Abstract
This paper explores the articulation of resistance to neoliberal globalization in Alejandro Gonzalez Inarritu’s Amores Perros, Alejandro Springall’s Santitos and Maria Novaro’s El Jardin del Eden. I argue that this resistance is enunciated within what Homi Bhabha terms ‘Third Space’, the in-between space of cultural translation and negotiation where notions of an essential national identity are destroyed and a contingent and indeterminate hybrid identity is constructed. Speaking from this hybrid space, these films employ Western cinematic conventions to construct narratives of the disjunctive experience of postcolonial time and space that disrupt the dominant temporality and imaginative geography of Western grand narratives of historical progress and global economic development, while at the same time deterritorializing the space and time of national imagining. [
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