Stereotypes of Latin America -- Pre-Colombian cultures -- The great encounter - The enigma of Christopher Columbus -- The Spanish conquest of Latin America -- Imperialism and colonialism -- The African atlantic slave trade in Latin America -- Revolutionary Latin America -- Religion in Latin America -- Women in Latin America -- Political instability and relations with the United States -- Poverty, terrorism, and violence in Latin America -- Latino culture in the United States

Latin American History Goes to the Movies combines the study of the rich history of Latin America with the medium of feature film. In this concise and accessible book, author Stewart Brewer helps readers understand key themes and issues in Latin American history, from pre-Columbian times to the present, by examining how they have been treated in a variety of films. Moving chronologically across Latin American history, and pairing historical background with explorations of selected films, the chapters cover vital topics including the Spanish conquest and colonialism, revolution, religion, women, U.S.-Latin American relations, and more. Through films such as City of God, Frida, and Che, Brewer shows how history is retold, and what that retelling means for public memory. From Apocalypto to Selena, and from Christopher Columbus to the slave trade, Latin American History Goes to the Movies sets the record straight between the realities of history and cinematic depictions, and gives readers a solid foundation for using film to understand the complexities of Latin America’s rich and vibrant history.

In the 1920s, Los Angeles enjoyed a buoyant homegrown Spanish-language culture comprised of local and itinerant stock companies that produced zarzuelas, stage plays, and variety acts. After the introduction of sound films, Spanish-language cinema thrived in the city's downtown theatres, screening throughout the 1930s, 1940s, and 1950s in venues such as the Teatro Eléctrico, the California, the Roosevelt, the Mason, the Azteca, the Million Dollar, and the Mayan Theater, among others. With the emergence and growth of Mexican and Argentine sound cinema in the early to mid-1930s, downtown Los Angeles quickly became the undisputed capital of Latin American cinema culture in the United States. Meanwhile, the advent of talkies resulted in the Hollywood studios hiring local and international talent from Latin America and Spain for the production of films in Spanish. Parallel with these productions, a series of Spanish-language films were financed by independent producers. As a result, Los Angeles can be viewed as the most important hub in the United States for the production, distribution, and exhibition of films made in Spanish for Latin American audiences. In April 2017, the International Federation of Film Archives organized a symposium, "Hollywood Goes Latin: Spanish-Language Cinema in Los Angeles," which brought together scholars and film archivists from all of Latin America, Spain, and the United States to discuss the many issues surrounding the creation of Hollywood's "Cine Hispano." The papers presented in this two-day symposium are collected and revised here. This is a joint publication of FIAF and UCLA Film & Television Archive.

Combining history with discussions of dramatic cinema, Based on a True Story: Latin American History at the Movies examines how film has portrayed Latin America from the late fifteenth century to the present. The book opens with an introduction on the visual presentation of the past in the movies, while the rest of the book consists of essays that explore the best feature films on Latin America from the professional historian's perspective.

"For the first time, a distinguished American breaks the "code of silence" as a male incest survivor. In Come Here, Dr. Richard Berendzen courageously speaks out on his childhood sexual abuse, the effects of which, decades later, returned to drive him over the edge." "Richard Berendzen was only eight years old the afternoon his mother called, "Come here," from her bedroom. That innocuous, two-syllable summons marked the beginning of a waking nightmare. During the next three years, Richard became the passion and prey of a woman whose violent mental instability took the form of repeated incestuous assaults on a child who was powerless to resist. Still, when the abuse stopped, Richard found the strength to put it all behind him and get on with his life - or so he thought...." "Not until Dr. Berendzen was in his early fifties did the secret he had so long repressed return to haunt him. An eminent astronomer and academician who had transformed American University in Washington, D.C., from a party school into a first-rate university, he was a devoted husband and family man whose only notable "vice" was workaholism. When his father died and Berendzen returned to his parents' East Dallas house, to the very room where he had been abused, something snapped. The shattering events that ensued are recounted with remarkable candor in Come Here." "Overwhelmed by a flood of forbidden memories and unanswered questions, Dr. Berendzen began making bizarrely suggestive phone calls, which were traced to his office. Forced to resign his post, he entered the renowned Johns Hopkins Hospital, where he was diagnosed as suffering from post-traumatic stress disorder, and commenced a slow and tortuous recovery process." "Writing with collaborator Laura Palmer, co-author of Elizabeth Glaser's In the Absence of Angels, Richard Berendzen has given us the beautifully composed, personal story of a man of science whom only the restorative power of faith could make whole. For Come Here is, ultimately, a chronicle of hope and renewal, and of the human spirit's boundless ability to heal itself."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

This engaging book explores some of the most significant films to emerge from Latin America since 2000, an extraordinary period of international recognition for the region's cinema. Each chapter assesses an individual film, with some contributors considering the reasons for the unprecedented commercial and critical successes of movies such as City of God, The Motorcycle Diaries, Y tu mama tambien, and Nine Queens, while others examine why equally important films failed to break out on the international circuit. Written by leading specialists, the chapters not only offer textual analysis, but also trace the films' social context and production conditions, as well as critical national and transnational issues. Their well-rounded analyses provide a rich picture of the state of contemporary filmmaking in a range of Latin American countries. Nuanced and thought-provoking, the readings in this book will provide invaluable interpretations for students and scholars of Latin American film. Contributions by: Sarah Barrow, Nuala Finnegan, David William Foster, Miraim Haddu, Geoffrey Kantaris, Deborah Shaw, Lisa Shaw, Rob Stone, Else R. P. Vieira, and Claire Williams.

This book charts a comparative history of Latin America’s national cinemas through ten chapters that cover every major cinematic period in the region: silent cinema, studio cinema, neorealism and art cinema, the New Latin American Cinema, and contemporary cinema. Schroeder Rodríguez weaves close readings of approximately fifty paradigmatic films into a lucid narrative history that is rigorous in its scholarship and framed by a compelling theorization of the multiple discourses of modernity. The result is an essential guide that promises to transform our understanding of the region’s cultural history in the last hundred years by highlighting how key players such as the church and the state have affected cinema’s unique ability to help shape public discourse and construct modern identities in a region marked by ongoing struggles for social justice and liberation.