La crisis, a period of political and economic turmoil in Mexico that began in the late 1960s, spawned a new era in Mexican cinema. Known as el Nuevo Cine (the New Cinema), these films presented alienated characters caught in a painful transition period in which old family, gender, and social roles have ceased to function without being replaced by viable new ones. These are the films explored by Charles Ramírez Berg in Cinema of Solitude, the first book-length critical study of Mexican cinema in English. Berg discusses the major films and filmmakers of el Nuevo Cine in depth. He analyzes dozens of commercial movies, from popular comedies and adventures to award-winning films. Introductory chapters address the issue of mexicanidad (Mexican national identity) and outline Mexican history, the history of film as popular culture and as a leading national industry, and the ideological dynamics of Mexican cinema. In thematically arranged chapters, Berg investigates the images of women, men, and social structures portrayed in New Cinema films. He finds that women characters have begun to reject traditional stereotypes for more positive images, while male characters have grown ambiguous and undefined as machismo is abandoned. Other chapters trace the continuing marginalization of Indians in Mexican culture, the changes in male dominance within the family, and the disruptive social and economic effects caused by migration. For everyone interested in Mexican culture as reflected in its major cinematic productions, as well as students of film theory and national cinemas, this book will be important reading.

In this updated and expanded version of this classic study of contemporary American film, Kolker reassesses the landscape of American cinema over the past decade, as he examines works like Munich, A Prairie Home Companion, The Departed, and Funny People, in addition to classics by Arthur Penn, Stanley Kubrick, and Robert Altman.

Michelle Devereaux explores the underlying philosophical and aesthetic Romantic connections between a selection of seven films from four popular filmmakers: Wes Anderson, Sofia Coppola, Spike Jonze and Charlie Kaufman.

From the mid-1930s to the late 1950s, Mexican cinema became the most successful Latin American cinema and the leading Spanish-language film industry in the world. Many Cine de Oro (Golden Age cinema) films adhered to the dominant Hollywood model, but a small yet formidable filmmaking faction rejected Hollywood’s paradigm outright. Directors Fernando de Fuentes, Emilio Fernández, Luis Buñuel, Juan Bustillo Oro, Adolfo Best Maugard, and Julio Bracho sought to create a unique national cinema that, through the stories it told and the ways it told them, was wholly Mexican. The Classical Mexican Cinema traces the emergence and evolution of this Mexican cinematic aesthetic, a distinctive film form designed to express lo mexicano. Charles Ramírez Berg begins by locating the classical style’s pre-cinematic roots in the work of popular Mexican artist José Guadalupe Posada at the turn of the twentieth century. He also looks at the dawning of Mexican classicism in the poetics of Enrique Rosas’ El Automóvil Gris, the crowning achievement of Mexico’s silent filmmaking era and the film that set the stage for the Golden Age films. Berg then analyzes mature examples of classical Mexican filmmaking by the predominant Golden Age auteurs of three successive decades. Drawing on neoformalism and neoauteurism within a cultural studies framework, he brilliantly reveals how the poetics of Classical Mexican Cinema deviated from the formal norms of the Golden Age to express a uniquely Mexican sensibility thematically, stylistically, and ideologically.

One of the twentieth century’s enduring works, One Hundred Years of Solitude is a widely beloved and acclaimed novel known throughout the world and the ultimate achievement in a Nobel Prize–winning career. The novel tells the story of the rise and fall of the mythical town of Macondo through the history of the Buendía family. Rich and brilliant, it is a chronicle of life, death, and the tragicomedy of humankind. In the beautiful, ridiculous, and tawdry story of the Buendía family, one sees all of humanity, just as in the history, myths, growth, and decay of Macondo, one sees all of Latin America. Love and lust, war and revolution, riches and poverty, youth and senility, the variety of life, the endlessness of death, the search for peace and truth—these universal themes dominate the novel. Alternately reverential and comical, One Hundred Years of Solitude weaves the political, personal, and spiritual to bring a new consciousness to storytelling. Translated into dozens of languages, this stunning work is no less than an account of the history of the human race.

This book focuses on Gabriel Garcia Marquez's relations with the world of cinema. Far from being an occasional occupation, García Márquez's film work forms an intrinsic part of his overall aesthetic and literary poetics. The book's primary aim is to present a detailed study of Garcia Márquez's wide-ranging filmography, which has never received a comprehensive, systematic analysis. Rocco argues that it should be recognised as an integral part of the author's narrative output, and brought into the mainstream of studies concerning his literary activity. The first part of the book reconstructs the trajectory of Garcia Marquez's career in cinema and his connections with the world of film. The second part looks at all the screenplays written by García Márquez on which actual films have been based. These are examined chronologically, but also analysed according to thematic and aesthetic concerns and placed in relation to the novels and short stories with which they are 'twinned' in terms of the film product. Book jacket.

Is a film watched on a video screen still cinema? Have digital compositing, motion capture, and other advanced technologies remade or obliterated the craft? Rooted in their hypothesis of the "double birth of media," André Gaudreault and Philippe Marion take a positive look at cinema's ongoing digital revolution and reaffirm its central place in a rapidly expanding media landscape. The authors begin with an overview of the extreme positions held by opposing camps in the debate over cinema: the "digitalphobes" who lament the implosion of cinema and the "digitalphiles" who celebrate its new, vital incarnation. Throughout, they remind readers that cinema has never been a static medium but a series of processes and transformations powering a dynamic art. From their perspective, the digital revolution is the eighth major crisis in the history of motion pictures, with more disruptions to come. Brokering a peace among all sides, Gaudreault and Marion emphasize the cultural practice of cinema over rigid claims on its identity, moving toward a common conception of cinema to better understand where it is headed next.