),

321, 388, 389, 397, 442, 443Sin nombre (Fukunaga), 435Sleep Dealer (Rivera), ix, 177, 192,

232, 243, 244, 456, 469–473, 477

Slim, Carlos, 15, 420Smith, kevin, 177Smith, Paul Julian, 166, 190, 192,

420, 447Social-issue films, 7, 52, 151, 248,

263, 297, 333, 346, 351, 357, 359, 371, 435. See also issuetainment films

Solanas, Fernando, 71, 78, 129, 131, 145, 185, 196, 201, 206, 210, 235, 236, 262, 268–271, 298, 320, 323, 412. See also NLAC (New Latin American Cinema); Third Cinema

Solás, Humberto, 87, 93, 134, 170Solot, Steve, 21, 49, 75, 129, 220,

241, 257, 331, 374Sony, 24, 30, 36, 108, 118–119, 120,

121–122, 136, 138, 149, 150, 152–153, 157, 179, 193, 246, 332, 356, 359, 374, 377

Columbia Pictures do Brasil, 118, 146, 359

Sony do Brasil, 118, 119, 356Sony Pictures Classics, 152, 157

SØRFOND, 76, 103, 104, 106, 136Soviet dialectical montage, 25, 342Soy Cuba (I Am Cuba; kalatozov), 92Stagnaro, Bruno, 263, 265, 316Stock, Ann Marie, 87–89, 132, 133,

189Suar, Adrián, 283, 315Subalternity, 6, 26, 237, 280. See also

Benevolent altruism; Colonial

iNDEX 543

cultural imbalances; Hegemony; Neoimperialism; Postcolonial

Subiela, Eliseo, 268, 271, 283Sueños lejanos (Distant Dreams;

Legaspi), 210, 237Summit of the Americas (1996), 99Sundance Film Festival, 144, 173,

174, 177–178, 180, 191, 192, 232

Alfred P. Sloan Prize, 177Waldo Salt Screenwriting Award,

177Sunstar, 219

TTabío, Juan Carlos, 88, 91, 165, 190TakePart, 120. See also Participant

MediaTambién la lluvia (Even the Rain;

Bollaín), 59–61, 63, 64–68, 70, 71, 82, 98, 248, 434

Tarantino, Quentin, 177Tax credits, 355, 372, 458, 463, 464.

See also incentives to participate in film process

Telefónica, 37, 113–114, 116, 138, 249

Telefónica Media, 113, 114TeleSur, 125, 139, 182. See also

ALBA; BlimTelevisa, 12, 13, 21, 24, 46, 50, 77,

110, 122, 137, 181, 193, 198, 230, 247, 249, 257, 383, 411, 457

Terra em Transe (Entranced Earth; Rocha), 176

Third Cinema, 7, 9–10, 20, 49, 71, 77, 86, 90, 120, 144–146, 185, 196, 210, 235, 236, 238, 267–268, 271–272, 273, 275, 281, 298, 306, 307, 320, 323,

334, 411, 412, 422. See also New Latin American Cinema (NLAC)

“Three amigos” directors, 385, 387, 408, 433, 436, 448

Tierney, Dolores, xi, 421, 447Tintos, Juan, 466Tire dié (Throw Ten or Toss Me a Dime;

Birri), 268Titanic (Cameron), ix, 46, 453–455,

457, 459, 462, 464–466, 476Todo el poder (Sariñana), viii, 248Tomlinson, John, 4, 19, 47Toronto Film Festival, 169, 179Tourism, 7, 58, 96, 134, 171, 466Tropa de Elite (Elite Squad; Padilha),

177, 254, 332, 334, 362, 365–369, 370, 371, 373, 378

Tropa de Elite 2: O Inimigo Agora é Outro (Elite Squad: The Enemy Within; Padilha), 177, 332, 334, 359, 365, 368, 369, 370, 371, 373, 419

Trapero, Pablo, 27, 36, 105, 114–115, 262, 263, 283, 284, 286, 289–307, 310, 312, 315–317, 322, 323, 324

Matanza, production company of Trapero, 291

Trump, Donald, 350, 376, 437TVE, 60, 75, 81, 106, 113, 291

change following death of Spanish dictator Francisco Franco, 81

UUDCi (Universdad de las Californias

internacional), 467, 477Ukamau (And So It Is; Sanjinés), 206Ukamau. See Grupo UkamauUk film council, 333UNESCO (United Nations

Educational, Scientific and

544 iNDEX

Cultural Organization), 23, 24, 49, 79, 80, 84, 129, 149, 186, 205, 216, 217, 225, 226, 242, 287, 288, 358

United Nations (UN), 227, 347, 390, 391

Universal Pictures, 22, 58, 109, 110, 118, 122, 149, 150, 333, 334, 433, 435. See also Focus Features

Universidade Federal Fluminese (UFF), 233, 244

Un oso rojo (Red Bear; Caetano), 269, 284

Urraca, Beatriz, 297, 298, 302–303, 323, 324

VVenegas, Cristina, 36, 52, 87, 88, 133Ventana Sur project, ix, 128, 143,

144, 183, 184, 193, 327. See also Cannes Film Festival; iNCAA

Vera Cruz Studios, 146, 329Vía Digital, 113Videocine, 153, 419Vídeo nas Aldeias project, 182Villazana, Libia, 73, 75, 100–101,

114, 128, 129, 135, 137Viña del Mar Film Club, 169, 171Viña del Mar Film Festival (Festival de

cine de Viña del Mar in Chile), viii, 34, 144, 169, 170, 171, 179, 191

WWakolda (The German Doctor;

Puenzo), 105Walsh, Rodolfo, 276Wanda Group, 23, 50, 122Warner Bros., 108, 117, 118, 120,

149, 150, 192, 332Warner Village, 217

Wayne, Mike, 20, 41–42, 49, 52, 206, 238

Weinstein Company, 150, 154–157, 168, 191, 370

Whitewashing political films by com-mercialization, 6, 57, 62, 314

Wild Bunch Distribution, 176Wildwood Enterprises, 58. See also

Redford, RobertWTO (World Trade Organization),

23, 79, 125World Bank, 59, 63, 271World Cinema Fund, 103, 104, 136World Cinema Support. See Aide aux

cinémas du mondeWorld Trade Organization (WTO). See

WTOWyatt, Justin, 155, 187, 190, 356, 377

YYawar Mallku (Blood of the Condor;

Sanjinés), 145, 206, 267Y tu mamá también (Alfonso Cuarón),

26, 27, 152, 385, 387, 388, 389, 392, 397–400, 402, 408, 412, 434, 435, 440, 444, 445, 446

Yúdice, George, xi, 19, 26, 39, 41, 49, 50, 52, 188, 236, 442, 444

ZZaï cultural center, 230, 231, 243Zapatistas, 396Zazen Productions, 370, 371, 379ZDF (German television channel), 205Zeta Films, 408, 420, 423. See also

González iñárritu, Alejandro; Babel

Zinn, Howard, 59Žižek, Slavoj, 397–398, 401, 444