Students and scholars of film and media studies will find great value in this collection.

Raúl Ruiz, while considered one of the world's most significant filmmakers by several film critics, is yet to be the subject of any thorough engagement with his work in English. This volume sets out on this task by mapping, as fully as possible, Ruiz's cinematic trajectory across more than five decades of prolific work, up to his death in 2011; ranging from his earliest work in Chile to high-budget 'European' costume dramas culminating in Mysteries of Lisbon (2010). It does so by treating Ruiz's work—with its surrealist, magic realist, popular cultural, and neo-Baroque sources—as a type of 'impossible' cinematic cartography, mapping real, imaginary, and virtual spaces, and crossing between different cultural contexts, aesthetic strategies, and technical media. It argues that across the different phases of Ruiz's work identified, there are key continuities such as the invention of singular cinematic images and the interrogation of their possible and impossible combinations.

Contributors explore these films' transnational circuits of production, distribution, and exhibition, as well as how the films were made and received, thereby inviting us to reexamine the roots of what New German Cinema was and imagine what it might yet become.

For all its familiarity as a widely used term, "e;Kafkaesque cinema"e; remains an often-baffling concept that is poorly understood by film scholars. Taking a cue from Jorge Luis Borges' point that Kafka has modified our conception of past and future artists, and Andre Bazin's suggestion that literary concepts and styles can exceed authors and "e;novels from which they emanate"e;, this monograph proposes a comprehensive examination of Kafkaesque Cinema in order to understand it as part of a transnational cinematic tradition rooted in Kafka's critique of modernity, which, however, extends beyond the Bohemian author's work and his historical experiences. Drawing on a range of disciplines in the Humanities including film, literary, and theatre studies, critical theory, and history, Kafkaesque Cinema will be the first full-length study of the subject and will be a useful resource for scholars and students interested in film theory, World Cinema, World Literature, and politics and representation.

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.

This book covers the heterogeneity of Chilean literary production from the times of the Spanish conquest to the present. It shifts critical focus from national identity and issues to a more multifaceted transnational, hemispheric, and global approach. Its emphasis is on the paradigm transition from the purportedly homogeneous to the heterogeneous.

Throughout the past century, traumatic experiences have been re-enacted frequently by evolving media and art forms. Now there is a significant body of theory across academic disciplines focused on the representation of cataclysmic European and US historical events. However, less critical attention has been devoted to the representation of havoc outside the West, even though depictions of Third-World disasters saturate contemporary media and art around the globe. This book considers traumatic histories internationally in a broad range of creative arts and visual media representations. Deploying diverse applications of the conventional theories of trauma, it examines the theoretical limitations at the same time as considering alternative methodologies. Interrogating Trauma is concerned with the examination of the concept of trauma, and how it is (often unproblematically) used to theorise the cultural representation of disaster and atrocity. It offers a theorisation of trauma, in order to reappraise the relationship between cultural representation and the socio-historical processes which are marked by violence, conflict and suffering. This book was published as a special issue of Continuum: Journal of Media and Cultural Studies.