A Note on Usage  ix
Acknowledgments  xi
Introduction 1
Part I. Sensationalizing Violence in Mexico
1. Staging Public Violence in Porfirian and Revolutionary Mexico, 1896–1922  31
2. On Location: Adventure Melodramas in Postrevolutionary Mexico, 1920–1927  85
Part II. Staging Spectacles of Modernity in Brazil
3. Reconstructing Crime in Rio de Janeiro and Sao Paulo, 1906–1913  123
4. The Serial Craze in rio de Janeiro, 1915–1924: Reception, Production, Paraliterature  167
5. Regional Modernities: Sensational Cinema Outside Rio de Janeiro and Sao Paulo, 1923–1930  199
Conclusion  247
Notes  259
Bibliography  297
Index  315

“Public Spectacles is an artful and enthralling reflection on the interaction between urban visual culture forms and the violence of modernization. An excellent text to assign to advanced students.” — Jessica Stites Mor, Estudios Interdisciplinarios de América Latina y el Caribe

“Public Spectacles of Violence is an important contribution to the historiography of Mexican and Brazilian cinematography and of Latin American silent cinema in general. A must for researchers and students interested in the early cinema of Brazil and Mexico.” — Pablo Alvira, History

“Public Spectacles of Violence is essential for scholars of Latin American cinema. It offers conceptual and methodological tools that students and scholars of cinema, cultural studies, or history might use to approach the eternally resonant topic of violence and its symbolic representation.” — Georgina Torello, Cinema Journal

“Public Spectacles is an artful and enthralling reflection on the interaction between urban visual culture forms and the violence of modernization. An excellent text to assign to advanced students.” —Jessica Stites Mor, Estudios Interdisciplinarios de América Latina y el Caribe

“Public Spectacles of Violence is an important contribution to the historiography of Mexican and Brazilian cinematography and of Latin American silent cinema in general. A must for researchers and students interested in the early cinema of Brazil and Mexico.” —Pablo Alvira, History

“Public Spectacles of Violence is essential for scholars of Latin American cinema. It offers conceptual and methodological tools that students and scholars of cinema, cultural studies, or history might use to approach the eternally resonant topic of violence and its symbolic representation.” —Georgina Torello, Cinema Journal

"Perhaps the most popular—and today the most neglected—genre of silent cinema was the sensational serial film portraying violent and often rebellious action. It was also the most international film form. In this highly original work Rielle Navitski shows how the cinema of early twentieth-century Mexico, with its experience of a recent violent revolution, gave the genre a unique twist, helping to shape a major emerging film industry." — Tom Gunning, coauthor of, Fantasia of Color in Early Cinema

"Public Spectacles of Violence is exemplary of the ground-shifting work on silent Latin American cinema of young scholars in English-language film scholarship today. Obsessively delving into archives and producing not only unknown 'data,' but thoroughly well-grounded and original hypotheses about early cinemas in Mexico and Brazil and their intermedial relationships with the popular press and popular sensationalism, Rielle Navitski's book will take its place in the canon as the must-be-referenced book in the field. It is a tour de force of scholarly rigor and ingenuity." — Ana M. Lopez, Professor of Communication, Tulane University

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