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  1. Dartmouth Libraries
  2. Research Guides
  3. Dartmouth Libraries Guides
  4. Film Studies: National Cinemas
  5. South America

Film Studies: National Cinemas

This guide highlights selected resources for various national cinemas.
  • Introduction
  • Streaming services
  • Afghanistan
  • Africa (General)
    • Africa, Northern
    • Africa, French speaking
    • Africa, Sub-Saharan
  • Argentina
  • Australia
  • Austria
  • Benelux
  • Brazil
  • Cambodia
  • Canada
    • Quebec
  • Caribbean area
  • Chile
  • Chinese cinema
  • Colombia
  • Cuba
  • Czechia (Czech Republic)
  • France
  • Germany
  • Great Britain
    • Northern Ireland
    • Scotland
    • Wales
  • Greece
  • Hong Kong cinema
  • Hungary
  • India
  • Indigenous films
  • Irish cinema
  • Italy
  • Japan
  • Korea
  • Latin America
  • Mexico
  • Middle East
    • Egypt
    • Iran
    • Israel
    • Turkey
  • New Zealand
  • Nigeria
  • Nordic cinema
    • Denmark
    • Finland
    • Iceland
    • Norway
    • Sweden
  • Pakistan
  • Palestine
    • Films by Director
    • Documentaries
    • Films by Title
  • Poland
  • Portugal
  • Romania
  • Russia & the Soviet Union
  • Slovakia
  • South Africa
  • South America
  • Spain
  • Switzerland
  • Taiwan
  • Thailand
  • United States
    • Puerto Rico
  • Vietnam
  • Yugoslavia & Former Yugoslav Republics
  • Transnational & diasporic cinema
  • Journals & magazines about film

Subject Librarian

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Lucinda M. Hall
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Contact:
Evans Map Room, Baker-Berry Library
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Website Skype Contact: d1128r8@kiewit.dartmouth.edu
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Subjects: Film and Media Studies, Geography, Polar Studies

Introduction to South American cinema

South America see LATIN AMERICA

Latin America’s first moving-image display took place in Rio de Janeiro, Brazil, on 8 July 1896, followed in the same year by screenings in the capitals of most other Latin American countries. Early audiences were essentially urban, and the first film images of Latin America, made between 1896 (Mexico) and 1911 (Peru), were usually by Europeans recording royal and state ceremonies, wonders of nature, and other actualities. However, most countries saw no significant local film production for several decades. This was partly to do with the dominance of US films: as early as 1914, Hollywood had targeted Latin America as a key market, establishing an ascendancy further strengthened with the coming of sound, when studios were set up in Hollywood, New York, and France devoted to making Spanish-language talkies for export. Nonetheless, Latin American countries with internal markets large enough to compete—Argentina, Brazil, and Mexico—developed industries of their own, specializing in films featuring local variants of popular film genres, including a distinctively Latin American variant of the exploitation film (see latsploitation), and films which, like the Brazilian chanchada, feature music and dance.

However, the conditions under which most cinema cultures in Latin America operate—especially in smaller countries like Uruguay—have been such that state support is crucial to their survival; but this has often been sporadic or shortlived. On the other hand, where state support has been sustained (as in Cuba), a distinctive local cinema culture has been able to flourish. The beginnings of state support date back to the 1950s and 1960s, when there was a surge in film-related activity across the region. The founders of film societies, magazines, and university film courses were usually interested in both filmmaking and film criticism, and the influence of Italian Neorealism and France’s Nouvelle Vague and cinéma vérité was widespread (see film studies journal; film society). These conditions gave rise to new, often militant, approaches to documentary film and to realist strategies in fictional and semifictional film, strategies which in certain areas continue today. For example, in Brazil, Bolivia, Colombia, and elsewhere, documentary filmmaking increasingly embraces work with and by native communities, often through the activities of grassroots video collectives (see indigenous film). Out of the ‘new’ Latin American cinemas of the 1960s came the idea of Latin American cinema as a ‘continental’ project: in 1967, the first forum of New Latin American cinema, attended by cineastes from across the region, took place in Chile. This generation of filmmakers and commentators was prominent in critical and theoretical debates concerning forms of cinema appropriate for a region characterized by underdevelopment and grappling in its own ways with modernization and globalization. The influential concept of Third Cinema, for example, was propounded by Argentine filmmakers Fernando Solanas and Octavio Getino, while Cuban director Julio García Espinosa advocated an ‘imperfect cinema’ as a mode distinctive to Latin America. Today, the notion of ‘precariousness’ is more current. Women filmmakers, feminist cinema, and female-oriented genres have been notable presences in the region, with increasing female participation in every area of film culture—producing, screenwriting and criticism, as well as directing. In Argentina Maria Luisa Bemberg, and in Venezuela Fina Torres, have developed updated feminist takes on melodrama, for example, while women’s documentary groups have flourished in Colombia and Brazil.  ...

Kuhn, A., & Westwell, G. (2020). Latin America, film in. In A Dictionary of Film Studies. Oxford University Press. Retrieved 3 Jun. 2024

In the library's collections/Searching the online catalog

You can start your search here with these subject headings below:

  • motion pictures south america
  • motion picture industry south america
  • motion picture producers and directors south america
  • motion pictures latin america
    Call number range PN 1993.5 .L3 on Baker Stacks Level 4.

Introductory reading(s)

  • Cover art Historical dictionary of South American cinema by Peter H. Rist
    • Book
    Call Number: Baker-Berry PN 1993.5 .S63 R57 2014
    ISBN: 9780810860827
    The Historical Dictionary of South American Cinema covers the long history of cinema in Portuguese-speaking Brazil and the nine Spanish-speaking countries. These films include Los tres berretines, Prisioneros de la tierra, La balandra Isabel llegó esta tarde, La hora de los hornos, El chacal de Nahueltoro, La teta asustada, Abrir puertas y ventanas, El secreto de sus ojos, and NO. This is done through a chronology, an introductory essay, appendixes, and an extensive bibliography. ...
  • Cover art South American cinema: a critical filmography, 1915-1994 by Timothy Barnard; Peter Rist, eds.
    • Book
    Call Number: Baker-Berry PN 1993.5 .S63 S68 1998
    ISBN: 9780292708716
    A distinguished team of contributors has compiled entries on 140 significant South American feature films from the silent era until 1994. The entries discuss each film's subject matter, critical reception, and social and political contexts, as well as its production, distribution, and exhibition history, including technical credits. The entries are grouped by country and arranged chronologically. Both fiction and documentary films (some no longer in existence) are included, as well as extensive title, name, and subject indexes and glossaries of film and foreign terms.
  • Cover art South American cinematic culture: policy, production, distribution and exhibition by Miriam Ross
    • On Campus or VPN
    • E-Book
    Call Number: eBook
    ISBN: 9781443824835
    This study of South American cinema offers a new way of approaching the variety of films available in the region. It brings to light the interconnectivity between state-run institutions (film councils, cinemateques, archives), altruistic bodies (film festival funds, NGOs) and commercial organisations (production companies, exhibitors and distributors). Examples of filmmakers, policy initiatives, funding sources and alternative film networks combine to produce a rich overview of one of the most significant sites for non-Western filmmaking in the twenty-first century. There is an awareness of the place South American cinema has on the international stage and, for this reason, the study involves an in depth look at the way film products are circulated within national boundaries and through external global circuits. ...

Selected book title(s)

  • Cover art South American cinema: a dictionary of film makers by Luis T. Plazaola
    • Book
    Call Number: Baker-Berry PN 1998.2 .T7413 1989
    ISBN: 9780847720118
    Years of film viewing and research went into the compilation of this then comprehensive dictionary of South American film makers published in English.
  • Más allá de la basura: la representación y la voz del recolector informal de materiales reciclables en textos escritos y fílmicos sudamericanos by Meredith Wrigley
    • On Campus or VPN
    • E-Book
    Call Number: eBook
    ISBN: 9788490744147
    Los humanos nos distanciamos instintivamente de la basura y todo lo relacionado con la suciedad y el asco. Pero hay que preguntarse, ¿cómo reaccionamos frente a una persona cuyo trabajo se centra en objetos desechados? ¿Cómo es percibida esta persona? En el mundo entero hay millones de recuperadores informales de materiales reciclables activos, personas que por necesidad económica y a veces elección ejercen una profesión desdeñada y desvalorada. Sudamérica no es una excepción; más bien allí la recolección de materiales reciclables tiene una larga historia y los recuperadores son tan ubicuos que existen numerosos términos para identificarles (hurgadores, clasificadores, cartoneros, basuriegos, botelleros, recogelatas, pepenadores, minadores, chatarreros, recolectores y más). ...

Other library resource(s)

  • Resource logo Latin American cinema from Oxford Bibliographies Online by María Mercedes Vázquez Vázquez
    • On Campus or VPN
    ISBN: 9780199791286
    How might the term “Latin American Cinema” be defined? The term is not exempt from controversy any more than the concept of Latin America itself, which was first imagined by the French Michel Chevalier in the mid-19th century and later coined by the Colombian José María Torres Caicedo. The question of whether a cinema that is specifically Latin American exists and, furthermore, whether it is productive to conduct research from this broad perspective often appears in prologues to Latin American film studies. ...

Finding scholarly articles and journal title(s)

You can find scholarly literature for film and television studies in a variety of journals. However, if you want to do targeted searching, you can use a subject specific database such as Film & Television Literature Index. You can also use the search box at the top of the page.

  • Resource logo Film & television literature index
    • On Campus or VPN
    • Database
    Call Number: Electronic resource
    This index covers over 300 journal and magazine titles for film and television reviews, scholarly and critical analysis of cinema and television, and articles of popular interest about film and television. About half the journals and magazines are film periodicals and the other half cover film and television with some regularity. Subject coverage includes film & television theory, preservation & restoration, writing, production, cinematography, technical aspects, and reviews.
  • Resource logo HAPI (Hispanic American Periodicals Index) online by UCLA
    • On Campus or VPN
    • Database
    Call Number: Electronic resource
    HAPI is a source for worldwide information about Central and South America, Mexico, the Caribbean basin, the United States-Mexico border region, and Hispanics in the United States, with coverage from 1970 to the present.
  • Resource logo Web of science citation databases by Clarivate
    • On Campus or VPN
    • Database
    Call Number: Electronic resource
    The online version of 3 separate ISI indexes: Arts & Humanities Citation Index, Science Citation Index and, Social Sciences Citation Index.

Keeping up with Film Studies journal literature

Want an easy way to keep up with the journal literature for all facets of Film Studies? And you use a mobile device? You can install the BrowZine app and create a custom Bookshelf of your favorite journal titles. Then you will get the Table of Contents (ToCs) of your favorite journals automatically delivered to you when they become available. Once you have the ToC's, you can download and read the articles you want from the journals for which we have subscriptions.

You can get the app from the App Store or Google Play.

Don't own or use a mobile device? You can still use BrowZine! It's also available in a web version. You can get to it here. The web version works the same way as the app version. Find the journals you like, create a custom Bookshelf, get ToCs and read the articles you want.

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  • Last Updated: Jun 11, 2025 2:41 PM
  • URL: https://researchguides.dartmouth.edu/nationalcinemas
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Subjects: Film and Media Studies
Tags: afghanistan, africa, Arts, Australia, Austria, Benelux, Cambodia, Canada, Caribbean, China, Colombia, Cuba, Czech Republic, Czechia, Denmark, Egypt, film_studies, Finland, France, Francophone Africa, Germany, Great Britain, Greece, Hong Kong, Hungary, Iceland, India, Indigenous films, Iran, Ireland, Israel, Netherlands, Nordic cinema, North Africa, Norway, Palestine, Poland, Puerto Rico, Slovakia, Sub-Saharan Africa, Sweden, Switzerland, Taiwan, Turkey, Vietnam, world_cinema, Yugoslavia

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