Through an analysis of twenty-first-century films created in Latin America, this book makes the case that contemporary filmmakers are using the figure of the father as a metaphor for political leadership and that their work reflects a growing rejection of predatory and coercive authority in the region.
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Janna Jones provides a stunning, tour-de-force analysis of the major assumptions and paradigmatic shifts about history, cinema, and the moving image archive, one that we ignore at our peril in the midst of the overwhelming rush toward digitization.
