This dissertation revisits a neglected archive of avant-garde Cold War-era Latin American and Spanish films which use baroque, excessive aesthetic strategies inspired by popular religious ritual: the experimental documentaries and expanded cinema inventions of Spanish filmmaker-mystic José Val del Omar; the Mexican psychedelic exploitation epics of Chilean polymath Alejandro Jodorowsky; and the Cuban revolutionary films of Manuel Octavio Gómez.This dissertation revisits a neglected archive of avant-garde Cold War-era Latin American and Spanish films which use baroque, excessive aesthetic strategies inspired by popular religious ritual: the experimental documentaries and expanded cinema inventions of Spanish filmmaker-mystic José Val del Omar; the Mexican psychedelic exploitation epics of Chilean polymath Alejandro Jodorowsky; and the Cuban revolutionary films of Manuel Octavio Gómez.This dissertation revisits a neglected archive of avant-garde Cold War-era Latin American and Spanish films which use baroque, excessive aesthetic strategies inspired by popular religious ritual: the experimental documentaries and expanded cinema inventions of Spanish filmmaker-mystic José Val del Omar; the Mexican psychedelic exploitation epics of Chilean polymath Alejandro Jodorowsky; and the Cuban revolutionary films of Manuel Octavio Gómez.This dissertation revisits a neglected archive of avant-garde Cold War-era Latin American and Spanish films which use baroque, excessive aesthetic strategies inspired by popular religious ritual: the experimental documentaries and expanded cinema inventions of Spanish filmmaker-mystic José Val del Omar; the Mexican psychedelic exploitation epics of Chilean polymath Alejandro Jodorowsky; and the Cuban revolutionary films of Manuel Octavio Gómez
