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By Chon A. Noriega

Within the present "global" second, the examine of Latin American cinema has develop into insistently nationwide -- a phenomenon totally explored during this number of essays via essentially the most attention-grabbing and leading edge students of media and Latin American tradition operating today.

The individuals to noticeable countries think about varied nationwide movie and video histories in Latin the US because the silent interval. From the views of feminism, psychoanalysis, new historicism, and reception thought, between others, they think about the types by which -- and the ends towards which -- the kingdom has been represented, wanted, and contested in motion pictures, movie industries, and replacement video paintings in Mexico, Chile, Venezuela, Brazil, Colombia, and Cuba. the result's not anything below a rewriting of Latin American movie history.

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By blocking the actors toward (or away from) a static camera, Rosas would, for example, transform a LS into a MS (or vice versa), as exemplified by the Gonzalez-Navarrete confrontation (shots 220—25), in which the actors move from an extreme long shot (ELS) to a MLS. A marvelous example of this comes in the robbery of Gonzalez's house. To get Gonzalez to tell where his money is hidden, Granada and company take him out to the patio and threaten him. In a LS and in one long take (shot 126, 52 seconds), Gonzalez is given an ultimatum, then blindfolded and readied for execution (fig.

David Cook comments on the relatively restrained acting of the Italian silent cinema. See his A History of Narrative Film (New York: W. W. , 1990), 60. 40. Garcia Riera disagrees, saying that the addition of sound frequently made the actions look ridiculous and the acting look theatrical; Historia del cine mexicano, 47. 41. Bonnard, ''Elautomovilgris," 102. 42. Commenting on camera movement in silent Italian cinema, Kristin Thompson and David Bordwell note that Cabirias tracking shots were the most influential of the period.

As I mentioned above, one key difference was that until 1917, Mexican film production was almost exclusively a documentary practice. Representatives of the Lumiere brothers shot and exhibited their actualites (brief documentaries) in Mexico in 1896, and when Mexican film entrepreneurs like Salvador Toscano Barragan and Enrique Rosas began producing their own films, they found a lively market for such views of the nation. S. 12 The onset of the Mexican Revolution (1910-20) was an impetus to continue in this vein, as newsreel footage brought the civil war to life for thousands of Mexican spectators.

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