Abstract

Latin American film studies has become a significant force since the turn of the millennium, a point that coincided with the emergence of a more commercial approach to fiction cinema from the region in large part due to significant changes in the funding and infrastructural support made available to many Latin American film-makers from the late 1990s onwards, as well as the much greater accessibility of their films due to changes in technology and online developments. Before then there were important tomes from the likes of Robert Stam, John King, Julianne Burton and Michael T. Martin , to name a few, but from 2000 the explosion of academic writing on cinemas to emerge from Latin America has been impossible to ignore. While this is largely very welcome for the increased diversity of voices and approaches that such interest and activity bring, it also makes it far harder for those working in the field to stand out.