Titlebook: Humor in Latin American Cinema; Juan Poblete,Juana Suárez Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 cinema.Comic.film

冰雹

Invasion of the ,! Mocking Social Prejudice in Contemporary Mexican Cinema,el García Bernai) Verduzco, in a society unaccustomed to social mobility. From its very start, taking on an Argentine soccer talent scout—a caricature of a cliché-ridden social climber—as narrator, the film parodies the rigidity of Mexican society, reticent to accept the cultural production and habi

enflame

Humorous Affects: Romantic Comedies in Contemporary Mexico, is the most recent reminder of the role of the romantic comedy as a dominant genre in Mexican cinema. . is the latest iteration of a remarkable process of change and consolidation of the Mexican film industry in the neoliberal era. Since the release of . “Love in the Time of AIDS” (Alfonso Cuarón 1

Alcove

Felicitous

A Sense of Humor and Society in Three Chilean Comedies: ,, and ,. My contention is that, through humor, these three films evidence the dual nature of neoliberal globalization in Chile and, more specifically, a certain dominant and widely spread Chilean self-understanding within this transformation. The three comedies outline an arc that goes from the external sa

Obituary

Backwardness and Modernity in the Rural Tradition of Mazzaropi Comedies,later, in 1952, he would make his film debut in a movie entitled . (.), which told, in a humorous way, of the everyday adventures of a country man in a big city, S?o Paulo. This circularity was very important to develop a language marked by the crossing intersection of media, as evidenced by Luiz Otavio de Santi:

Asseverate

cleaver

1554-4028 omedy of manners and light sexuality, iconic figures and characters, as well as a variety of humor registers evident in different Latin American films..978-1-137-54357-8Series ISSN 1554-4028 Series E-ISSN 2634-520X

新鮮

Cinema and Humor in Latin America: An Introduction, Chile (., 2012), Argentina (., 2013), and Mexico (., 2013), the most successful national film ever is a very recent comedy. Even more strikingly, in Brazil and Chile, seven out of ten of the most popular films are comedies (one of them examined here by Poblete).

皮薩

,The Laugh of Niní Marshall: Comic Performance and Gender Performativity in Argentinean Classical Ciciety: immigrants and urban popular sectors, and specially the women within those groups. However, like Helene Cixous’ version of the myth of Medusa,. the female characters created by Niní Marshall laugh about stereotyped roles assigned to women by classical film narrative.

Narcissist