Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgements
- List of Contributors
- Preface
- 1 National, Transnational and Post-national: Issues in Contemporary Film-making in the Hispanic World
- 2 Redefining Transnational Cinemas: A Transdisciplinary Perspective
- 3 Deconstructing and Reconstructing ‘Transnational Cinema’
- 4 Ibero-Latin American Co-productions: Transnational Cinema, Spain's Public Relations Venture or Both?
- 5 Building Latin American Cinema in Europe: Cine en Construcción/Cinéma en construction
- 6 Pedro Almodóvar's Latin American ‘Business’
- 7 Transnational Film Financing and Contemporary Peruvian Cinema: The Case of Josué Méndez
- 8 The Silenced Screen: Fostering a Film Industry in Paraguay
- 9 Finance and Co-productions in Brazil
- Afterword
- Works Cited
- Index
8 - The Silenced Screen: Fostering a Film Industry in Paraguay
Published online by Cambridge University Press: 05 September 2013
- Frontmatter
- Dedication
- Contents
- Acknowledgements
- List of Contributors
- Preface
- 1 National, Transnational and Post-national: Issues in Contemporary Film-making in the Hispanic World
- 2 Redefining Transnational Cinemas: A Transdisciplinary Perspective
- 3 Deconstructing and Reconstructing ‘Transnational Cinema’
- 4 Ibero-Latin American Co-productions: Transnational Cinema, Spain's Public Relations Venture or Both?
- 5 Building Latin American Cinema in Europe: Cine en Construcción/Cinéma en construction
- 6 Pedro Almodóvar's Latin American ‘Business’
- 7 Transnational Film Financing and Contemporary Peruvian Cinema: The Case of Josué Méndez
- 8 The Silenced Screen: Fostering a Film Industry in Paraguay
- 9 Finance and Co-productions in Brazil
- Afterword
- Works Cited
- Index
Summary
En Hamaca paraguaya, el silencio es político, es cierto, pero yo quería que fuera también humano. Nosotros tenemos largas historias de guerras perdidas, otras ganadas (pero también perdidas), de dictaduras que nos han callado y que terminaron […] pero no terminaron, y eso es algo que se siente en este país, y afecta principalmente a la humanidad de la gente.
In Hamaca paraguaya (Paraguayan Hammock), the silence is political, it's true, but I also wanted it to be human. We have long histories of lost wars, other wars that were won (but also lost), of dictatorships that have silenced us and that ended […] but they haven't ended, and that is something that one feels in this country, and it fundamentally affects people's humanity.
The above comments by Paz Encina on her internationally acclaimed debut feature Hamaca paraguaya (Paraguayan Hammock; 2006) suggest much about Paraguay as a nation and, by extension, the situation of filmmaking there. Paraguay's history has certainly been marked by war and poverty, but perhaps the event that has most marked recent decades is that it endured the longest-standing dictatorship in South America, which led to a repression that imposed an atmosphere of silence, fear, and isolation and whose effects reverberate to the present day, both in terms of the content of the films made in Paraguay and in terms of the ongoing battle for these films to be made and seen.
- Type
- Chapter
- Information
- Contemporary Hispanic CinemaInterrogating the Transnational in Spanish and Latin American Film, pp. 155 - 180Publisher: Boydell & BrewerPrint publication year: 2013