| cine en argentina historia: The Film Industry in Argentina Jorge Finkielman, 2014-06-24 Argentina fell in love with movies as soon as they were first exhibited in 1896. Even before World War I, Argentina was one of the biggest film markets in the world and continues to be a major film market today. This history of the Argentine film industry--starting with the earliest film exhibitions in 1897--covers film music, broadcasting, the introduction of film with sound, the impact of the American film industry on the Argentine, the industrialization of Argentine film, Hollywood films in Spanish, the tango in film and local stars. Reference material includes filmographic information and reviews from numerous publications. Photographs offer a look at film stills, promotions, and the people involved in the industry, and an index provides quick access to names and titles. |
| cine en argentina historia: Cine y políticas en Argentina Gustavo Aprea, 2008 Este libro recorre la historia del cine nacional, en torno a tres ejes de problemas: el de las políticas gubernamentales hacia la industria del cine y de los medios masivos de comunicación; el de las propuestas estéticas que dominaron la producción cinematográfica durante estos veinticinco años; y el de las representaciones sobre la política que se expresan en el cine nacional. Gustavo Aprea es investigador-docente del Instituto de Desarrollo Humano de la Univ. |
| cine en argentina historia: Argentine Cinema and National Identity (1966-1976) Carolina Rocha, 2018-01-05 Argentine Cinema and National Identity covers the development of Argentine cinema since the late 1950s to the mid-1970s, concentrating on the historical film genre and the gauchesque. This cultural history investigates the way Argentine cinema positioned itself when facing the competition of American films. |
| cine en argentina historia: The Film Industry in Argentina Jorge Finkielman, 2004-01-07 Argentina fell in love with movies as soon as they were first exhibited in 1896. Even before World War I, Argentina was one of the biggest film markets in the world and continues to be a major film market today. This history of the Argentine film industry--starting with the earliest film exhibitions in 1897--covers film music, broadcasting, the introduction of film with sound, the impact of the American film industry on the Argentine, the industrialization of Argentine film, Hollywood films in Spanish, the tango in film and local stars. Reference material includes filmographic information and reviews from numerous publications. Photographs offer a look at film stills, promotions, and the people involved in the industry, and an index provides quick access to names and titles. |
| cine en argentina historia: The Cinema of Latin America Alberto Elena, Marina Díaz López, 2004-03-24 The Cinema of Latin America is the first volume in the new 24 Frames series of studies of national and regional cinema. In taking an explicitly text-centered approach, the books in this series offer a unique way of considering the particular concerns, styles and modes of representation of numerous national cinemas around the world. This volume focuses on the vibrant practices that make up Latin American cinema, a historically important regional cinema and one that is increasingly returning to popular and academic appreciation. Through 24 individual concise and insightful essays that each consider one significant film or documentary, the editors of this volume have compiled a unique introduction to the cinematic output of countries as diverse as Brazil, Argentina, Cuba, Mexico, Bolivia, Chile and Venezuala. The work of directors such as Luis Buñuel, Thomas Guiterrez Alea, Walter Salles, and Alfonso Arau is discussed and the collection includes in-depth studies of seminal works as such Los Olvidados, The Hour of the Furnaces, Like Water For Chocolate, Foreign Land, and Amoros Perros. |
| cine en argentina historia: Cien años de cine argentino Fernando Martín Peña, 2012-01-01 Esta no es una nueva historia del cine argentino sino una interrogación de las que ya se han escrito a través de la revisión contemporánea de varios centenares de films importantes. Constituye un relato que puede leerse como una totalidad o de manera fragmentaria, y que adopta una curiosa circularidad: la forma en que se presenta el cine contemporáneo se parece curiosamente al inicial. Por su carácter original, imprevisible y heterogéneo, por una producción completamente atomizada, por la relativa facilidad de acceso a los medios de producción, el más reciente cine argentino se parece bastante al más antiguo. |
| cine en argentina historia: South American Cinema Timothy Barnard, Peter Rist, 2013-08-21 First Published in 1996. This text looks at the cinema from the countries of Argentina, Brazil, Canada, Chile, Colombia, Cuba, United States, Uruguay and Venezuela. Presented by country and date order it includes the silent black and white Gaucho films of 1915 to the colour films coming out of Venezuela in 1991. Each entry provides a summary of the film content, its context, production and significance in the genre. It includes an index and glossary of Brazilian (Portuguese or African) Terms and film terms. |
| cine en argentina historia: South American Cinema Tim Barnard, Peter Rist, 1996 A filmography of South American motion pictures |
| cine en argentina historia: Latin American Cinema Paul A. Schroeder, 2016-03-08 Conventional silent cinema -- Avant-garde silent cinema -- Transition to sound -- Birth and growth of an industry -- Crisis and decline of studio cinema -- Neorealism and art cinema -- New Latin American cinema's militant phase -- New Latin American cinema's Neobaroque phase -- Collapse and rebirth of an industry -- Latin American cinema in the twenty-first century -- Conclusion : a triangulated cinema -- Appendix : discourses of modernity in Latin America |
| cine en argentina historia: El país del cine Nicolás Prividera, 2016 |
| cine en argentina historia: Politics of Architecture in Contemporary Argentine Cinema Amanda Holmes, 2017-07-19 This book considers how architectural landmarks, imagined buildings and urban landscapes take part in the production of meaning in contemporary Argentine cinema. From the iconic Buenos Aires Obelisk to the Hilton International Hotel, the shopping center to the café and the Le Corbusier-designed Curutchet House to the gated community, architecture in these films evokes the political. Tracing architecture’s expression through six films produced since the 1990s—Pizza birra faso, Mundo grúa, Nueve reinas, La niña santa, La antena and El hombre de al lado—Amanda Holmes studies how architecture in cinema elicits political memory, underscores marginalization and class discrepancies, creates nostalgia for neighborhoods and re-evaluates existing communities. Generously illustrated and carefully researched, the book offers an in-depth reading of key contemporary Argentine films and a fresh architectural approach to film analysis. |
| cine en argentina historia: Political Documentary Cinema in Latin America Antonio Traverso, Kristi Wilson, 2016-01-08 The chapters in this book show the important role that political documentary cinema has played in Latin America since the 1950s. Political documentary cinema in Latin America has a long history of tracing social injustice and suffering, depicting political unrest, intervening in periods of crisis and upheaval, and reflecting upon questions about ideology, cultural identity, genocide and traumatic memory. This collection bears witness to the region's film culture's diversity, discussing documentaries about workers' strikes, riots, and military coups against elected governments; crime, poverty, homelessness, prostitution, children's work, and violence against women; urban development, progress, (under)development, capitalism, and neoliberalism; exile, diaspora and border cultures; trauma and (post)memory. The chapters focus on documentaries made in Argentina, Brazil, Chile, Cuba, Mexico, and Venezuela, as well as on the work of Latino and diasporic Latin American political documentarians. The contributors to the anthology reflect the cultural and linguistic diversity of current Latin American film scholarship, with some writing in Spanish and Portuguese from Argentina and Brazil (with their original works especially translated), and others writing in English from Australia, Europe, and the USA. This book was originally published as a special issue of Social Identities. |
| cine en argentina historia: Rethinking Testimonial Cinema in Postdictatorship Argentina Veronica Garibotto, 2019-01-07 For roughly two decades after the collapse of the military regime in 1983, testimonial narrative was viewed and received as a privileged genre in Argentina. Today, however, academics and public intellectuals are experiencing memory fatigue, a backlash against the concepts of memory and trauma, just as memory and testimonial films have reached the center of Argentinian public discourse. In Rethinking Testimonial Cinema in Postdictatorship Argentina, Verónica Garibotto looks at the causes for this reticence and argues that, rather than discarding memory texts for their repetitive excess, it is necessary to acknowledge them and their exhaustion as discourses of the present. By critically examining how trauma theory and subaltern studies have previously been applied to testimonial cinema, Garibotto rereads Argentinian films produced since 1983 and calls for an alternate interpretive framework at the intersection of semiotics, theories of affect, scholarship on hegemony, and the ideological uses of documentary and fiction. She argues that recurrent concepts—such as trauma, mourning, memory, and subalternity—miss how testimonial films have changed over time, shifting from subaltern narratives to official, hegemonic, and iconic accounts. Her work highlights the urgent need to continue to study these types of narratives, particularly at a time when military dictatorships have become entrenched in Latin America and memory narratives proliferate worldwide. Although Argentina is Garibotto's focus, her theory can be adapted to other contexts in which narratives about recent political conflicts have shifted from alternative versions of history to official, hegemonic accounts—such as in Spanish, Chilean, Uruguayan, Brazilian, South African, and Holocaust testimonies. Garibotto's study of testimonial cinema moves us to pursue a broader ideological analysis of the links between film and historical representation. |
| cine en argentina historia: Argentine cinema Daniela Ingruber, Ursula Prutsch, 2012 |
| cine en argentina historia: Transition Cinema Jessica L. Stites Mor, 2012-05-27 In Transition Cinema, Jessica Stites Mor documents the critical role filmmakers, the film industry, and state regulators played in Argentina's volatile and unfinished transition from dictatorship to democracy. She shows how, during periods of both military repression and civilian rule, the state moved to control political film production and its content, distribution, and exhibition. She also reveals the strategies that the industry, independent filmmakers, and film activists employed to comply with or circumvent these regulations. Stites Mor traces three distinct generations of transition cinema, each defined by a seminal event that shifted the political economy of national filmmaking. The first generation of filmmakers witnessed and participated in civil uprisings, such as the Cordobazo in 1969, and faced waves of repression, violence, and censorship. This generation gave rise to vibrant underground exhibitions and film clubs and eventually became symbolically linked to the Peronist Left and radical militancy. Following the 1983 return to civilian rule, a second generation of political filmmakers emerged at the center of public debates, when Buenos Aires became the locus for state-level cultural programs to address human rights and collective memory. Building on that legacy, a third generation of filmmakers explored new modes of activist and political filmmaking aided by digital technology. They pioneered new genres such as the street phenomenon of cine piquetero and introduced resistance politics and social movements into highly visible public spaces. In this captivating work, Stites Mor examines how social movements, political actors, filmmakers, and government and industry institutions, all became deeply enmeshed in the project of Argentina's transition cinema. She demonstrates how film emerged as the chronicler of political struggles in a dialogue with the past, present, and future, whose message transcended both cultural and national borders. |
| cine en argentina historia: Latin American History at the Movies Donald F. Stevens, 2022-08-12 Movies are meant to be entertaining, but they can also be educational. People are naturally curious to know how much of what they see on their screens might be historically true. In Latin American History at the Movies, experts on Latin America focus on five centuries of history as portrayed in feature films. An introduction on the visual presentation of the past in movies sets the stage for essays that explore sixteen of the best feature films on Latin America made from the 1980s to the present. |
| cine en argentina historia: Encyclopedia of Contemporary Latin American and Caribbean Cultures Daniel Balderston, Mike Gonzalez, Ana M. Lopez, 2000-12-07 This vast three-volume Encyclopedia offers more than 4000 entries on all aspects of the dynamic and exciting contemporary cultures of Latin America and the Caribbean. Its coverage is unparalleled with more than 40 regions discussed and a time-span of 1920 to the present day. Culture is broadly defined to include food, sport, religion, television, transport, alongside architecture, dance, film, literature, music and sculpture. The international team of contributors include many who are based in Latin America and the Caribbean making this the most essential, authoritative and authentic Encyclopedia for anyone studying Latin American and Caribbean studies. Key features include: * over 4000 entries ranging from extensive overview entries which provide context for general issues to shorter, factual or biographical pieces * articles followed by bibliographic references which offer a starting point for further research * extensive cross-referencing and thematic and regional contents lists direct users to relevant articles and help map a route through the entries * a comprehensive index provides further guidance. |
| cine en argentina historia: Alton's Paradox Nicolas Poppe, 2021-09-01 Alton's Paradox builds upon extensive archival and primary research, but uses a single text as its point of departure—a 1934 article by the Hungarian American cinematographer John Alton in the Hollywood-published International Photographer. Writing from Argentina, Alton paradoxically argues of cine nacional, The possibilities are enormous, but not until foreign technicians will take the matter in their hands and with foreign organization will there be local industry. Nicolas Poppe argues that Alton succinctly articulates a line of thought commonly held across Latin America during the early sound period but little explored by scholars: that foreign labor was pivotal to the rise of national film industries. In tracking this paradox from Hollywood to Mexico to Argentina and beyond, Poppe reconsiders a series of notions inextricably tied to traditional film historiography, including authorship, (dis)continuation, intermediality, labor, National Cinema, and transnationalism. Wide-angled views of national film industries complement close-up analyses of the work of José Mojica, Alex Phillips, Juan Orol, Ángel Mentasti, and Tito Davison. |
| cine en argentina historia: Third World Film Making and the West Roy Armes, 1987-07-29 This volume is the first fully comprehensive account of film production in the Third World. Although they are usually ignored or marginalized in histories of world cinema, Third World countries now produce well over half of the world’s films. Roy Armes sets out initially to place this huge output in a wider context, examining the forces of tradition and colonialism that have shaped the Third World--defined as those countries that have emerged from Western control but have not fully developed their economic potential or rejected the capitalist system in favor of some socialist alternative. He then considers the paradoxes of social structure and cultural life in the post-independence world, where even such basic concepts as nation, national culture, and language are problematic. The first experience of cinema for such countries has invariably been that of imported Western films, which created the audience and, in most cases, still dominate the market today. Thus, Third World film makers have had to ssert their identity against formidable outside pressures. The later sections of the book look at their output from a number of angles: in terms of the stages of overall growth and corresponding stages of cinematic development; from the point of view of regional evolution in Asia, Africa, and Latin America; and through a detailed examination of the work of some of the Third World’s most striking film innovators. In addition to charting the broad outlines of filmic developments too little known in Europe and the United States, the book calls into question many of the assumptions that shape conventional film history. It stresse the role of distribution in defining and limiting production, queries simplistic notions of independent national cinemas, and points to the need to take social and economic factors into account when considering authorship in cinema. Above all, the book celebrates the achievements of a mass of largely unknown film makers who, in difficult circumstances, have distinctively expanded our definitions of the art of cinema. Roy Armes, who lives in London, has written nine books on film, his most recent being French Cinema. He spent more than three years researching this volume. |
| cine en argentina historia: Cine Argentina - Estéticas de la Producción , |
| cine en argentina historia: The Migration and Politics of Monsters in Latin American Cinema Gabriel Eljaiek-Rodríguez, 2018-09-26 The Migration and Politics of Monsters in Latin America proposes a cinematic cartography of contemporary Latin American horror films that take up the idea of the American continent as a space of radical otherness, or monstrosity, and use it for political purposes. The book explores how Latin American film directors migrate foreign horror tropes to create cinematographic horror hybrids that reclaim and transform monstrosity as a form of historical rewriting. By emphasizing the specificities of the Latin American experience, this book contributes to broad scholarship on horror cinema, at the same time connecting the horror tradition with contemporary discussions on violence, migration, fear of immigrants, and the rewriting of colonial discourses. |
| cine en argentina historia: Cosmopolitan Film Cultures in Latin America, 1896–1960 Rielle Navitski, Nicolas Poppe, 2017-06-19 Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumière Cinématographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons. |
| cine en argentina historia: New Latin American Cinema Michael T. Martin, 1997 Mapping the historical and cultural contexts of film practices in Latin America, this two-volume collection of programmatic statements, esays and interviews is devoted to the study of a theorized, dynamic and unfinished cinematic movement. Forged by Latin America's post-colonial environment of underdevelopment and dependency, the New Latin American Cinema movement has sought to inscribe itself in Latin America's struggles for cultural and economic autonomy. This volume comprises essays on the development of the New Latin American Cinema as a comparative national project. Essays are grouped by nation into two regions - Middle and Central America and Caribbean and South America - for comparitive study, particularly between capitalist and post-revolutionary socialist formations. The selected essays examine the relationship between cinema and nationhood and the ambiguous categories of culture, identity and nation within the socio-historical specificities of the movement's development, especially in Cuba, Brazil, Mexico, Chile and Argentina. This collection will serve as an essential reference and research tool for the study of world cinema. The collection, while celebrating the diversity and innovation of the New Latin American Cinema, explicates the historical importance of filmmaking as a cultural form and political practice in Latin America. |
| cine en argentina historia: The SAGE Handbook of Film Studies James Donald, Michael Renov, 2008-04-16 Written by a team of veteran scholars and exciting emerging talents, The SAGE Handbook of Film Studies maps the field internationally, drawing out regional differences in the way that systematic intellectual reflection on cinema and film has been translated into an academic discipline. It examines the conversations between Film Studies and its contributory disciplines that not only defined a new field of discourse but also modified existing scholarly traditions. It reflects on the field′s dominant paradigms and debates and evaluates their continuing salience. Finally, it looks forward optimistically to the future of the medium of film, the institution of cinema and the discipline of Film Studies at a time when the very existence of film and cinema are being called into question by new technological, industrial and aesthetic developments. |
| cine en argentina historia: World Film Locations: Buenos Aires Santiago Oyarzabal, Michael Pigott, 2014-10-01 World Film Locations: Buenos Aires explores this picturesque and passionate city (the second-largest in South America) as a stage for sociopolitical transformations, and a key location in the international imagination as a site of cultural export. The book uncovers the many reasons why Buenos Aires attracts not only tourists but also artists and filmmakers, who explore the city and its iconography as well as its cultural and sociopolitical turbulence. A set of six essays anchors this volume; contributors consider a range of key topics related to the city onscreen, including tango, villas miseria (shantytowns), dictatorship and democracy, and science fiction and the future of the city. The volume is rounded out with in-depth reviews of nearly fifty key films—The Hour of the Furnaces, Nine Queens, and Evita among them—each illustrated by screen shots, current location imagery, and corresponding maps for travelers and movies buffs to use as they navigate this rich cinematic city. |
| cine en argentina historia: The Routledge Companion to Latin American Cinema Marvin D'Lugo, Ana M. López, Laura Podalsky, 2017-09-11 The Routledge Companion to Latin American Cinema is the most comprehensive survey of Latin American cinemas available in a single volume. While highlighting state-of-the-field research, essays also offer readers a cohesive overview of multiple facets of filmmaking in the region, from the production system and aesthetic tendencies, to the nature of circulation and reception. The volume recognizes the recent new cinemas in Argentina, Brazil, Chile, and Mexico, and, at the same time, provides a much deeper understanding of the contemporary moment by commenting on the aesthetic trends and industrial structures in earlier periods. The collection features essays by established scholars as well as up-and-coming investigators in ways that depart from existing scholarship and suggest new directions for the field. |
| cine en argentina historia: Struggles for Recognition Juan Sebastián Ospina León, 2021-03-16 Struggles for Recognition traces the emergence of melodrama in Latin American silent film and silent film culture. Juan Sebastián Ospina León draws on extensive archival research to reveal how melodrama visualized and shaped the social arena of urban modernity in early twentieth-century Latin America. Analyzing sociocultural contexts through film, this book demonstrates the ways in which melodrama was mobilized for both liberal and illiberal ends, revealing or concealing social inequities from Buenos Aires to Bogotá to Los Angeles. Ospina León critically engages Euro-American and Latin American scholarship seldom put into dialogue, offering an innovative theorization of melodrama relevant to scholars working within and across different national contexts. |
| cine en argentina historia: Eliseo Subiela in Life and Cinema Nancy J. Membrez, 2022-02-25 Audiences never have a lukewarm opinion of a Subiela film. They either love it passionately or hate it profoundly. That Eliseo Subiela (Buenos Aires, 1944-2016), an original and sensitive thinker, survived, and indeed throve in economically challenged Argentina while garnering more accolades abroad than in his own country, is a tribute to his grit, intelligence, imagination and persistence of vision. With an astounding list of prizes and honors, he was a world-class auteur. Even when he was making a TV commercial, his surreal style and poetic sensibility were unmistakable. This book represents the culmination of 20 years of research and personal correspondence with Eliseo Subiela. Through ten scholarly studies and five interviews, it sheds light on his life, esthetics, obsessions, struggles with madness, and, of course, his films. It addresses his earlier career in advertising, lifelong artistic influences, screenwriting techniques, critical reactions to his films, and what Subiela's example has to offer aspiring filmmakers, especially those in Latin America. |
| cine en argentina historia: Cine Argentino, Esteticas de la Producción , |
| cine en argentina historia: Silent Cinema Paolo Cherchi Usai, 2019-04-04 Paolo Cherchi Usai provides a comprehensive introduction to the study, research and preservation of silent cinema from its heyday in the early 20th century to its present day flourishing. He traces the history of the moving image in its formative years, from Edison's and Lumière's first experiments to the dawn of 'talkies'; provides a clear guide to the basics of silent film technology; introduces the technical and creative roles involved in its production, and presents silent cinema as a performance event, rather than a passive viewing experience. This new, greatly expanded edition takes the reader on a new journey, exploring silent cinema in the broader context of technology, culture, and society, from the invention of celluloid film and its related machinery to film studios, laboratories, theatres and audiences. Among the people involved in the creation of a new art form were filmmakers, actors and writers, but also engineers, entrepreneurs, and projectionists. Their collective efforts, and the struggle to preserve their creative work by archives and museums, are interwoven in a compelling story covering three centuries of media history, from the magic lantern to the reinvention of silent cinema in digital form. The new edition also includes comprehensive resource information for the study, research, preservation and exhibition of silent cinema. |
| cine en argentina historia: Contemporary Argentine Cinema David William Foster, 1992 Foster discusses ten Argentine films, including Kiss of the Spider Woman, The Official Story, and Man Facing Southeast to examine the transformation of social topics into motion pictures and the relationship between commercial filmmaking strategies and Argentine redemocratization.--Publishers website. |
| cine en argentina historia: Picturing Argentina: Myths, Movies, and the Peronist Vision Currie K. Thompson, 2014-05-28 Although Juan Domingo Perón's central role in Argentine history and the need for an unbiased assessment of his impact on his nation's cinema are beyond dispute, the existing scholarship on the subject is limited. In recent decades Argentina has witnessed a revival of serious film study, some of which has focused on the nation's classical movies and, in one case, on Peronism. None of this work has been translated into English, however.This is the first English-language book that offers an extensive assessment of Argentine cinema during first Peronism. It is also the first study in any language that concentrates systematically on the evolution of social attitudes reflected in Argentine movies throughout those years and that assesses the period's impact on subsequent filmmaking activity. By analyzing popular Argentine movies from this time through the prism of myth-second-order communication systems that present historically developed customs and attitudes as natural-the book traces the filmic construction of gender, criminality, race, the family, sports, and the military. It identifies in movies the development and evolution of mindsets and attitudes that may be construed as Peronist. By framing its consideration of films from the Perón years in the context of earlier and later ones, it demonstrates that this period accelerates-and sometimes registers backward-looking responses to-earlier progressive mythic shifts, and it traces the development in the 1950s of a critical mindset that comes to fruition in the new cinema of the 1960s. Picturing Argentina: Myths, Movies, and the Peronist Vision is an important book for Latin American studies, film studies, and history collections. |
| cine en argentina historia: The New Cultural History of Peronism Matthew B. Karush, Oscar Chamosa, 2010-05-21 In nearly every account of modern Argentine history, the first Peronist regime (1946–55) emerges as the critical juncture. Appealing to growing masses of industrial workers, Juan Perón built a powerful populist movement that transformed economic and political structures, promulgated new conceptions and representations of the nation, and deeply polarized the Argentine populace. Yet until now, most scholarship on Peronism has been constrained by a narrow, top-down perspective. Inspired by the pioneering work of the historian Daniel James and new approaches to Latin American cultural history, scholars have recently begun to rewrite the history of mid-twentieth-century Argentina. The New Cultural History of Peronism brings together the best of this important new scholarship. Situating Peronism within the broad arc of twentieth-century Argentine cultural change, the contributors focus on the interplay of cultural traditions, official policies, commercial imperatives, and popular perceptions. They describe how the Perón regime’s rhetoric and representations helped to produce new ideas of national and collective identity. At the same time, they show how Argentines pursued their interests through their engagement with the Peronist project, and, in so doing, pushed the regime in new directions. While the volume’s emphasis is on the first Perón presidency, one contributor explores the origins of the regime and two others consider Peronism’s transformations in subsequent years. The essays address topics including mass culture and melodrama, folk music, pageants, social respectability, architecture, and the intense emotional investment inspired by Peronism. They examine the experiences of women, indigenous groups, middle-class anti-Peronists, internal migrants, academics, and workers. By illuminating the connections between the state and popular consciousness, The New Cultural History of Peronism exposes the contradictions and ambivalences that have characterized Argentine populism. Contributors: Anahi Ballent, Oscar Chamosa, María Damilakou, Eduardo Elena, Matthew B. Karush, Diana Lenton, Mirta Zaida Lobato, Natalia Milanesio, Mariano Ben Plotkin, César Seveso, Lizel Tornay |
| cine en argentina historia: Routledge Library Editions: Cultural Studies Various Authors, 2021-05-13 This seven volume set reissues a collection of out-of-print titles covering a range of responses to modern culture. They include in-depth analyses of US and Australian popular culture, works on the media and television, macrosociology, and the media and ‘otherness’. Taken together, they provide stimulating and thought-provoking debate on a wide range of topics central to many of today’s cultural controversies. |
| cine en argentina historia: Otherness and the Media Hamid Naficy, Teshome H. Gabriel, 2016-10-04 This anthology on otherness and the media, first published in 1993, was prompted by the proliferation of writings centring on issues of ‘difference’, ‘diversity’, ‘multiculturalism’, ‘representation’ and ‘postcolonial’ discourses. Such issues and discourses question existing canons of criticism, theory and cultural practice but also because they suggest a new sense of direction in theorisation of difference and representation. |
| cine en argentina historia: The Routledge Companion to Global Film Music in the Early Sound Era Jeremy Barham, 2023-12-22 In a major expansion of the conversation on music and film history, The Routledge Companion to Global Film Music in the Early Sound Era draws together a wide-ranging collection of scholarship on music in global cinema during the transition from silent to sound films (the late 1920s to the 1940s). Moving beyond the traditional focus on Hollywood, this Companion considers the vast range of cinema and music created in often-overlooked regions throughout the rest of the world, providing crucial global context to film music history. An extensive editorial Introduction and 50 chapters from an array of international experts connect the music and sound of these films to regional and transnational issues—culturally, historically, and aesthetically—across five parts: Western Europe and Scandinavia Central and Eastern Europe North Africa, The Middle East, Asia, and Australasia Latin America Soviet Russia Filling a major gap in the literature, The Routledge Companion to Global Film Music in the Early Sound Era offers an essential reference for scholars of music, film studies, and cultural history. |
| cine en argentina historia: Identity Mediations in Latin American Cinema and Beyond Cecilia Nuria Gil Mariño, Laura Miranda, 2019-09-12 The appearance of sound film boosted entertainment circuits around the world, drawing cultural cartographies that forged images of spaces, nations and regions. By the late 1920s and early ‘30s, film played a key role in the configuration of national and regional cultural identities in incipient mass markets. Over the course of the twentieth and early twenty-first centuries, this transmedia logic not only went unthreatened, but also intensified with the arrival of new media and the development of new technologies. In this respect, this book strikes a dialogue between analyses that reflect the flows and transits of music, films and artists, mainly in the Ibero-American space, although it also features essays on Soviet and Asian cinema, with a view to exploring the processes of configuration of cultural identities. As such, this work views national borders as flexible spaces that permit an exploration of the appearance of transversal relations that are part of broader networks of circulation, as well as economic, social and political models beyond the domestic sphere. |
| cine en argentina historia: The Cinematic Tango Tamara Leah Falicov, 2007 This text explores the cultural politics of over 60 years of filmmaking in Argentina. The author explores how national culture on film has been shaped, articulated and debated through the lens of state policy and the dynamics of the global film market. |
| cine en argentina historia: New Argentine Cinema Jens Andermann, 2011-11-30 Argentine filmmaking from the mid-1990s to the present has enjoyed worldwide success. New Argentine Cinema explores this cinema in order to discover the elements that have made for this success, in relation to the country's profound political, social and cultural crisis during the same period. Jens Andermann shows how the most recent wave of films differs markedly from the Argentine cinema of the preceding decade, following the end of the dictatorship in 1983. Studying films by Lisandro Alonso, Albertina Carri, Lucrecia Martel, Raul Perrone, Martin Rejtman, and Pablo Trapero, among others, he identifies a shift in aesthetic sensibilities between these directors and those of the previous generation as well as a profound change in the way films are being made, and their relation to the audiovisual field at large. In combining close comparative analyses with a review of the changing models of production, editing, actorship and location, Andermann uncovers the ways in which Argentine films have managed to construct a complex, multilayered account of their own present, as shot through - or 'perforated' - by the still unresolved legacies of the past. |
| cine en argentina historia: Global Neorealism Saverio Giovacchini, Robert Sklar, 2011-10-11 Contributions by Nathaniel Brennan, Luca Caminati, Silvia Carlorosi, Caroline Eades, Saverio Giovacchini, Paula Halperin, Neepa Majumdar, Mariano Mestman, Hamid Naficy, Sada Niang, Masha Salazkina, Sarah Sarzynski, Robert Sklar, and Vito Zagarrio Intellectual, cultural, and film historians have long considered neorealism the founding block of post-World War II Italian cinema. Neorealism, the traditional story goes, was an Italian film style born in the second postwar period and aimed at recovering the reality of Italy after the sugarcoated moving images of fascism. Lasting from 1945 to the early 1950s, neorealism produced world-renowned masterpieces such as Roberto Rossellini's Roma, città aperta (Rome, Open City, 1945) and Vittorio De Sica's Ladri di biciclette (Bicycle Thieves, 1947). These films won some of the most prestigious film awards of the immediate postwar period and influenced world cinema. This collection brings together distinguished film scholars and cultural historians to complicate this nation-based approach to the history of neorealism. The traditional story notwithstanding, the meaning and the origins of the term are problematic. What does neorealism really mean, and how Italian is it? Italian filmmakers were wary of using the term and Rossellini preferred realism. Many filmmakers confessed to having greatly borrowed from other cinemas, including French, Soviet, and American. Divided into three sections, Global Neorealism examines the history of this film style from the 1930s to the 1970s using a global and international perspective. The first section examines the origins of neorealism in the international debate about realist esthetics in the 1930s. The second section discusses how this debate about realism was “Italianized” and coalesced into Italian “neorealism” and explores how critics and film distributors participated in coining the term. Finally, the third section looks at neorealism’s success outside of Italy and examines how film cultures in Latin America, Africa, Asia, and the United States adjusted the style to their national and regional situations. |
Lancement de CINE+ 80'S, nouvelle Chaine Digitale CINE
Mar 15, 2019 · Bonjour à tous ! Bienvenue à CINE+ 80's, la huitième chaîne digitale CINE+ ! Avec plus d’une centaine de films en ligne, CINE+ 80’s propose une sélection spéciale d’une …
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May 15, 2020 · Bonjour, On peut prendre cette option sans engagement chez les FAI. Chez le mien SFR : Option ciné+ ( les 6 chaines) : 9.99€
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Apr 17, 2020 · Je viens de souscrire à l'offre canal sans engagement pour 14,90€ a partir de la fin de mon mois offert, j'ai pris en plus le pack ciné série a 15€. Quand je vais sur mon compte …
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Dec 23, 2019 · Bonjour, Je me demande s'il serait possible que Canal réfléchisse à une offre pour le pack ciné-série sans Netflix intégré (c'est à dire le mettre en option).
Effet, comme …
Abonnement moins de 26 ans CANAL+ ciné séries - Résolue
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ciné+horreur ciné+western - Résolue - CANAL+ Assistance
Bonjour, je ne trouve pas ciné+horreur et ciné+western sur le canal 15 malgré mon abonnement, j'ai parcouru toutes les rubriques sans résultat ces deux "chaines" sont bien cachées elles …
ciné+ horreur - Résolue - CANAL+ Assistance
Ce n'est pas une vraie chaîne, mais juste du téléchargement. Cela fait des années qu'il n'y a plus ce genre de films sir canal+/ciné+frisson.
Tarif second mois CANAL+ et LES CHAINES CINE SERIES via Apple tv
(2) A défaut de résiliation de l’offre CANAL+ & LES CHAINES CINE SERIES (au tarif promotionnel de 24,90€/mois), avant la date d’échéance mensuelle de votre abonnement …
Plus d’abonnement à Ciné+ pourquoi - Avec Réponse(s)
May 7, 2024 · Vous êtes abonné CANAL+ Retrouvez l'ensemble de l'aide en ligne CANAL+ : comment gérer votre abonnement, utiliser nos services, trouver de l'aide ou rester informé.
Toujours rien pour le replay des 6 chaine cine + je paye je dis ce …
Touijours rien pour le replay des 6 chaines cine+ c est pour quand et je paye je dis ce que veux
Lancement de CINE+ 80'S, nouvelle Chaine Digitale CINE
Mar 15, 2019 · Bonjour à tous ! Bienvenue à CINE+ 80's, la huitième chaîne digitale CINE+ ! Avec plus d’une centaine de films en ligne, CINE+ 80’s propose une sélection spéciale d’une …
option ciné + - Avec Réponse(s) - CANAL+ Assistance
May 15, 2020 · Bonjour, On peut prendre cette option sans engagement chez les FAI. Chez le mien SFR : Option ciné+ ( les 6 chaines) : 9.99€
Pack abonnement ciné série - Avec Réponse(s) - CANAL+ Assistance
Apr 17, 2020 · Je viens de souscrire à l'offre canal sans engagement pour 14,90€ a partir de la fin de mon mois offert, j'ai pris en plus le pack ciné série a 15€. Quand je vais sur mon compte …
pack ciné-série et Netflix en OPTION - Avec Réponse(s)
Dec 23, 2019 · Bonjour, Je me demande s'il serait possible que Canal réfléchisse à une offre pour le pack ciné-série sans Netflix intégré (c'est à dire le mettre en option).
Effet, comme …
Abonnement moins de 26 ans CANAL+ ciné séries - Résolue
Mar 15, 2022 · Bonjour, je souhaiterais plus d’infos sur l’abonnement pour - de 26 ansCANAL+ CINÉ SERIES à 20€49/mois Sans engagement.
ciné+horreur ciné+western - Résolue - CANAL+ Assistance
Bonjour, je ne trouve pas ciné+horreur et ciné+western sur le canal 15 malgré mon abonnement, j'ai parcouru toutes les rubriques sans résultat ces deux "chaines" sont bien cachées elles …
ciné+ horreur - Résolue - CANAL+ Assistance
Ce n'est pas une vraie chaîne, mais juste du téléchargement. Cela fait des années qu'il n'y a plus ce genre de films sir canal+/ciné+frisson.
Tarif second mois CANAL+ et LES CHAINES CINE SERIES via Apple tv
(2) A défaut de résiliation de l’offre CANAL+ & LES CHAINES CINE SERIES (au tarif promotionnel de 24,90€/mois), avant la date d’échéance mensuelle de votre abonnement …
Plus d’abonnement à Ciné+ pourquoi - Avec Réponse(s)
May 7, 2024 · Vous êtes abonné CANAL+ Retrouvez l'ensemble de l'aide en ligne CANAL+ : comment gérer votre abonnement, utiliser nos services, trouver de l'aide ou rester informé.
Toujours rien pour le replay des 6 chaine cine + je paye je dis ce …
Touijours rien pour le replay des 6 chaines cine+ c est pour quand et je paye je dis ce que veux
