Visible Nations: Latin American Cinema and Video by Chon A. Noriega

By Chon A. Noriega

Within the present "global" second, the research of Latin American cinema has turn into insistently nationwide -- a phenomenon absolutely explored during this choice of essays by means of essentially the most attention-grabbing and leading edge students of media and Latin American tradition operating today.

The members to seen countries contemplate diverse nationwide movie and video histories in Latin the US because the silent interval. From the views of feminism, psychoanalysis, new historicism, and reception thought, between others, they give thought to the types wherein -- and the ends towards which -- the kingdom has been represented, wanted, and contested in movies, movie industries, and substitute video paintings in Mexico, Chile, Venezuela, Brazil, Colombia, and Cuba. the result's not anything lower than a rewriting of Latin American movie history.

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Filmed at an angle. Courtesy of the Agrasanchez Archive of Mexican Cinema. Mercedes Gutierrez. They wait in a nearby room at Ernestina's family's house, terrified as they listen to the gun battle raging outside. ACTING STYLE The acting in El automovil gris is a combination of the exaggerated earlyto-transitional style and the more measured classical. The former is particularly evident in the pointing and gesturing in the robbery scenes. But to be fair, even in sound films the acting in holdup scenes typically reverts to broad gestures because the bandits are demonstrating what they wish their victims to do.

The other relationship involves Ernestina, a woman kidnapped by the gang in an early sequence. Before the action of the film begins, she has fallen in love with a man named Oviedo; only after she is kidnapped by the bandits does she discover that Oviedo is a member of la banda. Adding more complexity to the narrative is the use of the motivated flashback. For instance, in an early sequence, the gang returns to their hideout with the booty from their latest robbery. i. The gang take their loyalty oath; Granda is in the center.

And although some shots are extremely brief, making it appear that they may have been trimmed or that frames from the original were lost, no new footage is known to have been shot or added. Thus, the 644 shots that comprise the extant feature film probably exhibit enough of the cinematic characteristics of the original for us to judge the state of Mexican cinema in 1919. The Poetics of El automovil gris NARRATIVE From their taking of a criminal oath of allegiance (fig. i), through a series of robberies and police chases, to their eventual capture and execution, the story of Granda (named Granada in the silent film but called Granda in the sound version) and his band is a standard crime-does-not-pay melodrama.

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