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One of the reasons we struggled so hard to limit the scope of this issue was to ensure that we could keep publishing this academic year, business as usual.But despite our efforts and your generous donations, we will only publish twice in 2009-10 because of the current economic situation. Meanwhile, use the new comment function on the online verison of Latin America cinema has undergone a remarkable transformation since the mid-1990s, with Argentina, Brazil, Chile, Cuba and Mexico in particular emerging as vibrant centers for some of the most innovative and imaginative filmmaking in contemporary world cinema.So in a sense this issue of Re Vista represents not a retrospective nor a conclusion, but the beginning of a dialogue.

A bastion for politically charged counter-cinema in the 1960s and 1970s, Latin American filmmaking entered a long transitional period during the 1980s that abruptly ended with the emergence in the 1990s of young and frequently iconoclastic directors such as Alfonso Cuarón, Lucrecia Martel, Walter Salles, Guillermo del Toro and Pablo Trapero.

This new generation of incredibly talented directors has redefined what Latin American cinema means today through a body of work that offers one of the more exciting topics in recent Film Studies, as testified to by the fascinating scholarship and criticism offered in this special film issue of Re Vista on which I am pleased and honored to have served as a special editorial advisor, along with Brad Epps.

Stantic’s understanding of the new priorities of the younger generation of filmmakers and the more subtle political register of their work, offers just one example of how the contemporary cinema requires a different set of critical tools than we were previously accustomed to for studying Latin American film.

At the Harvard Film Archive we have been extraordinarily fortunate to have hosted such exciting young contemporary Latin American filmmakers as Lucrecia Martel and Carlos Reygadas as well as important veterans such as Jorge Furtado, all for extended visits and cinematheque retrospectives.

The other film has everything and nothing to do with Latin America.

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