Tamara Falicov | University of Missouri Kansas City (original) (raw)
Books by Tamara Falicov
Papers by Tamara Falicov
Transnational Cinemas, 2013
ABSTRACT
The Spectator, 2007
An academic directory and search engine.
Public, Sep 18, 2012
This essay examines uses of mobile cinemas in Cuba utilized after the Cuban Revolution of 1959. L... more This essay examines uses of mobile cinemas in Cuba utilized after the Cuban Revolution of 1959. Like Russian agit-prop trains that filmed peasants and screened films in the countryside after the 1917 Revolution, Cuban cines moviles also emphasized bringing cinema to the rural provinces. In the Cuban case, cinema was used both in educational and entertainment contexts, in the hope that rural areas might be integrated into the nation-building project led by Castro's socialist government. These cinemas were a sign of progress and of modernity for the revolutionary government, and a means of communication with a historically disenfranchised population. Hand-in-hand with this project was a movement for better healthcare as well as a literacy campaign that were mobilized concurrently. These "basic needs" projects worked together with the "mass education and entertainment" mobile cinema project. Cinema, in the form of 16mm projectors and films, was transported in a variety of ways: trucks, mules, and even fishing boats were equipped with film projectors, so that the fishermen would have a place in the evenings to watch films. In 1962, there were over 1.2 million spectators throughout the country; by 1976, there were over three million viewers. 1 By examining the processes and discourses surrounding the use of Cuban cines moviles via Cuban cinema histories, such as Michael Chanan's Cuban Cinema and articles in selected issues of Cine cubano, I am interested in how mobile film vehicles were utilized as a tool for development, cultural growth, entertainment, and political cd
Revista Reflexiones, Mar 5, 2012
auspiciado por España, Portugal y dieciocho países miembros en Latino América. Su propósito es pr... more auspiciado por España, Portugal y dieciocho países miembros en Latino América. Su propósito es promover el desarrollo de proyectos dirigidos al mercado de Ibero-América. Fundado principalmente por España y ubicado allí, este fondo para films recibe fondos de cada país miembro para ser incluidos en un fondo audiovisual Ibero-Americano. Este trabajo explora el mecanismo del fondo de co-producción para comprender cómo los imperativos económicos determinan las explicaciones cuando se incluyen actores españoles en films Latino Americanos, para así cumplir con los requisitos "técnicos-artísticos" de una co-producción Ibero-Americana. Mientras que el Programa Ibermedia ha resultado ser una exitosa fuente de fondos, especialmente para los países menos desarrollados de Latino America, se han hecho observaciones críticas que sugieren que España es el mayor beneficiario de todos. Palabras claves: Ibermedia, co-producción, cine transnacional, cine latinoamericano, industrias culturales ibero-americanas.
Framework, Apr 1, 2003
An academic directory and search engine.
The International Encyclopedia of Media Studies, 2012
The Routledge Companion to Latin American Cinema, Marvin D'Lugo, Ana M. Lopez, and Laura Podalsky, editors, 2017
State funding is arguably the most essential component in fostering a film industry in Latin Amer... more State funding is arguably the most essential component in fostering a film industry in Latin America. This chapter examines the histories of various film institutes throughout the region to understand how these state-run funding bodies have diversified their roles and policy mechanisms throughout the region in order to help sustain national film industries . The state has been fundamental in enforcing laws to help foster national film industry growth through film institute programmes, support to the private sector via legislation and funding to film schools. Moreover, more recently, it has boosted its assistance in marketing and branding national cinema, along with its commitment to foster transnational exchange with the Ibero-American film finance fund , Programa Ibermedia. Methodologically, the research takes a historical and comparative approach to various state funding mechanisms, with an emphasis on the most established industries, Argentina, Brazil and Mexico. I argue that neoliberalism, or the shift from a state-funded system to a privately owned market economy, is not solely an economic policy but also a cultural one. As Latin American public film policies have turned neoliberalist, they have taken on branding and marketing policies as dominant ideology.
Transnational Cinemas, 2013
Maria Delgado, Stephen Hart and Randal Johnson, Eds. A Companion to Latin American Cinema. Wiley-... more Maria Delgado, Stephen Hart and Randal Johnson, Eds. A Companion to Latin American Cinema. Wiley-Blackwell, April 2017, pp. 85-98.
More info here
http://www.wiley.com/WileyCDA/WileyTitle/productCd-1118552881.html
Email me if you are interested in learning more
This essay explores how film festivals are gaining prestige and film content for their premiere r... more This essay explores how film festivals are gaining prestige and film content for their premiere rosters by increasingly working as cultural intermediaries in the development, production, post-production and distribution of films often produced from the Global South for European, Asian, Middle Eastern, and U.S. film festivals. A historical overview of funds is delineated (with a chart included that describes various funds in detail). The question of how a "festival film" might be defined, as well as the implications of having festivals fund art house films are discussed. Finally, a step-by-step guide for filmmakers who might access these funds is described.
This chapter will examine contemporary film industries in Latin America more generally, to demons... more This chapter will examine contemporary film industries in Latin America more generally, to demonstrate what these industries share in common: dependence on state support to survive, and a relationship of subordination to Hollywood film, which dominates in exhibition, distribution, and, with more commercial fare, in production as well. Data concerning both production and various alliances between Hollywood studios and Latin American film industries -as reflected for instance in the history of runaway production in the region -will be juxtaposed to screen quota legislation passed in Argentina a decade later. These issues raise perennially thorny questions regarding Hollywood's history of hegemony in Latin America.
From: Revista Reflexiones 91 (1): 299-312, 2012. El Programa Ibermedia (de aquí en adelante, I... more From: Revista Reflexiones 91 (1): 299-312, 2012.
El Programa Ibermedia (de aquí en adelante, Ibermedia) es un fondo de co-producción de films auspiciado
por España, Portugal y dieciocho países miembros en Latino América. Su propósito es promover
el desarrollo de proyectos dirigidos al mercado de Ibero-América. Fundado principalmente por España
y ubicado allí, este fondo para films recibe fondos de cada país miembro para ser incluidos en un fondo
audiovisual Ibero-Americano. Este trabajo explora el mecanismo del fondo de co-producción para
comprender cómo los imperativos económicos determinan las explicaciones cuando se incluyen actores
españoles en films Latino Americanos, para así cumplir con los requisitos “técnicos-artísticos” de una
co-producción Ibero-Americana. Mientras que el Programa Ibermedia ha resultado ser una exitosa
fuente de fondos, especialmente para los países menos desarrollados de Latino America, se han hecho
observaciones críticas que sugieren que España es el mayor beneficiario de todos.
Palabras claves: Ibermedia, co-producción, cine transnacional, cine latinoamericano, industrias culturales
ibero-americanas.
The Contemporary Hollywood Film Industry, 2008
Transnational Cinemas, 2013
ABSTRACT
The Spectator, 2007
An academic directory and search engine.
Public, Sep 18, 2012
This essay examines uses of mobile cinemas in Cuba utilized after the Cuban Revolution of 1959. L... more This essay examines uses of mobile cinemas in Cuba utilized after the Cuban Revolution of 1959. Like Russian agit-prop trains that filmed peasants and screened films in the countryside after the 1917 Revolution, Cuban cines moviles also emphasized bringing cinema to the rural provinces. In the Cuban case, cinema was used both in educational and entertainment contexts, in the hope that rural areas might be integrated into the nation-building project led by Castro's socialist government. These cinemas were a sign of progress and of modernity for the revolutionary government, and a means of communication with a historically disenfranchised population. Hand-in-hand with this project was a movement for better healthcare as well as a literacy campaign that were mobilized concurrently. These "basic needs" projects worked together with the "mass education and entertainment" mobile cinema project. Cinema, in the form of 16mm projectors and films, was transported in a variety of ways: trucks, mules, and even fishing boats were equipped with film projectors, so that the fishermen would have a place in the evenings to watch films. In 1962, there were over 1.2 million spectators throughout the country; by 1976, there were over three million viewers. 1 By examining the processes and discourses surrounding the use of Cuban cines moviles via Cuban cinema histories, such as Michael Chanan's Cuban Cinema and articles in selected issues of Cine cubano, I am interested in how mobile film vehicles were utilized as a tool for development, cultural growth, entertainment, and political cd
Revista Reflexiones, Mar 5, 2012
auspiciado por España, Portugal y dieciocho países miembros en Latino América. Su propósito es pr... more auspiciado por España, Portugal y dieciocho países miembros en Latino América. Su propósito es promover el desarrollo de proyectos dirigidos al mercado de Ibero-América. Fundado principalmente por España y ubicado allí, este fondo para films recibe fondos de cada país miembro para ser incluidos en un fondo audiovisual Ibero-Americano. Este trabajo explora el mecanismo del fondo de co-producción para comprender cómo los imperativos económicos determinan las explicaciones cuando se incluyen actores españoles en films Latino Americanos, para así cumplir con los requisitos "técnicos-artísticos" de una co-producción Ibero-Americana. Mientras que el Programa Ibermedia ha resultado ser una exitosa fuente de fondos, especialmente para los países menos desarrollados de Latino America, se han hecho observaciones críticas que sugieren que España es el mayor beneficiario de todos. Palabras claves: Ibermedia, co-producción, cine transnacional, cine latinoamericano, industrias culturales ibero-americanas.
Framework, Apr 1, 2003
An academic directory and search engine.
The International Encyclopedia of Media Studies, 2012
The Routledge Companion to Latin American Cinema, Marvin D'Lugo, Ana M. Lopez, and Laura Podalsky, editors, 2017
State funding is arguably the most essential component in fostering a film industry in Latin Amer... more State funding is arguably the most essential component in fostering a film industry in Latin America. This chapter examines the histories of various film institutes throughout the region to understand how these state-run funding bodies have diversified their roles and policy mechanisms throughout the region in order to help sustain national film industries . The state has been fundamental in enforcing laws to help foster national film industry growth through film institute programmes, support to the private sector via legislation and funding to film schools. Moreover, more recently, it has boosted its assistance in marketing and branding national cinema, along with its commitment to foster transnational exchange with the Ibero-American film finance fund , Programa Ibermedia. Methodologically, the research takes a historical and comparative approach to various state funding mechanisms, with an emphasis on the most established industries, Argentina, Brazil and Mexico. I argue that neoliberalism, or the shift from a state-funded system to a privately owned market economy, is not solely an economic policy but also a cultural one. As Latin American public film policies have turned neoliberalist, they have taken on branding and marketing policies as dominant ideology.
Transnational Cinemas, 2013
Maria Delgado, Stephen Hart and Randal Johnson, Eds. A Companion to Latin American Cinema. Wiley-... more Maria Delgado, Stephen Hart and Randal Johnson, Eds. A Companion to Latin American Cinema. Wiley-Blackwell, April 2017, pp. 85-98.
More info here
http://www.wiley.com/WileyCDA/WileyTitle/productCd-1118552881.html
Email me if you are interested in learning more
This essay explores how film festivals are gaining prestige and film content for their premiere r... more This essay explores how film festivals are gaining prestige and film content for their premiere rosters by increasingly working as cultural intermediaries in the development, production, post-production and distribution of films often produced from the Global South for European, Asian, Middle Eastern, and U.S. film festivals. A historical overview of funds is delineated (with a chart included that describes various funds in detail). The question of how a "festival film" might be defined, as well as the implications of having festivals fund art house films are discussed. Finally, a step-by-step guide for filmmakers who might access these funds is described.
This chapter will examine contemporary film industries in Latin America more generally, to demons... more This chapter will examine contemporary film industries in Latin America more generally, to demonstrate what these industries share in common: dependence on state support to survive, and a relationship of subordination to Hollywood film, which dominates in exhibition, distribution, and, with more commercial fare, in production as well. Data concerning both production and various alliances between Hollywood studios and Latin American film industries -as reflected for instance in the history of runaway production in the region -will be juxtaposed to screen quota legislation passed in Argentina a decade later. These issues raise perennially thorny questions regarding Hollywood's history of hegemony in Latin America.
From: Revista Reflexiones 91 (1): 299-312, 2012. El Programa Ibermedia (de aquí en adelante, I... more From: Revista Reflexiones 91 (1): 299-312, 2012.
El Programa Ibermedia (de aquí en adelante, Ibermedia) es un fondo de co-producción de films auspiciado
por España, Portugal y dieciocho países miembros en Latino América. Su propósito es promover
el desarrollo de proyectos dirigidos al mercado de Ibero-América. Fundado principalmente por España
y ubicado allí, este fondo para films recibe fondos de cada país miembro para ser incluidos en un fondo
audiovisual Ibero-Americano. Este trabajo explora el mecanismo del fondo de co-producción para
comprender cómo los imperativos económicos determinan las explicaciones cuando se incluyen actores
españoles en films Latino Americanos, para así cumplir con los requisitos “técnicos-artísticos” de una
co-producción Ibero-Americana. Mientras que el Programa Ibermedia ha resultado ser una exitosa
fuente de fondos, especialmente para los países menos desarrollados de Latino America, se han hecho
observaciones críticas que sugieren que España es el mayor beneficiario de todos.
Palabras claves: Ibermedia, co-producción, cine transnacional, cine latinoamericano, industrias culturales
ibero-americanas.
The Contemporary Hollywood Film Industry, 2008
Studies in Hispanic Cinemas, Vol. 9, No. 2, pp. 115-119, Nov 2012
This is a lecture I gave at the University of the West Indies (UWI) St. Augustine, Trinidad on Mo... more This is a lecture I gave at the University of the West Indies (UWI) St. Augustine, Trinidad on Monday, September 28, 2015. Please let me know if you decide to use it in your classes or any other use (tfalicov@ku.edu) . The talk is the result of a forthcoming book chapter.
State funding is arguably the most essential component in fostering a regional film industry in L... more State funding is arguably the most essential component in fostering a regional film industry in Latin America. This chapter examines the histories of various film institutes throughout the region to understand how these state-run funding bodies have diversified their roles and policy mechanisms throughout the region in order to help sustain national film industries. The state has been fundamental in enforcing laws to help foster national film industry growth through film institute programmes, support to the private sector via legislation, and funding to film schools. Moreover, more recently, it has boosted its assistance in marketing and branding national cinema, along with its commitment to foster transnational exchange with the Ibero-American film finance fund, Programa Ibermedia. Methodologically, the research takes a historical and comparative approach to various state funding mechanisms, with an emphasis on the most established industries, Argentina, Brazil, and Mexico. I argue that neoliberalism, or the shift from a state funded system to a privately owned market economy is not solely an economic policy, but also a cultural one. As Latin American public film policies have turned neoliberalist, they have taken on branding and marketing policies as dominant strategy.