- The Oxford Handbook of Film and Media Studies
- Digital Media and the Future of Filmic Narrative
- The Latest Laocoön: Medium Specificity and the History of Film Theory
- Visual Media and the Tyranny of the Real
- Radical Aspirations Historicized: The European Commitment to Political Documentary
- Loss of Light: The Long Shadow of Photography in the Digital Age
- Media Celebrity in the Age of the Image
- Film Genre Theory and Contemporary Media: Description, Interpretation, Intermediality
- <i>Gilda</i>: Textual Analysis, Political Economy, and Ethnography
- Television's First Seventy-five Years: The Interpretive Flexibility of a Medium in Transition
- “The End of TV As We Know It”: Convergence Anxiety, Generic Innovation, and the Case of <i>24</i>
- Screen Practice and Conglomeration: How Reflexivity and Conglomeration Fuel Each Other
- The Chinese Action Image and Postmodernity
- When Cute Becomes Scary: The Young Female in Contemporary Japanese Horror Cinema
- Asian Film and Digital Culture
- Popular Cinema and the “New” Media in India
- Dreaming with Open Eyes: Latin American Media in the Digital Age
- The Globalization of Filmmaking in Latin America and the Middle East
- Computers and Cultural Studies
- Film and Media Studies Pedagogy
- Copyright, Fair Use, and Motion Pictures
- Evolution of Modern-Day Independent Filmmaking
- The Digital Revolution
Abstract and Keywords
This article studies Latin American film during the digital age and determines how much of its recent success in the global market is due to the arrival of new technology. It reveals that the technological advances arrived at time when Latin American industries experienced a critical period near the end of the 1980s. Nevertheless, these technologies soon helped in the marketing of Latin American cinema worldwide and provided new levels of technical finesse. The next sections look at the technological transition of Latin American film to digital, and identify the different trends in style and narrative that were used by Latin American filmmakers.
Cristina Venegas is assistant professor in film and media studies at the University of California Santa Barbara. Her teaching and writing focus on Latin American media, Spanish-language media in the United States, international cinema, and cultural studies. Her essays have appeared in various journals and anthologies, including a monograph dealing with cyberculture in Cuba. She has curated numerous film programs on Latin American and indigenous film in the United States and Canada. She is cofounder and artistic director (since 2004) of the Latino CineMedia International Film Festival in Santa Barbara, which is now copresented with the Santa Barbara International Film Festival.
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