Negotiating Neoliberal Demands on Contemporary Cinema: The Role and Influence of the Socially Committed Film Producer in Peru

  • Sarah Barrow


The range of opportunities available to Latin American filmmakers since the late 1990s has enabled the flourishing of cinema production in this region. This chapter focuses on identifying the socially committed contemporary film producer as key to the progress made in an increasingly neoliberal economic and political landscape. The main case study is Enid “Pinky” Campos, producer of some of the most significant Peruvian productions of recent years—Días de Santiago, NN, Magallanes—in terms of their critical, commercial and funding success both within and beyond national borders. Crucially, it asks whether a deeper understanding of the role of the producer might reveal an alternative way of negotiating the evolving relationships, tensions and power dynamics between Latin American cinema and global markets.

Works Cited

  1. Barrow, Sarah. 2014. “Out of the Shadows: ‘New’ Peruvian Cinema, National Identity and Political Violence.” Modern Languages Open. Liverpool University Press, no. 2.
  2. Bedoya, Ricardo, and Isaac León Frías. 1994. “Volver a vivir: cronología (accidentada) de la ley de cine.” La Gran Ilusión 3: 108–10.Google Scholar
  3. Burucúa, Constanza. 2016. “Lita Stantic: Auteur Producer/Producer of Auteurs.” In Beyond the Bottom Line: The Producer in Film & TV Studies, edited by Andrew Spicer, A. T. McKenna, and Christopher Meir, 215–28. London: Bloomsbury.Google Scholar
  4. Couldry, Nick. 2010. Why Voice Matters. Culture and Politics After Neoliberalism. Los Angeles: Sage.Google Scholar
  5. D’Argenio, Maria Chiara. 2015. “Monstrosity and War Memories in Latin American Post-conflict Cinema.” CINEJ Cinema Journal 5 (1): 85–113.Google Scholar
  6. Delgado, Mónica. 2017, April 27. “The New Peruvian Cinema Law: Key Points.”
  7. Dennison, Stephanie, ed. 2013. Contemporary Hispanic Cinema: Interrogating the Transnational in Spanish and Latin American Film. Woodbridge: Tamesis.Google Scholar
  8. Falicov, Tamara. 2010. “From South to North: The Role of Film Festivals in Funding and Shaping Global South Film and Video.” In Locating Migrating Media, edited by Greg Elmer, Charles H. Davis, Janine Marchessault, and John McCullough, 3–19. Lanham: Rowman & Littlefield.Google Scholar
  9. Hart, Stephen M. 2015. Latin American Cinema. London: Reaktion Books.Google Scholar
  10. Hartley, John, ed. 2005. Creative Industries. Oxford: Blackwell Publishing.Google Scholar
  11. Harvey, David. 2005. A Brief History of Neoliberalism. Oxford: Oxford University Press.Google Scholar
  12. Harvey, Dennis. 2015, June 6. “Film Review: ‘NN’.” Variety,
  13. Hjort, Mette. 2000. “Thematisation of Nation.” In Cinema and Nation, edited by Hjort and Scott Mackenzie, 103–7. London and New York: Routledge.Google Scholar
  14. Kercher, Dona. 2017. “Metafictional Co-production: Barney Elliott’s Oliver’s Deal (2016) and Cesc Gay’s Truman (2015).” Paper delivered at the annual conference of the Latin American Studies Association, Lima, April 2017.Google Scholar
  15. Lewis, Jon, ed. 2016. Producing. New Brunswick: Rutgers University Press.Google Scholar
  16. McClennen, Sophia A. 2008. “The Theory and Practice of the Peruvian Grupo Chaski.” Jump Cut: A Review of Contemporary Media, no. 50 (Spring).
  17. McClennen, Sophie A. 2011. “From the Aesthetics of Hunger to the Cosmetics of Hunger in Brazilian Cinema: Meirelles’ City of God.” Symploke 19 (1–2): 95–106.Google Scholar
  18. Nagib, Lúcia. 2006. “Reframing Utopia: Contemporary Brazilian Cinema at the Turn of the Century.” Portuguese Cultural Studies 1: 25–35.Google Scholar
  19. Rix, Rob. 1999. “Co-productions and Common Cause.” In Spanish Cinema: Calling the Shots, edited by Rix and Roberto Rodríguez-Saona, 113–28. Leeds: Trinity All Saints.Google Scholar
  20. Ross, Miriam. 2008. “Grupo Chaski’s Microcines: Engaging the Spectator.” eSharp, no. 11 (Spring).
  21. Sánchez Prado, Ignacio M. 2014. Screening Neoliberalism: Transforming Mexican Cinema. Nashville: Vanderbilt University Press.Google Scholar
  22. Shaw, Deborah, ed. 2007. Contemporary Latin American Cinema: Breaking into the Global Market. Lanham: Rowman & Littlefield.Google Scholar
  23. Triana Toribio, Nuria. 2013. “Building Latin American Cinema in Europe: Cine en Construcción/ Cinéma en construction.” In Contemporary Hispanic Cinema: Interrogating the Transnational in Spanish and Latin American Film, edited by Stephanie Dennison, 89–112. Woodbridge: Tamesis.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Sarah Barrow
    • 1
  1. 1.University of East AngliaNorwichUK

Personalised recommendations