This is the first English-language book to provide a critical panorama of the last twenty years of Peruvian cinema. Through analysis of the nation’s diverse modes of filmmaking, it offers an insight into how global debates around cinema are played out on and off screen in a distinctive national context. The insertion of post-conflict Peru within neoliberalism resulted in widespread commodification of all areas of life, significantly impacting cinema culture. Consequently, the principal structural concept of this collection is the interplay between film production and market forces, an interaction which makes dynamism and instability the defining features of 21st-century Peruvian cinema.

A study of Peruvian Cinema and the role of criticism in forming a national cinematic vision

In this engaging book, Maria Chiara D’Argenio delineates a turn in recent Latin American filmmaking towards inter/cultural feature films made by non-Indigenous directors. Aimed at a global audience, but played by Indigenous actors, these films tell Indigenous stories in Indigenous languages. Over the last two decades, a growing number of Latin American films have screened the Indigenous experience by combining the local and the global in a way that has proved appealing at international film festivals. Locating the films in composite webs of past and present traditions and forms, Indigenous Plots in Twenty-First Century Latin American Cinema examines the critical reflection offered by recent inter/cultural films and the socio-cultural impact, if any, they might have had. Through the analysis of a selection of films produced between 2006 and 2019, the book gauges the extent to which non-Indigenous directors who set out to engage critically with colonial legacies and imaginaries, as well as with contemporary Indigenous marginalization, succeed in addressing these concerns by ‘unthinking’ and ‘undoing’ Western centrism and coloniality. Drawing on a wide range of disciplines and considering the entire cinematic process – from pre-production to the films’ production, circulation and critical reception – Indigenous Plots in Twenty-First Century Latin American Cinema makes the case for a holistic cultural criticism to explain the cultural and political work cinema does in specific historical contexts.

This volume explores the character of the domestic worker in twenty-first century Latin American cinema and analyzes how recent filmic representations of the housemaid question the marginalization of domestic servants, in particular women, by making them the center of their narratives, their families, and society. The essays in this book posit the female domestic worker as an emergent subjectivity, a complex character who problematizes and contests the hierarchical power structures within the family dynamics and new socioeconomic orders found in contemporary Latin America. Readers will find a variety of representations across the continent as well as transnational commonalities of the cinematic figure and role of the housemaid, including the negotiation of a multilayered politics of affection in the framework of prevalent paternalism, and the complex and contradictory dynamic between private and public spaces, where domestic paid labor occupies a central role in maintaining gender, class, and ethnic inequalities.

How do you sell British humour to a French audience? Could piracy actually be good for the film business? Why are The Hobbit's revolutionary technologies not mentioned in some adverts? Exploring these questions and many more, Film Marketing into the Twenty-First Century draws on insights from renowned film academics and leading industry professionals to chart the evolution of modern film marketing. The first part of the book focuses on geographical considerations, showing how marketers have to adapt their strategies locally as films travel across borders. The second covers new marketing possibilities offered by the Internet, as Vine, Facebook and other participative websites open new venues for big distributors and independents alike. Straddling practical and theoretical concerns and including case studies that take us from Nollywood to Peru, this book provides an accessible introduction to the key issues at stake for film marketing in a global era.

Independent Filmmaking around the Globe calls attention to the significant changes taking place in independent cinema today, as new production and distribution technology and shifting social dynamics make it more and more possible for independent filmmakers to produce films outside both the mainstream global film industry and their own national film systems. Identifying and analyzing the many complex forces that shape the production and distribution of feature films, the authors detail how independent filmmakers create work that reflects independent voices and challenges political, economic, and cultural constraints. With chapters on the under-explored cinemas of Greece, Turkey, Iraq, China, Malaysia, Peru, and West Africa, as well as traditional production centres such as the United States, the United Kingdom, Canada, and Australia, Independent Filmmaking around the Globe explores how contemporary independent filmmaking increasingly defines the global cinema of our time.

Intended for scholars, students, and researchers of film and Latin American studies, Chilean Cinema in the Twenty-First-Century World evaluates an active and emergent film movement that has yet to receive sufficient attention in global cinema studies.