Crowdfunding Images of Colombia and Ecuador: International Collaborations and Transnational Circulation in a Neoliberal Context

  • Carolina Rocha


In the early 2000s, Colombia and Ecuador passed laws to protect their film industries, but access to funding is still challenging for some film directors. Relying on Jyotsna Kapur’s and Keith Wagner’s assertion that any and all films convey local responses to a worldwide phenomenon of integration, in this chapter, Rocha looks at The Firefly (Ana María Hermida, 2013), Dirty Hands (Josef Wladyka, 2014) and An Unknown Country (Eva Zelig, 2016). These films were made possible by crowdfunding, a practice that allows multiple investors to support the development of an artistic project. By examining the political economy of raising funds in the United States for films set in Colombia and Ecuador, respectively, Rocha argues that these transnational projects resist the neoliberal commodification and disappearance of national cultures.



My special thanks to Pablo Carrión who first told me about An Unknown Country when the documentary was still in post-production and to Eva Zelig with whom I have been in touch since 2014.

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Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Carolina Rocha
    • 1
  1. 1.Southern Illinois University EdwardsvilleEdwardsvilleUSA

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