Examining Brazilian and Argentine cinema of the last fifteen years, this volume charts the emergence of a new concern with the real, bringing together contributions from leading film scholars and critics from Latin America, Europe, and the United States. Comparing 'New Argentine Cinema" and the Brazilian 'Retomada, ' the contributors read across the boundaries between documentary and fiction and trace new modes of deploying performance and re-enactment, found footage, and the interplay between film and television and theater. They shed light on similarities between and variations in different Latin American national cinemas' filmic discourses and production contexts and map these findings onto the larger context of current film theory
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Over the past two decades, cinematic production from Argentina has been enjoying increased commercial success and critical acclaim on both the national and international film scenes. This thesis investigates the representation of trauma in six films produced during this new wave of Argentine cinema by three Argentine directors – Albertina Carri, Lucrecia Martel and Pablo Trapero – who are among the most iconic filmmakers to be associated with the so-called New Argentine Cinema. This thesis contends that it is both timely and appropriate to examine these films beyond the temporal and thematic confines of the critical category of 'New Argentine Cinema', thus opening up the work of these directors to a wider field of analysis. I argue that Argentina's filmic representations of trauma go beyond the political to the very heart of the human condition, occupying the opaque, ambiguous spaces between the private and political, the individual and collective, and the national and global. Placing six films in comparative perspective, the thesis establishes an original framework for exploring trauma, offering a nuanced approach to the myriad ways in which it is presented in cinematic production. Each of these films powerfully captures, in different ways, the complex dynamics of physical and psychological trauma, and demonstrates that trauma is more than a psychic phenomenon or a physical wound – it is also a social construct. The thesis considers three key facets of trauma: the bodily, the psychological and the social. The former addresses the cinematic representation of bodies, and the way in which trauma is transmitted in and by the body, in order to scrutinize the link between trauma and corporality. The latter two examine the psychological dimensions of trauma, and explore how the aftermath and ongoing fallout of traumatic experiences are represented in films by engaging with a structural theory of trauma and a phenomenological approach to the human person. Drawing on the Edith Stein's underexplored phenomenology (1989, 2000) as a means of negotiating the physical, psychological and social spheres, I assert that the way in which these three dimensions of trauma are interconnected elucidates the variety of ways in which violence remains present in society and continues to proliferate in subtle forms. By interrogating the ambiguous spaces between the physical and psychological, the individual and collective, and the private and political, I argue that these films offer original insights into the relationship between physical and psychological trauma and thus elucidate the subtle ways in which violence permeates the globalized world. In so doing, the thesis highlights Argentina's exceptional contribution to contemporary cinema as a creative didactic force within a precarious national and global culture.
Cover -- Half Title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgements -- Introduction -- Chapter 1: Imagining Male Subjects: Representing Argentine Masculinities in Nineteenth-Century Poetry Anthologies -- Chapter 2: Maricas and Lunfardos in Buenos Aires: A Critique of the Latino-Mediterranean Model of Sexuality -- Chapter 3: Masculinities, Modernity and the City in Roberto Arlt's El juguete rabioso -- Chapter 4: Afro-Argentines, Papás, Malevos and Patotas: Characterizing Masculinity on the Stages and in the Audiences of Buenos Aires, 1880-1920 -- Chapter 5: Pariahs in the Wilderness: Abject Masculinity in Horacio Quiroga -- Chapter 6: The Military, Movies and Masculinity: Su mejor alumno and Pampa bárbara -- Chapter 7: Masculinity, Performance and Peronist Nationalism in La traición de Rita Hayworth -- Chapter 8: Marginalized Masculinity and Spaces of the Delinquent in Early New Argentine Cinema -- Chapter 9: From Competing Masculinities to Male Bonding: Father-Son Relationships and Nation in Three Argentine Films -- Chapter 10: Money to Burn, Burnt Money: Crime, Violence and Nonheteronormative Masculinities -- Chapter 11: Middle-Class Masculinities in Juan José Campanella's El hijo de la novia and Luna de Avellaneda -- Chapter 12: Vulnerable Beings/Vulnerable Subjectivities: An Approach to Masculinities in the Narrative of Rodolfo Fogwill -- Chapter 13: Melting Masculinities in Carlos Busqued's Bajo este sol tremendo -- Chapter 14: Masculinities at War: The Military versus the Neoliberal in Accounts of the Falklands/Malvinas War -- Chapter 15: Basic Instincts, Violence and Sex-Driven Creatures: New Argentine Masculinity or Old 'Macho' Culture? -- Chapter 16: Popular Music and Macho Representation: The Case of Cumbia Villera -- Contributors -- Back Cover
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Resumen: El objetivo de este artículo es abordar algunas discusiones que atraviesan la bibliografía sobre el cine argentino contemporáneo con base en un recorrido por los principales estudios sobre el tema. En primer lugar, se reconoce la influencia de la crítica cinematográfica en los abordajes académicos sobre el cine argentino reciente. Luego, se aborda el vínculo entre el Nuevo Cine Argentino y la crisis de 2001 y se presentan algunos ejes de debate en relación con este corpus fílmico: el abandono de la alegoría, la reconfiguración de la dimensión política, las distintas concepciones del realismo y el retorno de lo real, entre otros. ; Abstract: This paper aims to review the state of the art regarding contemporary Argentine cinema studies by summarizing some of the main academic debates on this subject. First, the influence of film critics on film studies about recent Argentine cinema is acknowledged, to then proceed to link the New Argentine Cinema and the economic crisis of 2001. There is a reflection upon the relation of these films with politics and the question of allegory is introduced, as well as a discussion regarding the importance of concepts such as realism and the return of the real in studies on contemporary Argentine cinema. ; Resumo: O objetivo deste artigo é revisar os principais estudos sobre o cinema argentino contemporâneo, baseado nos principais estudos sobre o tema. Em primeiro lugar, reconhecemos a influência da crítica cinematográfica nos estudos acadêmicos sobre o cinema argentino atual. Em segundo lugar, abordamos o vínculo entre o Novo Cinema Argentino (NCA) e a crise económica de 2001. Depois, apresentamos alguns eixos de debate acerca deste corpus fílmico: o abandono da alegoria, a reconfiguração da dimensão política, as distintas concepções do realismo e o retorno do real, entre outros.
Taking as a starting point the study of Marco Berger´s Hawaii (2013) and Papu Curotto´s Esteros (2016), the article tackles on the tensions between the so called New Argentine Cinema and LGBT cinema in Argentina. On one hand it explores disjunctions amongst the way that love stories are told as universals, and temporality as an structuring principle, focusing on the figure of zombies or the walking dead; On another, it locates these narrations within the frame of changes in Argentina's politics of equality of the last fifteen years. ; l artículo propone, a partir del estudio de Hawaii de Marco Berger (2013) y Esteros de Papu Curotto (2016), reflexionar sobre las tensiones entre el llamado Nuevo Cine Argentino y el cine de temática LGBT en este país. Por un lado, explora las disyunciones entre el modo en que se narran las historias de amor como universales y la temporalidad como principio ordenador de los materiales, focalizando en la figura de los zombies o muertos vivos; por otro, sitúa esas narraciones en el marco de los cambios en las políticas de igualdad en nuestro país en los últimos quince años.
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Argentine Cinema and National Identity covers the development of Argentine cinema since the late 1950s to the mid-1970s, a period that has been understudied. This essential cultural history delves on the dialect tradition versus modernity that was in place during those years and also comprises an examination of the political economy of film production as well as the different laws, including that implementing censorship that regulated this cultural industry. It also pays particular attention to two historical film genres: the historical film genre per se and the gauchesque, a genre based on outlaw gauchos that was crucial for nation-building in the nineteenth century. This volume investigates the way Argentine cinema positioned itself when facing the competition of glossy American films and resorted to the historical and gauchesque to bridge the stark divisions between the Argentine left and right in the late 1960s.
Argentine cinema has experienced a rebirth since the late 1990s, despite the country's economic crisis. Buenos Aires, long a key setting for the nation's films, has not escaped the negative impact of the crisis, yet filmmaking in the capital has thrived. This article explores the radically different presentation of the city since the first explosion of film in Argentina after the end of the military dictatorship of 1976–1983. It takes Luis Puenzo's controversial La historia oficial as a starting point for a reflection on the current presentation of Buenos Aires as a city plagued by fear in productions from the late 1990s to the early twenty‐first century.
A sketch of the imagery of feminine beauty in contemporary Argentine cinema focusing on the history of regional beauty pageants, the way bodies are displayed, and the critique of conventional aesthetic parameters contributes to a comparative analysis of the documentaries La reina (2013), by Manuel Abramovich, and La más bella niña (2004), by Mariano Llinás, which demonstrate new approaches to old questions about the sexual politics of beauty. Un esbozo de la historia de los certámenes regionales, las condiciones de visibilidad de los cuerpos y la crítica de los parámetros estéticos convencionales contribuye a un análisis comparativo de los documentales La Reina (2013), de Manuel Abramovich, y La más bella niña (2004), de Mariano Llinás, que demuestran nuevas derivas para enfocar viejas preguntas alrededor de la política sexual de la belleza.
The transition to market economy and the dismantling of the USSR created an unprecedented crisis in Russian film industry. The awesome All Union Ministry of Cinematography (Goskino) was dismembered. This almost paramilitary institution, whose senior officials were also allegedly senior KGB officers, directed, or rather policed, the Soviet film production process with the stick of censorship, and the carrot of lucrative awards. Understandably, the censorship is not going to be sorely missed. What is missed, however, are the generous state budgets and the firm general line, drawn by the military from the Ministry, in accordance with the ever-changing Kremlin ideological vision. Distribution-wise the situation in Russian cinema followed the pattern characteristic for the other post-communist countries. American films, kept for so long beyond the ideological pale, took over the repertoire, occupying around 75% of the programming time, with a tendency to reach 85% during the next decade. In the Russian.