Description
Book SynopsisFilm production in Latin America is as old as cinema itself, but local film industries have always been in a triangulated relationship with Hollywood and European cinema. This book situates Latin American film industries within the global circulation of film production, exhibition and distribution, charting the changes that the industries have undergone from the sound era to the present day. Focusing in particular on Argentina, Brazil and Mexico, Tamara Falicov examines commonalities among Latin American film industries, such as the challenges of procuring funding, competition from Hollywood, state funding battles, and the fickle nature of audiences, as well as censorship issues, competition from television, and the transnational nature of Latin American film. She addresses production, exhibition, and distribution contexts and financing and co-production with Europe and the United States, as well as the role of film festivals in funding and circulating films both within and outside of Latin America. Newer trends such as the revival of protectionist measures like the screen quota are framed in contrast to the U.S.'s push for trade policy liberalization and issues of universal concern such as film piracy, and new technologies and the role of television in helping and hindering Latin American cinema.
Trade Review[T]here is no denying that Falicov has done her research. The result is an ambitious and timely elucidation of contemporary Latin American cinema as a complex and highly varied set of interconnected national industries * The Journal of Cinema and Media Studies *
Table of ContentsIntroduction.- Chapter 1.- The Historical Development of Latin American Film Industries.- Founding of the studio systems in Argentina, Brazil, Mexico.- The coming of sound and the issue of language.- The demise of the studio system.- State-supported filmmaking in Latin America.- Chapter 2.- Public Financing in Latin America.- Film Institute Support.- Co-production initiatives such as Programa Ibermedia.- Film festival financing such as the Hubert Bals Fund (Rotterdam).- Public television support.- Chapter 3.- The Role of the Private Sector.- The MPA as co-producer and distributor.- Television channels as investors.- Television-Film dynamics.- Chapter 4.- The Exhibition Sector and Audience Tastes.- The Evolution of Movie Theaters.- Segmentation of film industries.- Marketing Latin American film.- Chapter 5.- Going Global: Film Distribution and Film Festivals.- Film Distribution in Latin America.- Overview of Distribution Outlets.- Film Festival Opportunities for Distribution.- Financing via festival markets, labs, seminars.- Chapter 6.- Film Policy in Latin America.- Protectionist Policies: Are they working?.- Film Piracy in Latin America.- The Role of New Technologies in Exhibition and Distribution.- Emerging Industries in Latin America.- Conclusion.- Bibliography.- Tables and Charts.
