Titlebook: Ecuadorian Cinema for the 21st Century; María Fernanda Miño Puga Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusiv

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https://doi.org/10.1007/978-3-642-20273-5and Brazil, Ecuador is usually seen as a country with little or no film production. Scholars, such as John King (1994) and Paul Schroeder Rodríguez (2016), have used terms like “weak” and “idle” to characterise smaller cinemas in Latin America, Ecuador included, but during the mid-2000s and 2010s so

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https://doi.org/10.1007/978-3-8348-8280-6ent film days and was heavily influenced by underlying market forces. However, Chap. . only built a partial case for Ecuadorian cinema for the 21st century as a stand-alone moment in Ecuadorian film history. This and subsequent chapters expand on the theoretical, historical, and legal frameworks pro

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Periodensystem der Elemente (PSE)ap. ., and its implications for narratives and documentary features in Chaps. . and .. In both discussions, Ecuadorian cinema under Socialism for the 21st century still appears to be tied to underlying neoliberal tendencies, evident in legal texts related to Ecuadorian cinema, as well as the preferr

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Book 2023calideology, and production practices, in an interdisciplinary approach that can be emulated in later projects.  For this purpose, the book is divided into five chapters, in addition to a brief introduction and conclusion.  Each chapter relies on specific case studies to discuss local narratives and

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https://doi.org/10.1007/978-3-642-20273-5 succesive terms. Similar to other governments in the region – primarily Venezuela and Bolivia, and, to a lesser extent, Uruguay, Chile, and Argentina – a progressive shift had also occurred. In this context, the apparent success of Ecuadorian cinema can be interpreted as directly influenced by this