4. FERNANDO MEIRELLES AS TRANSNATIONAL AUTEUR

Kapitel in diesem Buch

1. Frontmatter i
2. CONTENTS v
3. ACKNOWLEDGEMENTS vii
4. FIGURES x
5. TABLES xii
6. TRADITIONS IN WORLD CINEMA xiii
7. INTRODUCTION: THE CULTURAL POLITICS OF TRANSNATIONAL FILMMAKING 1
8. MEXICO: INTRODUCTION
9. Introduction 33
10. 1. ALEJANDRO GONZÁLEZ IÑÁRRITU: MEXICAN DIRECTOR WITHOUT BORDERS 47
11. 2. ‘FROM HOLLYWOOD AND BACK’: ALFONSO CUARÓN’S ADVENTURES IN GENRE 76
12. 3. GUILLERMO DEL TORO’S TRANSNATIONAL POLITICAL HORROR: CRONOS (1993), EL ESPINAZO DEL DIABLO (THE DEVIL’S BACKBONE 2001) AND EL LABERINTO DEL FAUNO (PAN’S LABYRINTH 2006) 102
13. BRAZIL: INTRODUCTION
14. Introduction 123
15. 4. FERNANDO MEIRELLES AS TRANSNATIONAL AUTEUR 137
16. 5. REVOLUTIONARY ROAD MOVIES: WALTER SALLES’ DIARIOS DE MOTOCICLETA (MOTORCYCLE DIARIES 2004) AND ON THE ROAD (2012) 161
17. ARGENTINA: INTRODUCTION
18. Introduction 187
19. 6. JUAN JOSÉ CAMPANELLA: HISTORICAL MEMORY AND ACCOUNTABILITY IN EL SECRETO DE SUS OJOS (THE SECRET IN THEIR EYES 2009) 201
20. EPILOGUE: GRAVITY (ALFONSO CUARÓN 2013), BIRDMAN (ALEJANDRO G. IÑÁRRITU 2014), THE REVENANT (G. IÑÁRRITU 2015) AND CRIMSON PEAK (GUILLERMO DEL TORO 2015) 227
21. SELECT FILMOGRAPHY 240
22. BIBLIOGRAPHY 248
23. INDEX 268