Spanning Colombian film productions from the early 1900s through 2011, in particular films resulting from the 2003 law on Filmmaking, this book discusses the possibilities of Colombian filmmaking in the transnational market. Suárez examines the wide selection of films through the lens of cultural studies, giving rise to a discussion of how Colombian cinema has constructed a discourse of identity and otherness that participates extensively in the formulation of national imagery through its representation of Colombian culture or segments of the culture
