Thoughts towards an investigation on the argentine modern cinema

Mostrar todas las versiones(2)

This article is part of a first approach towards a study of the Argentine modern cinema from late ‘60s and early ‘70s years. We will focus on the first productions of the directors Hugo Santiago (Invasión, 1969), Alberto Fischerman (The Players vs Angeles Caídos, 1968), Edgardo Cozarinsky (... (Dot,...

Descripción completa

Guardado en:
Detalles Bibliográficos
Autor principal: Moreira Facca, Enzo
Formato: Artículo revista
Lenguaje:Español
Publicado: Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2021
Materias:
aesthetics
politics
narrative ruptures
hegemony
counter-hegemony
estética
política
rupturas narrativas
hegemonía
contrahegemonía
Acceso en línea:https://revistas.unc.edu.ar/index.php/toma1/article/view/35790
Aporte de:
Revistas de la UNC de Universidad Nacional de Córdoba
id I10-R10-article-35790
record_format ojs
spelling I10-R10-article-357902022-11-15T13:46:28Z Thoughts towards an investigation on the argentine modern cinema Reflexiones hacia un estudio sobre el cine moderno argentino Moreira Facca, Enzo aesthetics politics narrative ruptures hegemony counter-hegemony estética política rupturas narrativas hegemonía contrahegemonía This article is part of a first approach towards a study of the Argentine modern cinema from late ‘60s and early ‘70s years. We will focus on the first productions of the directors Hugo Santiago (Invasión, 1969), Alberto Fischerman (The Players vs Angeles Caídos, 1968), Edgardo Cozarinsky (... (Dot, dot, dot), 1970) and Julio Ludueña (Alliance for Progress, 1971). In all this films by these authors during this period we can point out breakups in the narrative modalities and the screen staging that differentiate them from other contemporary films such as those that follow the classical narrative and even with others that challenge it, such as the ones from the Generación del 60 (60s Generation) and the Cine Militante (Militant Cinema) filmmakers. We will focus on finding a common ground between all these productions and how they interrelate with politics and a vision of their need to talk about a new cinematographic aesthetics. Este artículo se enmarca en unas primeras aproximaciones hacia un estudio del cine moderno argentino de finales de la década del sesenta y principios de la década del setenta; en él se puntualizará en las primeras realizaciones de los directores Hugo Santiago (Invasión, 1969), Alberto Fischerman (The Players vs Ángeles Caídos, 1968), Edgardo Cozarinsky (... (Puntos suspensivos), 1970) y Julio Ludueña (Alianza para el progreso, 1971). En todos los films de estos autores durante este período se pueden señalar rupturas en las modalidades narrativas y en la puesta en escena que los diferencian de otros films contemporáneos como los que siguen la narrativa clásica e incluso con otros que la impugnan, como los autores de la Generación del ‘60 y del Cine militante. Aquí nos centraremos en encontrar los puntos en común de todas estas realizaciones y en pensar cómo se interrelacionan con una visión sobre la necesidad de discutir una nueva estética cinematográfica. Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2021-11-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/toma1/article/view/35790 Toma Uno; No. 9 (2021): Politics, the political, policies, in Cinema and Audiovisual Arts TOMA UNO; Núm. 9 (2021): La política, lo político, las políticas, en el Cine y las Artes audiovisuales 2250-4524 2313-9692 10.55442/tomauno.n9.2021 ark:/s22504524/qoi0z31ty spa https://revistas.unc.edu.ar/index.php/toma1/article/view/35790/36017 https://revistas.unc.edu.ar/index.php/toma1/article/view/35790/36018 https://revistas.unc.edu.ar/index.php/toma1/article/view/35790/36019 http://creativecommons.org/licenses/by-nc-nd/2.5/ar/
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-10
container_title_str Revistas de la UNC
language Español
format Artículo revista
topic aesthetics
politics
narrative ruptures
hegemony
counter-hegemony
estética
política
rupturas narrativas
hegemonía
contrahegemonía
spellingShingle aesthetics
politics
narrative ruptures
hegemony
counter-hegemony
estética
política
rupturas narrativas
hegemonía
contrahegemonía
Moreira Facca, Enzo
Thoughts towards an investigation on the argentine modern cinema
topic_facet aesthetics
politics
narrative ruptures
hegemony
counter-hegemony
estética
política
rupturas narrativas
hegemonía
contrahegemonía
author Moreira Facca, Enzo
author_facet Moreira Facca, Enzo
author_sort Moreira Facca, Enzo
title Thoughts towards an investigation on the argentine modern cinema
title_short Thoughts towards an investigation on the argentine modern cinema
title_full Thoughts towards an investigation on the argentine modern cinema
title_fullStr Thoughts towards an investigation on the argentine modern cinema
title_full_unstemmed Thoughts towards an investigation on the argentine modern cinema
title_sort thoughts towards an investigation on the argentine modern cinema
description This article is part of a first approach towards a study of the Argentine modern cinema from late ‘60s and early ‘70s years. We will focus on the first productions of the directors Hugo Santiago (Invasión, 1969), Alberto Fischerman (The Players vs Angeles Caídos, 1968), Edgardo Cozarinsky (... (Dot, dot, dot), 1970) and Julio Ludueña (Alliance for Progress, 1971). In all this films by these authors during this period we can point out breakups in the narrative modalities and the screen staging that differentiate them from other contemporary films such as those that follow the classical narrative and even with others that challenge it, such as the ones from the Generación del 60 (60s Generation) and the Cine Militante (Militant Cinema) filmmakers. We will focus on finding a common ground between all these productions and how they interrelate with politics and a vision of their need to talk about a new cinematographic aesthetics.
publisher Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba
publishDate 2021
url https://revistas.unc.edu.ar/index.php/toma1/article/view/35790
work_keys_str_mv AT moreirafaccaenzo thoughtstowardsaninvestigationontheargentinemoderncinema
AT moreirafaccaenzo reflexioneshaciaunestudiosobreelcinemodernoargentino
first_indexed 2022-08-20T01:15:12Z
last_indexed 2023-02-28T06:26:06Z
_version_ 1770718106366246912

Ejemplares similares