Browse Items (186 total)
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Clásicos de la época de oro del cine mexicano
Este curso ofrece una introducción al análisis fílmico, enfocándose en la Época de Oro del cine mexicano (mediados de 1930 a mediados de 1950). El curso se enfocará en los géneros populares de la época (melodrama, el drama rural y la comedia) y en el desarrollo de la industria del cine. Se enfatizará el estudio del contexto cultural, político e histórico, y se pondrá especial atención a la construcción del imaginario nacional y sus implicaciones para la representación de género, raza y clase en la pantalla grande. -
El crimen del padre Amaro
El recién ordenado padre Amaro llega a la iglesia del pueblo de Los Reyes donde conoce a la devota, inocente y sensual Amelia de la que poco a poco se enamora, hecho que lo llevará a transgredir sus votos y a vivir una tragedia cuando ésta quede embarazada y la lleve a abortar. (Filmoteca UNAM) -
También la lluvia
Costa y Sebastián trabajan juntos en un proyecto ambicioso que van a rodar en Bolivia. La cinta que van a filmar tratará sobre la llegada de los españoles a América poniendo el acento en la brutalidad de su empresa y en el coraje de varios miembros de la iglesia que se enfrentaron con palabras a las espadas y las cadenas. Pero Costa y Sebastián no pueden imaginar, que en Bolivia, donde han decidido instalar su Santo Domingo Cinematográfico, les espera un desafío que les hará tambalearse hasta lo más profundo. Tan pronto como estalla la Guerra del Agua (abril 2000) las convicciones de uno y el desapego del otro comienzan a resquebrajarse, obligándoles a hacer un viaje emocional en sentidos opuestos. (Filmoteca UNAM) -
Ahí está el detalle
La confusión entre el perro ""Bobby"" y un gángster del mismo nombre desencadena una serie de enredos entre un celoso marido, su nerviosa esposa, una pícara criada, una esposa abandonada con ocho hijos y el singular Cantinflas. (Cine Mexicano) -
La tarea
Virginia awaits the visit of Marcelo, whom she has not seen for four years. While arranging the details of his visit, Virginia strategically hides a videocamera to tape the encounter. In addition to spending a more than friendly evening together, Marcelo will help Virginia complete her film school homework. (Translation by Jeimy Hernandez) -
Principio y Fin
The film tells the story of the Boteros, a middle-class Mexican family struggling against poverty after their father's death. Ignacia (Egurrola) is the Boteros mother, a desperate woman who chooses to sacrifice the destiny of her three older children, in order to protect Gabriel (Laguardia) the youngest one. She believes Gabriel will climb the social structure and bring back the lost fortune to the family. But destiny has other plans for the Boteros and tragedy will overcome eventually. Based on the novel of Nobel Prize winner Naguib Mahfouz. (www.imdb.com) -
Santo y Blue Demon contra Drácula y el Hombre lobo
Masked wrestling champion and occasional crime fighter El Santo once again saves Mexico from the ravages of undying monsters in this blend of grappling and horror. El Santo is challenged to a match by fellow wrestler El Angel Blanco, and while the great fighter is busy in the ring, two legendary monsters -- the vampire Dracula (Aldo Monti) and a werewolf named Rufus Rex (Agustin Martinez Solares) -- are brought back to life by his enemies. As the monsters roam free and threaten the life of El Santo's closest friends, he teams up with fellow wrestling icon Blue Demon to vanquish the creatures once and for all. (Rotten Tomatoes) -
Reed: México Insurgente
In 1913 the American journalist, John Reed, returns to Mexican territory to witness and report on the revolution. He meets General Urbina, attends the funerals of Abraham Gonzáles, interviews Pancho Villa, but above all, he meets with a series of anonymus characters, the men and women who were the protagonists of this period in Mexican history. (Translation by Jeimy Hernandez) -
Los olvidados
Jabio, a teen, scapes from juvie and reunites with his friends. Along with Pedro and another kid, Jabio tries to jump Don Carmelo. Days later, Jaibo kills the teen who, supposably, was the reason why he went to juvie, in front of Pedro. Ever since this incident, the destinies of both individuals, will maintain tragically united. (Translation by Angel Carrillo) -
Danzón
Julia is a telephone operator from Mexico City who divides her time among work, her daughter, and danzón. Every Wednesday, she shines on Salon Colonia's dance floor with Carmelo, her dancing partner. One night Carmelo disappears and Julia decides to look for him in Veracruz. Little does she know, this trip will change her life. (Translation by Angel Carrillo) -
Enamorada
The film narrates the story of a small town girl and a revolutionary general during the Mexican Revolution in the city of Cholula, Puebla. Caught at first in a power struggle, the girl leaves home to go on a journey with the revolutionary, leaving her family and her fiance on the day of her weding (Translation by Angel). -
Dos tipos de cuidado
This is a comedy about a women who makes the man that she loves jealous by flirting with his best friend, causing a series of rivalry and conflicts between both men. Finally, when the truth is revelaed about the woman's intentions, the two men join together to pull one over on her. (Translation by Angel Carrillo). -
Una familia de tantas
Rodrigo Catano seeks to impose in his family a Porfirian order. One day a door to door salesman, Roberto del Hierro, comes into the house to sell an American vacuum cleaner from the "Bright O'Home" company. Maru, Mr. Catano's daughter, watches Roberto while he demostrates the new machine. Roberto leaves and says he will come back to explain Mr. Catano about the vacuum cleaner. Mr. Catano is very upset because a man has been in his house without him been present. Nevertheless, with fast and inteligent talk, Roberto sells him the vacuum cleaner and, later on, a refrigerator. Maru is captivated by Roberto and they fall in love. Mr. Catano is furious when Roberto announces to him he will marry Maru. (Portal del cine y audiovisual Latinoamericano y caribeño) -
El rey del barrio
The charitable young rail-way man, Tin Tan, decides to protect his neighbor Carmelita, who rejects his help. In reality, Tin Tan is the boss of a band of thieves who specialize in tricking millionaires, disguising themselves as musicians, painters and singers. This modern Robin Hood's plan gets complicated when Nena, one of the millionaires, tries to persuade him to marry her. (Translation by Angel Carrillo) -
Nosotros los pobres
The carpenter "Pepe de Toro" lives with his mom and his daughter in a neighborhood in Mexico City during the 1940s. After being accused of a murder that he didn't commit, he starts a battle against injustice. (Translation by Angel Carrillo) -
La diosa arrodillada
Millionaire Antonio gives his wife a statue of a naked women as an anniversary gift. The model who posed for the statue is Raquel, Antonio's mistress. Raquel demands that Antonio divorce his wife. Soon after, she dies from a misterious cause. Antonio is forced to marry Raquel so that no one finds out about the unnatural circumstances surrounding the death of his ex-wife. (Translation by Angel Carrillo) -
Club Sándwich
Paloma and her son Hector are on a vacation at a beachfront hotel. Their activities, which are very similar to those of past years, consist of tanning, eating club sandwiches, and popping their pimples. But Hector is fourteen now, and the combination of his sexual awakening and the presence of Jazmín, a sixteen year old girl, trigger some changes in Paloma’s relationship with her son. (Translation by Jessica Batista) -
Cronos
In 1535, an alchemist builds an extraordinary mechanism encapsulated in a small golden device. The invention, designed to give eternal life to its owner, survives its maker until 1997, when it is discovered by an antique dealer named Jesus Gris. Fascinated, Gris does not realize that more than one person is looking for the strange mechanism. The promise of eternal life has become an obsession for the old and sick Dieter de la Guardia. Both he and his nephew Angel will do anything in order to get "the invention of Cronos." (Portal del cine y audiovisual Latinoamericano y caribeño) -
El pueblo mexicano que camina
The testimonies of the indigenous and mestizos, worship, passion, trust, sacrifice, and faith make this one of the most representative and explanatory documentaries about why Mexico is a 'Guadalupan' country. "I wanted to explore two levels: first, the intellectual; in other words, the concepts of an intellectual community from a country that has tackled the theme of 'guadalupanismo'. Second, the visceral, which refers to the aspects or forms of approach between the community and the Virgin, because before you are born and after you die, this figure will be present" Urrusti. (Translation by Jeimy Hernandez) -
Cultura Hispanoamericana
"El curso se enfoca en procesos de cambio cultural en comunidades hispanohablantes de las Américas. Las metodologías empleadas incluyen la histórica (a base de la organización en forma narrativa de evidencia documentada), la transcultural (a base del estudio de las interacciones dinámicas entre perspectivas culturales) y la comunitaria (a base de experiencias vitales de participación comunitaria). " -
Latin American Film & Television Studies
This course is an introduction to Latin American film and television studies. It is conducted in Spanish and is open to graduate students and advanced undergraduates with the permission of the instructor. Students will acquire knowledge on contemporary trends in film and television studies, including film theory, the archival turn, and ethnographies of television reception, as they relate to the film and television cultures of the rich and diverse regions of Latin America. The course’s historical purview takes students from classical narratives of the 1930s and 40s to revolutionary cinema of the 1960s and 70s to melorealism and the telenovela of the contemporary period. -
Hollywood Meets Latin America
The history of filmmaking in Latin America, as in other parts of the world, has largely taken place in Hollywood's shadow. Whether seeking to adapt US cinematic conventions to a different cultural context or experimenting with radically new paradigms that turn conventional filmmaking on its head, Hollywood has been an indispensable reference point. We will focus on the “Golden Age” of Mexican cinema in the ‘40s and ‘50s, the revolutionary "New Cinema" movement of the ‘60s and ‘70s, and other significant trends such as the growing numbers of women screenwriters and of films focusing on issues related to sexuality and gender in the ‘80s and ‘90s, as well as the increasing globalization of the industry in the new millennium, to the point that the very concept of "national" cinema has lost much of its resonance. -
Latin American Cinema
In this course we will explore how Latin Americans have represented themselves on the big screen, through close readings of representative films from each of the following major periods:- silent cinema (1890s-1930s),
- studio cinema (1930s-1950s),
- Neorealism/Art Cinema (1950s),
- the New Latin American Cinema (1960s-1980s), and
- contemporary cinema (1990s to today)
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Introduction to Spanish-Language Film
This course is an introduction to appreciating and understanding film art as it relates to the rich and diverse cinema history of Latin America. Conducted entirely in Spanish, the course focuses on students’ acquisition of knowledge on the material and principles of film form, or the basic elements of film narrative, mise-en-scène, editing, and sound. Students will be asked to put their new knowledge into practice by watching closely and analyzing major films produced across the Latin American regions in the 20th and 21st centuries, from Argentina to Chile to Bolivia to Chile to Brazil to Cuba to Mexico. A variety of film genres will be enjoyed, including the documentary, the musical, the comedy, the thriller, the coming-of-age movie and the road film. The “New Latin American Cinema” or the socially-engaged film of the 1960s and 1970s will also receive attention in the course. In addition to studying film as an art form we will also tackle prominent issues in contemporary film studies, including film theory, the history of audiences and the role of cinema as a form of mass media. -
Representation of Children and Adolescents in Argentine, Colombian and Mexican Cinema
This course explores the representation of children and adolescents in contemporary Spanish American cinema from the 1980s to the present. Young characters have been used to explore issues of identity, coming of age, social inequalities, and the impact of major political events. The class will be divided in three parts, which coincide with Spanish America’s major cinemas: Argentina, Colombia, and Mexico. Each part will follow a chronological order so as to encourage students to reflect on each filmmaker’s contribution to the depiction of children and adolescents and the socio-political events represented. -
El viaje
Martín es un adolescente que escapa de Ushuaia, ciudad más austral del mundo, en busca de su padre. Este viaje es el hilo conductor, donde el protagonista confronta el peligro, el amor, la amistad y los desafíos de la naturaleza. Viaje inicial en el cual la épica, el barroco, lo grotesco y lo fantástico se confunden. Viaje interior y periplo al corazón del continente latinoamericano, pasando por pueblos antiguos y conquistadores hasta el presente, donde se conjugan corrupción y nuevos genocidios. (Portal del cine y audiovisual Latinoamericano y caribeño) -
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Soledad
Soledad, a maid born in Argentina, works at a Mexican farm. The son of her employer will deceive her, pretending to marry her and leaving her pregnant. When she finds out that she has been tricked, she runs away from the farm. During her flight she meets a group of artists that’ll change her life. (Letterbox) -
Hispanic Film
This course examines film by Spanish and Latin American directors. Students study films as an independent genre using specific structural forms as the means of analysis (close-up, soundtrack, frame, etc.). Students will formulate interpretations that move between the formal, technical composition of films and the concrete socio-historic and cultural reality to which each film refers and shapes. Course activities include screening of films, discussion of articles that focus on literary theory and film analysis, and writing short papers. -
Inmigración en el cine
This course is designed for students taking an intermediate to advanced Spanish course with focus on Hispanic culture and language through film. Undoubtedly, films are a rich source of
meaningful cultural information and students can come to understand much about a country’s culture through the discussion and analysis of films. The combination of sound, image and language provided by the films engages and stimulates students’ senses and cognitive faculties simultaneously. Films will be selected from a variety of Hispanic countries, emphasizing the connection between language, culture, society and visual representation. The main topic or
theme of this course will be the representation of ‘migration’ in the Hispanic Contemporary Films: women, slavery, trafficking, displacement and groups of people traveling from Spain to
Latin America, from Africa to Spain and other itineraries. -
Cine hispano
“Las películas son un mundo de fragmentos”, propuso una vez Jean-Luc Godard, el director de la Nouvelle Vague francesa. Estos fragmentos, trozos audiovisuales de la realidad, captan nuestra imaginación. El cine es un sitio interacción social, de entretenimiento, de aburrimiento, de placer estético, de crítica cultural, de muchas cosas. Nos hacen pensar de manera diferente. Confirman y, aún mejor, desafían nuestras visiones del mundo. Y, a veces, forman parte de quienes somos. En este curso, estudiaremos (y de manera fragmentaria) el texto y el contexto de algunos de estos mundos de fragmentos. A través del análisis de películas de Argentina, Colombia, Cuba, España, Estados Unidos, México, Paraguay y Perú, se examinarán géneros cinematográficos, prácticas estéticas y conceptos sociológicos y políticos (como la clase socio-económica, el género, la ideología, la raza y la sexualidad). -
Latin America through Cinema
In this course, we will explore cinema from and about Latin America to expand our understanding of this culturally diverse region comprised of more than twenty countries and territories. We will examine topics such as gender, humor, history, globalization, politics, memory, and religion through the lens of films by Latin American screenwriters and directors. Students will gain experience in film analysis, learning how to articulate the relationship between content and artistic form. Through this cinematographic encounter, we will begin to see and understand Latin America in a new way. -
Poetry and Politics in Latin American Cinema
By tracing a Latin American centric social, geo-political, cultural, historical, cinematic map, we will be looking at the praxis of key visionary filmmakers and cinematic movements. We will examine how these filmmakers, their films, their texts, and their legacies engage local and global contexts. Cinema from the global south is not an addendum to "First World Cinema"; the majority of world cinema is actually produced in the "Third World”. By mapping the vibrant, often neglected, legacy of Latin American cinema, we will revisit films from New Latin American Cinema to more contemporary films from the continent in order to delve into the poetry and politics of a subjective repertoire of films. By grounding our critical approach and analyses in the historical, theoretical, political, social, economic, and cultural framework that these films were created in, “Poetry and Politics in Latin American Cinema” aims to deconstruct some of the dominant, oppressive discourses and colonial systems that provoked the counter-narratives and resistance manifest in these cinematic works.
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Ex generación
Un grupo de jóvenes cubanos emigrados a México reflexionan sobre las causas de su exilio, y lo que han ganado y perdido tras su decisión. Una mirada a la identidad y los anhelos de los migrantes cubanos. (Film's official website) -
Sin nombre
Casper, un adolescente integrante de la Mara Salvatrucha, trata de proteger su relación con su novia Martha Marlene manteniéndolo en secreto, pero cuando ésta irresponsablemente se da a conocer ante los integrantes de la banda, el líder, Lil Mago, quiere hacer valer su derecho de pernada y al intentarlo ocasiona que la chica se golpee la cabeza y muera. Mientras, Sayra, una adolescente hondureña, casi es obligada a emigrar a los Estados Unidos en compañía de su padre y su tío. Cruzan la frontera en México y en Tapachula suben, como otros muchos centroamericanos,al techo del tren que los acercará al Norte. Sin embargo, no será fácil burlar a la mafia de los Mara que espera sacar de ellos lo que se pueda. Casper sube en compañía de Lil Mago pero cuando éste intenta violentar a Sayra, Casper lo degolla al recordar la situación que su novia debió haber pasado. Entonces Sayra, pese a su hermano y padre que lo reprueban, se une a Casper en una huida que los llevará a su destino personal. (Filmoteca UNAM) -
La jaula de oro
Juan crosses the slums of his city in Guatemala to a dump, where he picks up his friend, the scavenger Samuel; meanwhile, Sara cuts her hair and bandages her breasts in order to pass for a boy - a step which, as will be seen some time later, is absolutely necessary, although perhaps not enough. Together, the three begin a long journey, first by boat and then across Mexico on top of freight trains, looking for a chance to cross to the United States illegally. At one point, they are joined by the Guatemalan Indian Chauk, a boy who does not speak a word of Spanish and is as poor as the trio. But still, he is rejected by Juan, who believes himself to be the leader of the group and, above all, is jealous of Sara. From this friction, some of the misfortunes they will face arise; others are simply the result of chance - especially accidents that usually affect the unprotected and poor. The film by Spanish director Diego Quemada Díez, however, is far from messy: it is, on the contrary, dry, economical, and uncompromising in its portrayal, making a lack of perspective so extreme that it defies the imagination. (Translation by Andrew Magel) -
Güeros
"Sombra" y "Santos" viven en un extraño limbo desde que la huelga en la UNAM estalló. Sin saber qué lado tomar, sin escuela, sin propósito en los días, los dos amigos inventan extrañas maneras de matar el tiempo. Pero su rutina es interrumpida con la llegada inesperada de Tomás, el hermano menor de "Sombra". Tomás descubre que su héroe, Epigmenio Cruz, un mítico cantante de los años 60, agoniza en algún hospital recóndito y convence a "Sombra" y a "Santos" de ir a rendirle homenaje. La búsqueda de Epigmenio se convierte en un viaje de tres días atravesando las fronteras invisibles de la ciudad de México, que los llevará a descubrir que no pueden huir de sí mismos, ni de la huelga que creyeron dejar atrás. (Filmoteca UNAM) -
Al otro lado
Al otro lado estructura tres historias paralelas en torno a la misma temática y con un desarrollo complementario. Estas historias reflexionan en torno a la condición humana, el dolor de la ausencia y la pérdida de la inocencia. Los protagonistas son niños de países, culturas y realidades diferentes, pero que comparten vínculos emocionales; ante la necesidad de restablecer el núcleo familiar, cada uno de ellos inicia su propio viaje, persiguiendo el sueño por cruzar "al otro lado" con la ilusión de encontrar a la figura paterna. (Cineteca Nacional México)Tags Youth / La juventud -
Perfume de violetas: Nadie te oye
Basado en notas periodísticas, Perfume de violetas aborda el tema del abuso sexual en contra de las adolescentes, así como la superficialidad con que se suele tomar tal problema. Yessica es una joven rebelde, renuente ante la presencia de un padrastro y un hermanastro a quienes debe obedecer contra su voluntad. Tras haber sido expulsada de la escuela por enésima ocasión, en su nueva secundaria conoce a Miriam; a pesar de tener personalidades muy distintas, ambas empiezan una profunda amistad: comparten cuadernos, juegos, gustos, maquillajes y perfumes. Pero esta armonía se rompe cuando Yessica es secuestrada por su hermanastro Jorge y el secuaz de éste, 'El Topi', quien la viola. Llena de temores y desconfianza hacia los adultos, Yessica entra en un laberinto de confusiones y errores. (Cineteca Nacional México) -
Sin dejar huella
Aurelia, quien trabaja en una maquiladora, madre soltera de dos pequeños y novia de un hombre menor que ella inmiscuido en el narcotráfico, conoce circunstancialmente a Ana, de origen español y traficante internacional de arte prehispánico. Ambas emprenden un viaje por carretera de El Paso, Texas a Quintana Ro, huyendo por motivos personales, la primera de una banda de narcotraficantes a quienes les robó dinero, y la segunda de un policía corrupto obsesionado con ella y que se ha empecinado en atraparla y tenerla para sí. (Filmoteca UNAM) -
Contemporary Spanish and Latin American Cinema
This interdisciplinary course seeks to review and analyze the complexity of contemporary society through the study of Latin American and Spanish film production. We will explore topics that relates to issues of ethnicity, class representation, immigration and exile, dictatorship, experiences of war and violence, globalization, gender, as well as sexual and racial identities, among other themes. The course has a transatlantic approach covering different genres, styles, and filmmakers from Mexico, Cuba, Spain, Argentina, Chile, Brazil, Colombia, and Uruguay. Class discussions in Forum, activities, presentations, reflections, and a final multimodal research project will help to improve and expand students’ analytical skills as well as their Spanish language proficiency. -
The Three Caballeros
A large box arrives for Donald on his birthday, three gifts inside. He unwraps one at a time, and each takes him on an adventure. The first is a movie projector with a film about the birds of South American: Donald watches two cartoons, one tells of a penguin who longs to live on a tropical isle and the other about a gaucho boy who hunts the wild ostrich. The second gift is a pop-up book about Brazil. Inside is Zé Carioca, who takes Donald to Brazil's Bahia for a mix of animation and live action: the two cartoon birds sing and dance with natives. The third gift is a piñata, accompanied by Panchito. A ride on a magic serape takes the three amigos singing and dancing across Mexico. (IMDB) -
El coyote emplumado
An old potter and his granddaughter are invited to an archaeological convention in Acapulco where they are hired to create a copy of a well-known Mexica artifact in order to protect the original. (Film Affinity US) -
Chicana
El trabajo intenta trazar una historia de la mujer mexicana, desde la época precolombina hasta el presente, tanto en México como en Estados Unidos. Reuniendo testimonios, remitiéndose a la plástica de ambos países y recopilando imágenes de archivo, la cineasta consigue una emotiva reflexión sobre el papel de estas mujeres en los movimientos sociales que cambiaron la historia de ambos países. (Filmoteca UNAM) -
La negrada
La Negrada is the first Mexican feature film about the Afro-Mexican community, filmed entirely with people from different towns around the Costa Chica in Oaxaca. Neri, a fisherman, splits his time between two women: his wife Juanita with whom he has a daughter and his lover Magdalena, mother of three additional children. Things are about to change for Neri as Juanita falls gravely ill and Magdalena prepares to take her place. Shot entirely on the beautiful beaches of Corralera in Oaxaca and featuring a cast of non-professional actors from the nearby communities, La Negrada explores the social mores of and the discrimination faced by Mexico’s unacknowledged black community. Sources: Pan African Film Festival & Cinema Tropical -
Roma
Relata un año en la vida de una familia de clase media en la capital mexicana a comienzos de los años 70. Roma es un retrato íntimo sobre los esfuerzos de una familia para mantener su equilibrio en momentos de conflicto personal, social y político. (Filmoteca UNAM)Tags Youth / La juventud -
La raíz olvidada
La presencia de los esclavos africanos en México ha sido desconocida por la historia oficial. La raíz olvidada incursiona en este tema desconocido para la mayor parte de la población mexicana. (SIC México) -
Cochochi
This debut is the simple story of a journey by Evaristo and Tony, indigenous brothers living in Mexico's rural northwest. After their primary-school graduation, the brothers are asked to deliver medicine to a far-off village; not wanting to walk, they poach their grandfather's horse which, sure enough, ends up lost. The two boys separate to find it, and day turns into night. Wonderfully acted by non-professionals, Cochochi features breathtaking images of a region little explored on film - not to mention a distinctive language (the Tarahumaran dialect of Raramuri). This delicate narrative explores a serious issue for any native population - the question of whether to integrate with society at large or hold onto traditional ways. Source: Peranson, Mark. "The Filmgoer's Festival Guide." Review of Cochochi, by Israel Cardenas and Laura Amelia Guzmán. The Globe and Mail, 28 Sept 2007, sec. Arts. -
Eco de la montaña
Santos de la Torre es un artista huichol que prácticamente es un desconocido en México; vive en la Sierra Madre Occidental. El documental lo seguirá en su peregrinaje a Wirikuta donde pedirá permiso a los dioses para hacer un nuevo mural y cuya elaboración se registrará paso a paso, desde su concepción y diseño, hasta su levantamiento como obra acabada así que se le acompañará en su recorrido de 620 kilómetros por la llamada Ruta del Peyote, que está en peligro de desaparecer, en sus ofrendas y sacrificios para después seguirlo en su nueva empresa: la creación de una nueva obra, la cual ilustrará la historia, mitología y prácticas religiosas del pueblo huichol. (Filmoteca UNAM)Tags Wixárika / Huichol -
Latin American Women Writers and Filmmakers
This course will provide students an introduction to the critical analysis of film and literature in Latin America (including Brazil) with a specific focus, particularly at the end of the course, on post-dictatorship film and literature from Argentina, Chile, and Brazil. This course is designed to give students an introduction of literary and filmic analysis at an advanced level as a means of building their speaking, reading, critical thinking, and writing skills in Spanish and English.