Cosmopolitan Film Cultures in Latin America, 1896-1960

Rielle Navitski is Assistant Professor of Film Studies at the University of Georgia. She is author of Public Spectacles of Violence: Sensational Cinema and Journalism in Early Twentieth-Century Mexico and Brazil.Nicolas Poppe is Assistant Professor of Spanish at Middlebury College. His work on Latin American cinema and cultural studies has appeared in several edited volumes and journals.

• AcknowledgmentsIntroductionPart I: The Silent Era: Between Global Capitalism and National ModernizationPrimary text: "The Lumière Cinematograph," El Monitor Republicano (Mexico City), August 16, 1896 1. Gabriel Veyre and Fernand Bon Bernard, Representatives of the Lumière Brothers in Mexico / Aurelio de los Reyes Primary text: Tic Tac (Carlos Villafañe), "The Show on June 15th," Películas (Bogotá), June 19192. Films on Paper: Early Colombian Cinema Periodicals, 1916-1920 / Juan Sebastián Ospina León Primary text: Enrique Méndez Calzada, "The Lover of Rudolph Valentino" from And Christ Returned to Buenos Aires (1926)3. Manipulation and Authenticity: The Unassimilable Valentino in 1920s Argentina / Giorgio Bertellini Part II: The Interwar Period: Between Hollywood and the Avant-GardePrimary text: Felipe de Leiva, "Memoirs of an Extra," Cinelandia, (Hollywood) November/December 19274. Mediating the 'Conquering and Cosmopolitan Cinema:' Latin American Audiences and U.S. Film Magazines in Spanish, 1916-1948 / Rielle NavitskiPrimary text: Octávio de Faria, "Russian Cinema and Brazilian Cinema," O Fan (Rio de Janeiro), October 2, 19285. Parallel Modernities: the First Reception of Soviet Cinema in Latin America / Sarah Ann WellsPrimary text: Guillermo de Torre, "The Cineclub of Buenos Aires," La Gaceta Literaria (Madrid), April 1, 1930 6. A Gaze Turned Towards Europe: Modernity and Tradition in the Work of Horacio Coppola / Andrea CuarteroloPart III: The Golden Age of Latin American Film Industries: Negotiating the Popular and the CosmopolitanPrimary text: John Alton, "Motion Picture Production in South America," International Photographer (Hollywood), May 19347. John Alton in Argentina, 1932-1939 / Nicolas Poppe8. The Golden Age Otherwise: Mexican Cinema and the Mediations of Capitalist Modernity in the 1940s and 1950s / Ignacio M. Sánchez PradoPrimary text: Gabriel García Márquez, "The Mambo" El Heraldo (Barranquilla), January 12, 19519. Bad Neighbors: Pérez Prado, Cinema and the Politics of Mambo / Jason Borge Part IV: The Afterlives of Moving Images: Cinephilia and Cult SpectatorshipPrimary text: Thomas E. Sibert, "Fox Film de Cuba, S.A.'s Continuing Competition for Scholarships to Summer School at the Universidad de la Habana" (1956)10. Film Culture and Education in Republican Cuba: The Legacy of José Manuel Valdés-Rodríguez / Irene Rozsa 11. The Secret History of Aztlán: Transnational Exploitation Film, Chicano Art and Unexpected Cultural Flows / Colin GunckelIndex

"...an indispensable and timely work of historiography."—Zuzana Pick, author of The New Latin American Cinema: A Continental Project"Cosmopolitan Film Cultures is a timely revision of current debates in theeld of Film Studies. It offers a new understanding of moving images in Latin America as the result of negotiations of national agendas, cosmopolitan impulses and transnationalows of cultural commodities and capital."—Bulletin of Spanish Visual Studies