Robert Rodriguez stands alone as the most successful U.S. Latino filmmaker today, whose work has single-handedly brought U.S. Latino filmmaking into the mainstream of twenty-first-century global cinema. Rodriguez is a prolific (eighteen films in twenty-one years) and all-encompassing filmmaker who has scripted, directed, shot, edited, and scored nearly all his films since his first breakout success, El Mariachi, in 1992. With new films constantly coming out and the launch of his El Rey Network television channel, he receives unceasing coverage in the entertainment media, but systematic scholarly study of Rodriguez’s films is only just beginning.
The Cinema of Robert Rodriguez offers the first extended investigation of this important filmmaker’s art. Accessibly written for fans as well as scholars, it addresses all of Rodriguez’s feature films through Spy Kids 4 and Machete Kills, and his filmmaking process from initial inspiration, to script, to film (with its myriad visual and auditory elements and choices), to final product, to (usually) critical and commercial success. In addition to his close analysis of Rodriguez’s work, Frederick Luis Aldama presents an original interview with the filmmaker, in which they discuss his career and his relationship to the film industry. This entertaining and much-needed scholarly overview of Rodriguez’s work shines new light on several key topics, including the filmmaker’s creative, low-cost, efficient approach to filmmaking; the acceptance of Latino films and filmmakers in mainstream cinema; and the consumption and reception of film in the twenty-first century.
Frederick Aldama’s The Cinema of Robert Rodriguez (2014) was the first full-scale study of one of the most prolific and significant Latino directors making films today. In this companion volume, Aldama enlists a corps of experts to analyze a majority of Rodriguez’s feature films, from his first break-out success El Mariachi in 1992 to Machete in 2010. The essays explore the formal and thematic features present in his films from the perspectives of industry (context, convention, and distribution), the film blueprint (auditory and visual ingredients), and consumption (ideal and real audiences). The authors illuminate the manifold ways in which Rodriguez’s films operate internally (plot, character, and event) and externally (audience perception, thought, and feeling).
The volume is divided into three parts: “Matters of Mind and Media” includes essays that use psychoanalytic and cognitive psychology to shed light on how Rodriguez’s films complicate Latino identity, as well as how they succeed in remaking audiences’ preconceptions of the world. “Narrative Theory, Cognitive Science, and Sin City: A Case Study” offers tools and models of analysis for the study of Rodriguez’s film re-creation of a comic book (on which Frank Miller was credited as codirector). “Aesthetic and Ontological Border Crossings and Borderlands” considers how Rodriguez’s films innovatively critique fixed notions of Latino identity and experience, as well as open eyes to racial injustices. As a whole, the volume demonstrates how Rodriguez’s career offers critical insights into the filmmaking industry, the creative process, and the consuming and reception of contemporary film.
More than two decades after serving as a juror on the high-profile seven-month murder trial People v. Erik Galen Menendez, Hazel Thornton updates her book Hung Jury with a new preface and a postscript essay of observations about the Menendez brothers’ second trial. Includes psychological commentary by Lawrence S. Wrightsman and Amy J. Posey, and legal commentary by Alan Scheflin.
The food-obsessed chronicle of an American’s three years in Italy—now available in paperback
I simply want to live in the place with the best food in the world. This dream led Eric Dregni to Italy, first to Milan and eventually to a small, fog-covered town to the north: Modena, the birthplace of balsamic vinegar, Ferrari, and Luciano Pavarotti. Never Trust a Thin Cook is a classic American abroad tale, brimming with adventures both expected and unexpected, awkward social moments, and most important, very good food.
Parmesan thieves. Tortellini based on the shape of Venus’s navel. Infiltrating the secret world of the balsamic vinegar elite. Life in Modena is a long way from the Leaning Tower of Pizza (the south Minneapolis pizzeria where Eric and his girlfriend and fellow traveler Katy first met), and while some Italians are impressed that “Minnesota” sounds like “minestrone,” they are soon learning what it means to live in a country where the word “safe” doesn’t actually exist—only “less dangerous.” Thankfully, another meal is always waiting, and Dregni revels in uncorking the secrets of Italian cuisine, such as how to guzzle espresso “corrected” with grappa and learning that mold really does make a good salami great.
What begins as a gastronomical quest soon becomes a revealing, authentic portrait of how Italians live and a hilarious demonstration of how American and Italian cultures differ. In Never Trust a Thin Cook, Eric Dregni dishes up the sometimes wild experiences of living abroad alongside the simple pleasures of Italian culture in perfect, complementary portions.
On October 3, 1968, a military junta led by General Juan Velasco Alvarado took over the government of Peru. In striking contrast to the right-wing, pro–United States/anti-Communist military dictatorships of that era, however, Velasco’s “Revolutionary Government of the Armed Forces” set in motion a left-leaning nationalist project aimed at radically transforming Peruvian society by eliminating social injustice, breaking the cycle of foreign domination, redistributing land and wealth, and placing the destiny of Peruvians into their own hands. Although short-lived, the Velasco regime did indeed have a transformative effect on Peru, the meaning and legacy of which are still subjects of intense debate.
The Peculiar Revolution revisits this fascinating and idiosyncratic period of Latin American history. The book is organized into three sections that examine the era’s cultural politics, including not just developments directed by the Velasco regime but also those that it engendered but did not necessarily control; its specific policies and key institutions; and the local and regional dimensions of the social reforms it promoted. In a series of innovative chapters written by both prominent and rising historians, this volume illuminates the cultural dimensions of the revolutionary project and its legacies, the impact of structural reforms at the local level (including previously understudied areas of the country such as Piura, Chimbote, and the Amazonia), and the effects of state policies on ordinary citizens and labor and peasant organizations.
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