Reality Effects brings together the reflections of leading film scholars and critics from Latin America, the UK and the United States on the re-emergence of the real as a prime concern in contemporary Argentine and Brazilian film, and as a main reason for the acclaim both cinematographies have won among international audiences in recent years.

'This clearly organized collection of scholarly articles, destined to be a key work in its field, examines the reality effects discerned in to prominent recent film movements: the New Argentine Cinema and the Brazilian Retomada . . . The research for this volume proves wide-ranging and up-to-date, and insightful, innovative close readings of key films, such as Playing, are offered . . . Recommended.' Choice

'Essays in this important collection challenge the simplistic notion of the much heralded 'new Latin American cinema,' drawing our attention instead to the local conditions that govern recent films from Argentina and Brazil. New Argentine and Brazilian Cinema is an innovative contribution both to our understanding of reality effects in these regional cinemas and to our thinking about 'world cinema' more broadly.' - Andrea Noble, Durham University, UK

'Since Italian neo-realism, all new cinemas in the world have striven to approach and reveal reality. By assessing the new Argentine and Brazilian cinemas through their 'reality effects,' this book touches the political core of two thriving film production centres whose common language is truly universal.' - Lúcia Nagib, University of Leeds, UK

'This volume addresses key theoretical issues that have emerged with the dawn of the digital image by focusing on realism in contemporary Brazilian and Argentine cinema. The contributors consider the blurred and shifting boundaries between fiction anddocumentary in the specific context of two major Latin American cinema revivals that began in the 1990s. As a whole, the volume pushes forward critical debates around the concept of ´the real.´ It is thus indispensable reading for scholars and students of Latin American film and of film studies more generally.' - Lisa Shaw, University of Liverpool, UK

Autorentext
José Carlos Avellar, Escola de Cinema Darcy Ribeiro, Brazil David Oubiña, University of Buenos Aires and Universidad del Cine, Argentina Andréa França, Pontificia Universidade Católica de Río de Janeiro, Brazil Edgardo Dieleke, New York University, Buenos Aires, Argentina Joanna Page, University of Cambridge, UK César Guimarães, Universidade Federal de Minas Gerais, Brazil Ivana Bentes, Universidade Federal do Rio de Janeiro, Brazil Tom Cohen, University of Albany-SUNY, USA Robert Stam, New York University, USA Jens Andermann, University of Zurich, Switzerland Domin Choi, Universidad de Buenos Aires and Universidad del Cine, Argentina Álvaro Fernández Bravo, New York University, Buenos Aires, Argentina Gonzalo Aguilar, University of Buenos Aires, Argentina

Inhalt

1. Cámera lúcida; José Carlos Avellar 2. Footprints: Risks and Achievements in New Argentine Cinema David Oubiña PART I: RETURNS OF THE REAL: RE-ENACTMENT, MEMORY, AND THE UNCANNY 3. Documentary Cinema and the Return of Past Events; Andréa França 4. Re-Enactment and Transmission in Contemporary Cinema; Ivone Margulies 5. The Return of the Natural: Landscape, Nature and the Place of Fiction; Edgardo Dieleke 6. Beyond Reflexivity: Acting and Experience in León, Rejtman and Coutinho; Joanna Page 7. The Scene and the Inscription of the Real; César Guimarães PART II: ARCHIVES OF THE PRESENT 8. Global Periphery; Ivana Bentes 9. Exploding Buses: José Padilha and the Hijacking of Media; Tom Cohen 10. December's Other Scene: New Argentine Cinema and the Crisis of 2001; Jens Andermann 11. Archival Images - Memories of Labor: Citation, Recycling and Appropriation in Contemporary Argentine Cinema; Mariano Mestman 12. In Praise of Difficulty: Notes on Realism and Narrative in Contemporary Argentine Film; Domin Choi 13. The I as Other: the Real, the Archive and the Witness; Álvaro Fernández Bravo 14. The Documentary Between the First and the Third PersonL; Gonzalo Aguilar