ABSTRACT
This chapter discusses the idea of the Global South in cinema since 2010. Moving away from models such as Third Cinema or neoliberal transnationalism, the proposed chapter seeks instead to think the ways in which the Global South has come to be inscribed in the style and politics of an array of filmmakers from both Europe and the Americas. The inscription will be discussed in ways in which a variety of films engage the traces of the colonial experience across a variety of genres and cinematic contexts. Films to be discussed include Raoul Peck's Exterminate All the Brutes (2021), Pedro Costa's Vitalina Varela (2019), Miguel Gomes's Tabu (2012), Patricio Guzmán's The Pearl Button (2015), and Werner Herzog's Nomad. In the Footsteps of Bruce Chatwin (2019). Due to length, the chapter does not aim for exhaustiveness or representation. Rather, it traverses through different modes of representation across various landscapes to think about the ways in which the colonial legacy becomes cinematic and narrative form in cinema.
