Dolores Tierney
My research is transnational and transatlantic in its scope, and concerned with the aesthetics and politics of transnational filmmaking practices between Latin America, the U.S. and Spain. I've written on transnational filmmaking during the classical era focusing in particular on Mexican director Emilio Fernandez (2007) and subsequently Fernandez's involvement with RKO and its attempts to co-opt the Mexican film industry and its stars in the immediate postwar era (2011)
Within this research on transnationalism in cinema I have focused on both contemporary directors who make deterritorialized cinema (Inarritu)(2009) as well as actors from the classical and contemporary eras (Pedro Armendariz, Gael Garcia Bernal) who make films in Latin America and the US (2012, 2018). In each case my work explores how creative strategies (of acting and filmmaking) may shift or indeed remain constant due to the ideological and commercial imperatives of the Hollywood industry.
I've just published a book about transnationalism across Latin American cinema, (New Transnationalisms in Contemporary Latin American Cinemas) focusing on key directors who have facilitated the recent 'boom' (Inarritu, Del Toro, Cuaron, Meirelles and Salles)but also incorporating smaller, festival and art house cinemas which are, I argue, also impacted by transnational flows of capital and creativity.
I'm currently working on two projects: "Finding (Emilio) Fernandez: Latinx Labour and (In)Visibility in Late Silent/Early Sound Hollywood" and how Mexican actors faired during the period of the Red Scare in Hollywood in the late 1940s/early 1950s.
Within this research on transnationalism in cinema I have focused on both contemporary directors who make deterritorialized cinema (Inarritu)(2009) as well as actors from the classical and contemporary eras (Pedro Armendariz, Gael Garcia Bernal) who make films in Latin America and the US (2012, 2018). In each case my work explores how creative strategies (of acting and filmmaking) may shift or indeed remain constant due to the ideological and commercial imperatives of the Hollywood industry.
I've just published a book about transnationalism across Latin American cinema, (New Transnationalisms in Contemporary Latin American Cinemas) focusing on key directors who have facilitated the recent 'boom' (Inarritu, Del Toro, Cuaron, Meirelles and Salles)but also incorporating smaller, festival and art house cinemas which are, I argue, also impacted by transnational flows of capital and creativity.
I'm currently working on two projects: "Finding (Emilio) Fernandez: Latinx Labour and (In)Visibility in Late Silent/Early Sound Hollywood" and how Mexican actors faired during the period of the Red Scare in Hollywood in the late 1940s/early 1950s.
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Drafts by Dolores Tierney
Offers a fresh perspective on the hugely successful Latin America films of the turn of the twenty-first century and the subsequent deterritorialized films by (some) of the same directors
Examines how different genres function across different cultures
Book Reviews by Dolores Tierney
Monographs by Dolores Tierney
Book Chapters by Dolores Tierney
Journal Articles by Dolores Tierney
Offers a fresh perspective on the hugely successful Latin America films of the turn of the twenty-first century and the subsequent deterritorialized films by (some) of the same directors
Examines how different genres function across different cultures
Discussions about the digital image’s connection to reality (Cubitt 1999; Stam 2000) provoke a re-evaluation in our theoretical frames for conceptualizing the documentary practices of digitally shot documentary films because, quite simply, documentaries rely on a basic notion of reality. Two recent, digitally shot, Latin American films, which make use of the documentary mode, present interesting case studies with respect to rethinking realism in a digital age, because they use the digital medium to engage with the concept of different realities, ones that have a specific cultural resonance in Latin America. This chapter focuses on two of these documentaries; Cuban Fernando Pérez’ Suite Havana (2003) and Franco-Colombian Barbet Schroeder’s Our Lady of the Assassins (2000).