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Navitski, Rielle, and Nicolas Poppe. Cosmopolitan Film Cultures in Latin America, 1896-1960., 2017

In the Colonial and Post-Colonial context, before and after Latin America was called as such and its nations were imagined, significant parts of the territory and its people were participants of what we now call Globalization. While this idea is common currency in the fields of History and Literary Studies, most film scholars tend to focus their inquiry on global flows and exchanges within in the last two decades of the twentieth century. In fact, there is abundant literature about the crisis of national cinemas and the advent of globalization in the context of the Neo-Liberal reform of the late 1980s and early 1990s. Breaking away from such narrow approach, Navitski and Poppe’s Cosmopolitan Film Cultures in Latin America explain the complex ways in which the emergence, development and consolidation of Latin American film markets and industries deliberately engaged the multiple expressions of European and North-American cinema. This is perhaps the most important contribution of this book: following the seminal work of scholars like Ana López[1], it shows the existence of economic and cultural exchanges between metropolitan film-exporting nations and the Latin American public. To this end, eleven contributors expose the political and ethical implications of cultural consumption of moving images. These chapters cover more than six decades of film history characterized by radical transformations and, while doing this, carefully reveal the negotiations between the local, the national, and the global; the tensions between the popular and the elite; the exchanges between audiences, critics and distributors.

[1] López, Ana M. ‘Early Cinema and Modernity in Latin America’, Cinema Journal, 40 (2000),  48-78.