http://orcid.org/0000-0002-3377-0103
References
- Bhabha, H. 1991. “DissemiNation: Time, Narrative, and the Margins of the Modern Nation.” In Nation and Narration, edited by Homi Bhabha, 291–322. London: Routledge.
- Bhabha, H. 1994. “Signs taken for Wonders. Questions of Ambivalence and Authority Under a Tree Outside Delhi, May 1817.” In Chap. 6 in The Location of Culture. London: Routledge.
- Chanan, M. 2006. “Latin-American Cinema: From Underdevelopment to Postmodernism”. In Remapping World Cinema: Identity, Culture and Politics in Film, edited by Stephanie Dennison and Song Lim, 38–51. London: Wallflower Press.
- CPH:DOX. 2015. “Adopt a Film!” CPH:DOX International Documentary Film Festival. https://cphdox.dk/en/about-cphdox/adopt/2015/.
- De Baecque, Antoine, and Serge Toubiana. 2000. Truffaut. A Biography. Berkeley: University of California Press.
- Dennison, S. 2013. “National, Transnational and Post-national: Issues in Contemporary Filmmaking in the Hispanic World”. In Contemporary Hispanic Cinema: Interrogating the Transnational in Spanish and Latin American Film, edited by Stephanie Dennison, 1–24. Woodbridge: Tamesis.
- Ezra, E., and T. Rowden. 2006. “What is Transnational Cinema?”. In Transnational Cinema, the Film Reader, edited by Elizabeth Ezra and Terry Rowden, 1–12. New York: Routledge.
- Falicov, T. 2007. “Programa Ibermedia: Co-Production and the Cultural Politics of Constructing an Ibero-American Audiovisual Space.” Spectator. The University of Southern California Journal of Film and Television 27 (2): 21–30.
- Grüner, E. 2002. El fin de las pequeñas historias. De los estudios culturales al retorno (imposible) de lo trágico. Buenos Aires: Paidós.
- Hjort, M. 2010. “On the Plurality of Cinematic Translation”. In World Cinemas, Transnational Perspectives, edited by Natasa Durovicova and Kathleen Newman, 12–33. New York: Routledge.
- Newman, K. 2010. “Notes on Transnational Film Theory: Decentered Subjectivity, Decentered Capitalism”. In World Cinemas, Transnational Perspectives, edited by Natasa Durovicova and Kathleen Newman, 3–11. New York: Routledge.
- Pratt, M. L. 1991. “Arts of the Contact Zone.” Profession (Modern Language Association) 91:33–40.
- Smith, P. J. 2012. “Transnational Cinemas: The Cases of Mexico, Argentina and Brazil” In Theorizing World Cinema, edited by Lúcia Nagib, Chris Perriam, and Rajinder Dudrah, 63–76. London: I. B. Tauris.
- Spregelburd, R. 2014. “Tesoros en Fuga.” Página/12, October 8.
- Villazana, L. 2008. “Hegemony Conditions in the Coproduction Cinema of Latin America: The Role of Spain.” Framework: The Journal of Cinema and Media 49 (2): 65–85.
- Walsh, D. 2015. “An Interview with Alejo Moguillansky, Co-director of the Gold Bug.” World Socialist Web Site. https://www.wsws.org/en/articles/2015/03/20/inte-m20.html
- Wollen, P. 2002. “An Alphabet of Cinema.” In Chap. 1 in Paris Hollywood: Writings on Film. London: Verso.
- Žižek, S. 1997. “Multiculturalism, or, the Cultural Logic of Multinational Capitalism.” New Left Review, no. (225): 28–51.