Chapters in this book

1. Frontmatter i
2. CONTENTS vii
3. ACKNOWLEDGMENTS ix
4. INTRODUCTION Mise-en-Scène, a Seemingly International Staging 1
5. PART ONE. A NEONOIR SKEW TO THE ACTION-IMAGE
6. CHAPTER ONE. A SHIMMERING SUTURE: Fabián Bielinsky’s Epileptic El aura 49
7. CHAPTER TWO. SLIPPERY CRIMINAL PLEASURES Intermediality and Voyeurism in Jorge Furtado’s O homem que copiava 60
8. CHAPTER THREE. ENDLESS QUEST Chasing Sex, Lies, and Money at the Gates of Hell in Heitor Dhalia’s O cheiro do ralo 74
9. PART TWO. ROAD MOVIES
10. CHAPTER FOUR. THE PARADOXICAL EFFECT OF THE DOCUMENTARY: Walter Salles’s Central do Brasil 91
11. CHAPTER FIVE. TWIN PIQUES: The Double Discourse of Carlos Sorín’s El camino de San Diego 106
12. CHAPTER SIX. ORPHANS’ SOLIDARITY: María Victoria Menis’s El cielito 123
13. PART THREE. DRAMA
14. CHAPTER SEVEN. SCULPTING TIME: Inés de Oliveira Cézar’s Como pasan las horas 139
15. CHAPTER EIGHT. THE PAST ENGULFS THE PRESENT: Josué Méndez’s Días de Santiago 146
16. PART FOUR. EXPERIMENTAL AUTEURISM
17. CHAPTER NINE. WHETHER OR NOT TO END ONE’S LIFE: Carlos Reygadas’s Japón 159
18. CHAPTER TEN. CRIME AND SELF-INFLICTED PUNISHMENT: Carlos Reygadas’s Batalla en el cielo 168
19. PART FIVE. EXPERIMENTAL AUTEURISM AND INTERTEXTUALITY
20. CHAPTER ELEVEN, THE MIRACLE OF FEMALE BONDING IN PATRIARCHAL SOCIETY: Carlos Reygadas’s Stellet licht 177
21. CHAPTER TWELVE. CYCLICAL SCAPEGOATING: Inés de Oliveira Cézar’s Extranjera 186
22. CHAPTER THIRTEEN. THE IRREVOCABLE NATURE OF CURSES: Inés de Oliveira Cézar’s El recuento de los daños 196
23. CHAPTER FOURTEEN. SPLINTERED MIRRORS, ECHOES, AND REVERBERATIONS: Fernando Pérez Valdés’s Madrigal 206
24. PART SIX. EXPERIMENTAL PSEUDO-DOCUMENTARY
25. CHAPTER FIFTEEN. ROOM WITH A VIEW: Fernando Pérez Valdés’s Suite Habana 221
26. CHAPTER SIXTEEN. LIFE IS AND IS NOT: Paz Encina’s Hamaca paraguaya 232
27. CONCLUSION Possible Futures 245
28. NOTES 251
29. BIBLIOGRAPHY 265
30. INDEX 287