Paul Julian Smith, Professor of Spanish and the Head of the Department of Spanish and Portuguese Paul Julian Smith
Macmillan, 2003 - 95 páginas
Amore Perros (2000), directed by first-time filmmaker Alejandro Gonzalez Inarittu, with its intersecting storylines and treatment of urban violence and decay, kick-started a renaissance for Mexico's film industry. "Amores Perros" speaks to an international audience while never oversimplifying its local culture. This study of this film opens up that culture, revealing the film's relationship to television soap operas, pop music and contemporary debates about what it means to be Mexican. Having researched into the production records and interviewed key personnel, Paul Julian Smith also shows how the film came to be such a success, before going on to analyse how its outstanding acting, music and cinematography combine to create this powerful work.
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acoustic adulterous Alejandro González Iñárritu Altavista Altavista Films Amores Perms Amores Perros Amoves Andres audience Ayala baby bedroom Berg camera Cannes car chase car crash characters Charles Ramirez Chivo close-up colour complex contrast Control Machete Control Machete's Cueva Daniel and Valeria daughter dialogue director dogfighting domestic El Chivo film's final Gael Garcia Garcia Canclini genre Goldin's Gonzalez Inarritu graphic Guillermo Arriaga Ibid Jarocho Jorge locations lover Lucha de gigantes Luis Martin Hernandez Maru Maru's melodrama Mexican cinema mexicanidad Mexico City Michel Chion narrative structure Octavio and Susana once Optimum Releasing Perros's plays poodle poster Prieto producer Martha Sosa promotion release reveals Richi Rodrigo Rodrigo Prieto scene Screen International script second episode sequence shoot shot shows soaps social songs sound design soundbridge soundtrack space spectator story street takes telenovela Tell theme three episodes urban visceral visual woman Zeta Films