COLLEGE COURSE IN LATIN AMERICAN CINEMA

By: Jeremy Moss

I’m teaching a course this Spring 2010 semester in Latin American Cinema – the focus being New Realism and New Waves in the New World. We are starting out contextualizing certain film practices and foreign influences (e.g., Neorealism / la politique de auteurs) and from there we will be studying varying modes of realism nation by nation.

01

Bus 174

José Padilha
02

Umberto D.

Vittorio De Sica
03

Los olvidados

Luis Buñuel
04

Breathless

Jean-Luc Godard
05

Barren Lives

Nelson Pereira dos Santos
06

Pixote, the Law of the Weakest

Héctor Babenco
07

Central Station

Walter Salles
08

City of God

Fernando Meirelles
09

Rodrigo D: No futuro

Víctor Gaviria
10

Memories of Underdevelopment

Tomás Gutiérrez Alea
11

La ciénaga

Lucrecia Martel
12

Y tu mamá también

Alfonso Cuarón
13

Amores perros

Alejandro González Iñárritu
14

I, the Worst of All

María Luisa Bemberg
15

The House of Sand

Andrucha Waddington
16

Salvador Allende

Patricio Guzmán

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Jeremy Moss

22May10

I know - we read him [An Esthetic of Hungar]. In retrospect, I should have shown a film of his - just not enough time. I'm not much of a fan of a survey course in the entire Latin American Cinema - so much gets skipped. Next time, I think I'll focus the course entirely by nation - Brazilian Cinema.

Blue K, Custodian of the Cinema

22May10

Nice, but no Rocha.... :(

Jeremy Moss

31Jan10

It was a tough list to put together. I opted to focus on realism and a series of films within that category because of the very fact that it is impossible to embody such a large region of cinema in one course - at least, I'm not interested in teaching a survey course. We'll be reading Glauber Rocha, definitely. While I absolutely agree that Rocha is the emblematic figure in Cinema Nova, I find that Vidas Secas is emblematic of cinema with a realist impulse and it fits best within these series of films. Thanks for the suggestions!

apursansar

31Jan10

I would suggest the inclusion of Glauber Rocha since he's the most emblematic figure of the Brazilian Cinema Novo (aside Nelson Pereira dos Santos). I think that Fernando Solanas (Argentina) and Jorge Sanjinés (Bolivia) are just as obligatory when talking about Latin American Cinema, and Francisco Lombardi (Peru) would as well deserve a mention.