Popular Cinemas of Europe

Eleftheriotis, Dimitris

doi:10.5040/9781628928860

Cited by 25 publications

(2 citation statements)

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“…La casa muda's status as a genre film, then,contributed to its ability to reach out internationally via the internet. Scholarly debates surrounding popular genres indicate that whilst some films may be, as Jean-Pierre Jeancolas (1992, 141) argues, 'inexportable'for example, language or cultural associations may prove barriers to enjoyment in other countries, inadvertently enclosing a genre film's circulation to within its nation of production there have been many instances of genre films performing very well across myriad borders, such as the European spaghetti western (Eleftheriotis 2001). The international market for horror films is, of course, well known.…”

Section: Tokio Films: From Youtube To Cannesmentioning

confidence: 99%

What is the ‘Silent House’?: Interpreting the international appeal of Tokio Films’ Uruguayan horror La casa muda/The Silent House

Martin‐Jones

Montañez

2019

Studies in Spanish & Latin-American Cinemas

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This article focuses on the micro-budget Uruguayan horror movie, La casa muda/The Silent House (Hernández, 2010), as exemplar of the difficulties Uruguayan filmmakers face in production and (international) distribution and the innovative means they develop to negotiate these issues. Like many Uruguayan films, La casa muda premiered internationally (at the Cannes Film Festival) and, as outlined in the article, it follows a similar aesthetic and narrative 'backgrounding' of the nation (the deliberate erasure of indicators of national identity, such as national monuments) to that of Uruguayan art films. Nevertheless, its production history and journey to international prominence remains rather unique. This distinction reinforces the importance of the festival circuit in facilitating production and distribution of Uruguayan art films, but, alsoas is less often discussedthe television industry and especially the internet as counterbalances to the dominance of Hollywood's outreach in the region. Moreover, the 'ambiguous' nature of the film's narrative and iconographic content illustrates how Uruguayan filmmakers simultaneously meet, and depart from, international audience expectations. Ultimately, La casa muda is not of interest specifically for being a Latin American horror film, but because it travelled internationally using the same distribution platforms (the festival circuit, DVD release), and aesthetic

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Section: Tokio Films: From Youtube To Cannesmentioning

confidence: 99%

What is the ‘Silent House’?: Interpreting the international appeal of Tokio Films’ Uruguayan horror La casa muda/The Silent House

Martin‐Jones

Montañez

2019

Studies in Spanish & Latin-American Cinemas

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“…Firstly, an article (co-written with María Soledad Montañez ) in which we argued that the geopolitics of the international film festival circuit, and in particular its funding competitions, led filmmakers in some small countries to either deliberately background, or erase, nationalspecificity from their films (2013). We dubbed this practice, 'auto-erasure', as distinct from the more well-known 'auto-ethnography' (Chow 1995;Eleftheriotis 2001;Martin-Jones 2009). The findings of this article have a similar impact on how we understand the situatedness of the transnational turn within the wider study of world cinema.…”

Section: Transnational Interrogationmentioning

confidence: 99%

Transnational turn or turn to world cinema?

Martin‐Jones

2019

Transnational Screens

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is Professor of Film Studies, University of Glasgow, UK. His research engages with what it means to study a world of cinemas. He is the author/editor of eight books, including Cinema Against Doublethink (2018). He has published in numerous journals (including Cinema Journal, Screen and Third Text), co-edits the Bloomsbury monograph series Thinking Cinema, and serves on the editorial boards of Film-Philosophy and Deleuze and Guattari Studies.This article considers whether the transnational turn is not, in fact, part of something much larger -a turn to world cinema ongoing since the 1980s. The reason why this may not be self-evident, the article speculates, is due to the prominence of the turn to history for how the field of Film Studies is typically understood to have been shaped since the 1980s. The obscuring of what may be a rather different emphasis takes place, in part at least, because of a historiographical emphasis in the Film Studies canon on Anglo-American scholarship exploring Western cinemas. At the very least, the turn to history, in certain respects, shares similarities with how research into world cinema is conducted. Thus, whether or not this is indeed the reason (as this article remains speculative), it is nevertheless the case -this article argues -that what may bring many scholars of transnational cinema together is a politically-engaged approach to film which is shared by much scholarship on world cinema.At the very least, then, discussion of the transnational turn should take into consideration the possibility that what is being realised may in fact be a turn to world cinema.

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2011

Cult Cinema

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Popular Cinemas of Europe

Cited by 25 publications

References 0 publications

What is the ‘Silent House’?: Interpreting the international appeal of Tokio Films’ Uruguayan horror La casa muda/The Silent House

What is the ‘Silent House’?: Interpreting the international appeal of Tokio Films’ Uruguayan horror La casa muda/The Silent House

Transnational turn or turn to world cinema?

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