New Argentine Cinema
I.B.Tauris, 2012 - 209 էջ
Argentine filmmaking over the past two decades has enjoyed worldwide success. New Argentine Cinema explores this cinema from the mid-1990s to the present, from a film-analytical as well as a cultural studies perspective. It reveals 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 argues that cinema, more than any other art form, has proved a particularly effective medium for engaging with the way crisis has been lived and experienced, due to its own exposure to economic and technological change. Thus, the most recent wave of films also differs markedly from the Argentine cinema of the preceding decade, following the end of the dictatorship in 1983. Studying films including Lucrecia Martel's La cienaga (The Swamp), Lisandro Alonso's La libertad (Freedom), Albertina Carri's Los rubios (The Blondes), Martin Rejtman's Silvia Prieto and Pablo Trapero's Nacido y criado (Born and Bred), 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 audio-visual field at large. In combining close comparative analyses with a review of the changing models of production, editing, actorship and location, this book uncovers the ways in which Argentine films have managed to construct a complex, multilayered account of their own present, still troubled by the unresolved legacies of the past.--Book Jacket.
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actors aesthetic Albertina Alejandro Alejandro Fernández Alonso Andrés Argentine cinema Argentine film argue audience Bernini bonaerense Buenos Aires Caetano camera Campanella’s Carlos cast characters Chávez ciénaga Ciudad de María close-up construction contemporary Argentine cinema crisis Cristian critical cultural Daniel Darín Deleuze dictatorship diegetic documentary editing El bonaerense experience Fernández Fernando fiction Figure film-makers film’s filmic footage gaze genre global Gonzalo Aguilar Gustavo Israel Adrián Joanna Page Jorge José Juan La ciénaga landscape Latin American locations Los rubios Lucio Lucrecia Martel Luis Marcelo Marcos margins Martel’s Martín Rejtman memory mode Montoneros Mouján’s movie Mundo grúa narrating narrative neo-liberal Nicolás Nueve reinas oso rojo Oubiña Pablo Trapero performance Perrone’s Pizza political present production radical Raúl Perrone rubios Santiago screen sequence shot Sílvia Prieto social Solanas soundtrack space story street television Tella temporal tion Trapero’s Un oso rojo urban Vagón fumador visual