Contemporary Latin American Cinema investigates the ways in which neoliberal measures of privatization, de-regularization and austerity introduced in Latin America during the 1990s have impacted film production and film narratives. The collection examines the relationship between economic policies and the films that depict recent transformations in many Latin American countries, demonstrating how contemporary Latin American film has not only criticized and resisted, but also benefitted from neoliberal advancements. Based on films produced in Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Mexico and Peru since 2010, the fourteen case studies illustrate neoliberalisms effects, from big industries to small national cinemas. It also shows the new types of producers that have emerged, and the novel patterns of distribution, exhibition and consumption that shape and influence the Latin American filmscape. Through industry studies, reception analyses and close readings, thisbook establishes an informative and accessible text for scholars and students alike.

Claudia Sandberg is a filmmaker and Senior Research and Teaching Fellow at the University of Melbourne, Australia. Her research is concerned with relations between European and Latin American cinemas. Sandberg co-directedPeliculas Escondidas(2016), a documentary about Chilean émigré artists in East Germany, and is co-editor ofThe German Cinema Book 2(2018).

Carolina Rocha is Professor of Spanish at Southern Illinois University Edwardsville, USA. She specializes in contemporary Latin American cinema. She is author ofArgentine Cinema and National Identity (1966-1976) (2017) andMasculinities in Contemporary Argentine Popular Cinema (2012), and editor ofModern Argentine Masculinities (2013) and several other volumes about Latin American film.

1. Contemporary Latin American Cinema and Resistance to Neoliberalism: Mapping the Field (Claudia Sandberg).- 2. Southern Hegemonies and Metaphors of the Global South in También la Lluvia (Alfredo Martínez-Expósito).- 3. Neoliberal Masculinities in Contemporary Peruvian Cinema: Octubre and El limpiador (Rosana Díaz-Zambrana).- 4. New Geographies of Class in Mexican and Brazilian Cinemas: Post Tenebras Lux and Que horas ela volta? (María Mercedes Vázquez Vázquez).- 5. Paraíso ¿Cuánto pesa el amor?: Challenging the Neoliberal in Mexican Cinema (Niamh Thornton).- 6. Güeros: Social Fragmentation, Political Agency, and the Mexican Film Industry under Neoliberalism (Jacobo Asse Dayán).- 7. Negotiating Neoliberal Demands on Contemporary Cinema: The Role and Influence of the Socially Committed Film Producer in Peru (Sarah Barrow).- 8. Larraíns No: A Tale of Neoliberalism (María Paz Peirano).- 9. Crowdfunding Images of Colombia and Ecuador: International Collaborations and Transnational Circulation in a Neoliberal Context (Carolina Rocha).- 10. Argentine Cinema in the Age of Digitization: Between Foreign Dominance and Discussion of Benefits (Andrea Morán and Miguel Fernández Labayen).- 11. Social Cinema in Neoliberal Times: The Macabre Baroque in the Films of Pablo Larraín (Walescka Pino-Ojeda).- 12. Between Armed Conflict, Social Awareness, and the Neoliberal Market: The Case of Alias María (Carlos de Oro).- 13. Maximiliano Schonfelds Films of the Volga Germans in Entre Ríos: About the Neoliberal Devil in Argentine Cinema (Claudia Sandberg).- 14. Community Film in Southern Greater Buenos Aires: Emerging Voices and the Economy of Film as Resistance to Neoliberalism (Andrea Molfetta).