The disparate styles in which the two films explore these interplays between locality and globality are enabled by the digital technologies that underlie them (slow cinema in Fogo' s case digital manipulation and montage in Placa madre ), even as both movies allude to the rhythms and textures of pre-digital times. Both Fogo (Yulene Olaizola, Mexico/Canada, 2012) and Placa madre (Bruno Varela, Mexico/Bolivia, 2016) are marked by a stark tension between their overtly transnational production contexts and the reverberations of locality that haunt and structure their image- and sound-tracks both are marked as “Mexican” productions but “Mexico” is an absent referent or a distant echo. While both movements are often taken as a given in film production and academic discourses, this article reads two recent Mexico-based independent productions that both embody and interrogate the digital transnationality of contemporary Latin American cinema from the interstices of the arthouse festival circuit and the online experimental or “expanded” audiovisual scene. Two modes of transition are much discussed in contemporary film scholarship: geopolitical/affective (national to transnational) and technological (analogue to digital).
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