Jump to ContentJump to Main Navigation
Transatlantic StudiesLatin America, Iberia, and Africa$
Users without a subscription are not able to see the full content.

Cecilia Enjuto-Rangel, Sebastiaan Faber, Pedro García-Caro, and Robert Patrick Newcomb

Print publication date: 2019

Print ISBN-13: 9781789620252

Published to Liverpool Scholarship Online: May 2020

DOI: 10.3828/liverpool/9781789620252.001.0001

Show Summary Details
Page of

PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 17 September 2021

Transatlantic Film Studies in the Age of Neoliberalism: Towards a Postnational Cinema?

Transatlantic Film Studies in the Age of Neoliberalism: Towards a Postnational Cinema?

(p.299) Chapter Twenty-Four Transatlantic Film Studies in the Age of Neoliberalism: Towards a Postnational Cinema?
Transatlantic Studies

Antonio Gómez López-Quiñones

Liverpool University Press

This essay argues that specialists in Transatlantic Film Studies need to contextualize their research agendas within the growing intensification of globalizing forces, above all, transnational capitalism. Within this historical context, the customary intellectual praise for aesthetic and cultural hybridity, alterity, self-dislocation and cosmopolitan deterritorialization is, at least, partially misguided. Due to the financial specificities of the film industry and its pervasive social preeminence, Transatlantic Film Studies have been a favorable academic venue to negatively evaluate the constrains, narrowness and reductive essentialism of the nation-state, as well of national communities and traditions. One should not overstate this argumentative gesture for three reasons. First, transatlantic artistic collaborations are never symmetrical and tend to be mediated by strong socio-economic and geopolitical inequalities. Second, the filmic interconnection between Spain and Latin American does not take place vis-a-vis, but under the commercial rules set by the US audiovisual mega-industry. Finally, it is a (partial) mistake to eulogize cultural miscegenation, migrancy and rhizomatic self-proliferation when many emancipatory, anti-imperialist movements have traditionally found and still find traction in autochthonous practices and habits. This is why the idea of a national cinema and specially of a national-popular cinema still deserves a careful, more dialectical attention.

Keywords:   Transatlantic Studies, Latin American cinema, Spanish cinema, Film industry, Transnational aesthetics, Cosmopolitan movies, Global capitalism, Nationalism, Populism, Sovereignty

Liverpool Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.