Co-production as co-option: repackaging the national for the global market in Rio, I Love You and The 33
Co-production as co-option: repackaging the national for the global market in Rio, I Love You and The 33
This article explores two Latin American-US co-productions, Rio, Eu Te Amo (Rio, I Love You) (2014) and Los 33 (The 33) (2015). I examine the extent to which these films, otherwise disparate in form and content, provide a space for addressing issues of national identity and history within a context of international filmmaking practices. Simultaneously, the films present universalized and homogenized facets that subsume rather than promote their cultural specificity in the interests of wider accessibility and marketability. This attribute is refracted in, and arguably a product of, the multinational financing, casts and crews, and local distribution through major US companies. I also look at the films’ reception, global and local, with regard to their being perceived as distinctly, and distinctively ‘Brazilian’ or ‘Chilean’.
(mis)representation, Co-production, Globalization, National cinema, Omnibus films, Rio, I Love You, The 33
157-170
O’Brien, Daniel
90959751-0e8d-40b4-8de9-483a7cedfb1a
September 2018
O’Brien, Daniel
90959751-0e8d-40b4-8de9-483a7cedfb1a
O’Brien, Daniel
(2018)
Co-production as co-option: repackaging the national for the global market in Rio, I Love You and The 33.
New Cinemas, 16 (2), .
(doi:10.1386/ncin.16.2.157_1).
Abstract
This article explores two Latin American-US co-productions, Rio, Eu Te Amo (Rio, I Love You) (2014) and Los 33 (The 33) (2015). I examine the extent to which these films, otherwise disparate in form and content, provide a space for addressing issues of national identity and history within a context of international filmmaking practices. Simultaneously, the films present universalized and homogenized facets that subsume rather than promote their cultural specificity in the interests of wider accessibility and marketability. This attribute is refracted in, and arguably a product of, the multinational financing, casts and crews, and local distribution through major US companies. I also look at the films’ reception, global and local, with regard to their being perceived as distinctly, and distinctively ‘Brazilian’ or ‘Chilean’.
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e-pub ahead of print date: 1 September 2018
Published date: September 2018
Keywords:
(mis)representation, Co-production, Globalization, National cinema, Omnibus films, Rio, I Love You, The 33
Identifiers
Local EPrints ID: 429143
URI: http://eprints.soton.ac.uk/id/eprint/429143
ISSN: 1474-2756
PURE UUID: 75dc9f0d-0dbc-47aa-9f13-1d8171b885a3
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Date deposited: 22 Mar 2019 17:30
Last modified: 16 Mar 2024 01:06
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Author:
Daniel O’Brien
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