Category Archives: Cinearte

It is a film by Petra Costa about Bolsonaro and it is opening in San Francisco January 5, although it is almost a year old and is apparently available on Netflix already. Apparently it is very important and we should show it in class if there is any way to justify doing something in Portuguese.

Axé.

Jerónimo Arellano has an article in RHM (2016) called “The screenplay in the archive: screenwriting, new cinemas, and the Latin American boom.” The boom novelists also wrote screenplays, not all of which were published. This raises a number of interesting questions I am interested in the article primarily for purposes of course creation. Could one not read boom novels and screenplays together, and watch boom films?

It seems that the Cineteca Nacional and Escuela de Cine Universidad Mayor in Chile have published a series of ten key Chilean screenplays. One could get these, and any films that have been made with them, and there would be a course. Similar projects have been undertaken by the Asociación de Guionistas Colombianos and the Instituto Mexicano de Cinematografía, in collaboration with the Editorial El Milagro.

(Note how this post would be a perfect item for a file for me in Evernote, about courses, and it would be connected to the stable URL of the article, and everything.)

The corpus in question includes screenplays, teleplays, and film treatments written by García Márquez, Vargs Llosa, Cortázar, Donoso and Cabrera Infante during the 1960s and 70s. There is some work on the connection between the Boom and a/v, and between literature and cinema (see the article, p. 116), and Fuentes’ adaptation of “¿No oyes ladrar a los perros?” and Antonioni’s of “Las babas del diablo” are well known. Vargas Llosa wrote one in 1972 for Os sertões. García M.’s Tiempo de morir (1965) is an allegorical Western. Indeed, the Boom writers appear to form a screenwriting collective of sorts (see further examples, p. 117 and beyond; Rimbaud and Juan Goytisolo are involved, as well as connections Idelber and Brett have made between all of this and “Latin Americanism”).

A keyword here would be transmedia studies, transmedia poetics. Consider the concept “nuevo guión hispanoamericano” (p. 119). Fuentes had 32 film projects that were not made into films, but whose existence makes a difference to the understanding of what the boom was. (And note: there is my languishing article on nueva canción; this is all of a piece somehow.) The screenplay of the boom is “born literary,” says Arellano. NOTE: this means that the Boom writers did not always insist on the primacy of the author (pace Beverley)?

Axé.