Image, Word and action. The filmmaker as intellectual at the end of the sixties in Argentina

One common denominator of Latin-American political filmmakers of the sixties was to think of themselves as intellectuals. This was a duty they assumed in different spheres of activity (publications, conferences, festivals, even their own work). Adventurers in a hostile media, filmmakers convert the...

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Autor principal: Wolkowicz, Paula Casiana
Formato: Artículo revista
Lenguaje:Español
Publicado: Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2013
Materias:
Cineasta intelectual - cine político - conciencia crítica - cine acción
Filmmaker
Intellectual
Political film
Critical conscience
Action film
Acceso en línea:https://revistas.unc.edu.ar/index.php/toma1/article/view/9333
Aporte de:
TOMA UNO de Universidad Nacional de Córdoba
id I10-R367-article-9333
record_format ojs
spelling I10-R367-article-93332020-11-01T03:56:49Z Image, Word and action. The filmmaker as intellectual at the end of the sixties in Argentina Imagen, palabra y acción. El cineasta como intelectual a finales de la década del sesenta en la Argentina Wolkowicz, Paula Casiana Cineasta intelectual - cine político - conciencia crítica - cine acción Filmmaker Intellectual Political film Critical conscience Action film One common denominator of Latin-American political filmmakers of the sixties was to think of themselves as intellectuals. This was a duty they assumed in different spheres of activity (publications, conferences, festivals, even their own work). Adventurers in a hostile media, filmmakers convert the camera into a tool of transformation and change. Political radicalization, dependence theory, anti-imperialist fight, and revolutionary causes, were recurrent topics in the intellectual film field, although, they also concerned the whole of the artistic field in Argentina. In this context, several debates regarding the specificity of film as a media took place. The camera as a gun, the capacity of generating critical conscience and politically active agents, clandestine practices of exhibition and production, and the conception of the filmic moment as an act, were some of the subjects that concerned the filmmaker/intellectual figure towards the end of the sixties. Pensar y pensarse como sujeto intelectual fue uno de los denominadores comunes de los cineastas políticos en la larga década del sesenta, tarea que llevaron a cabo desde múltiples espacios (publicaciones, conferencias, festivales, incluso desde sus mismas obras). Aventureros en un medio hostil, los directores convirtieron la cámara en una herramienta de transformación y cambio. La radicalización política, la teoría de la dependencia, la lucha antiimperialista, las banderas de liberación latinoamericanistas y los embates revolucionarios, eran temáticas recurrentes en el ámbito intelectual cinematográfico, aunque, claro está, eran cuestiones que concernían al campo artístico argentino en su totalidad. Dentro de este contexto, sin embargo, también se desarrolló una serie de debates particulares, que hacían a la especificidad del cine como medio. Cuestiones como la utilización del film como herramienta revolucionaria, la capacidad de generar conciencia crítica y actores políticos activos, las prácticas clandestinas de exhibición y producción y la concepción del hecho fílmico como un acto eran algunos de los temas que rondaban la figura del cineasta/intelectual hacia finales de la década del sesenta. Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2013-11-07 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/toma1/article/view/9333 10.55442/tomauno.n2.2013.9333 Toma Uno; No. 2 (2013): El cine y las otras artes; 135-151 TOMA UNO; Núm. 2 (2013): El cine y las otras artes; 135-151 2250-4524 2313-9692 10.55442/tomauno.n2.2013 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/9333/10055
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-367
container_title_str TOMA UNO
language Español
format Artículo revista
topic Cineasta intelectual - cine político - conciencia crítica - cine acción
Filmmaker
Intellectual
Political film
Critical conscience
Action film
spellingShingle Cineasta intelectual - cine político - conciencia crítica - cine acción
Filmmaker
Intellectual
Political film
Critical conscience
Action film
Wolkowicz, Paula Casiana
Image, Word and action. The filmmaker as intellectual at the end of the sixties in Argentina
topic_facet Cineasta intelectual - cine político - conciencia crítica - cine acción
Filmmaker
Intellectual
Political film
Critical conscience
Action film
author Wolkowicz, Paula Casiana
author_facet Wolkowicz, Paula Casiana
author_sort Wolkowicz, Paula Casiana
title Image, Word and action. The filmmaker as intellectual at the end of the sixties in Argentina
title_short Image, Word and action. The filmmaker as intellectual at the end of the sixties in Argentina
title_full Image, Word and action. The filmmaker as intellectual at the end of the sixties in Argentina
title_fullStr Image, Word and action. The filmmaker as intellectual at the end of the sixties in Argentina
title_full_unstemmed Image, Word and action. The filmmaker as intellectual at the end of the sixties in Argentina
title_sort image, word and action. the filmmaker as intellectual at the end of the sixties in argentina
description One common denominator of Latin-American political filmmakers of the sixties was to think of themselves as intellectuals. This was a duty they assumed in different spheres of activity (publications, conferences, festivals, even their own work). Adventurers in a hostile media, filmmakers convert the camera into a tool of transformation and change. Political radicalization, dependence theory, anti-imperialist fight, and revolutionary causes, were recurrent topics in the intellectual film field, although, they also concerned the whole of the artistic field in Argentina. In this context, several debates regarding the specificity of film as a media took place. The camera as a gun, the capacity of generating critical conscience and politically active agents, clandestine practices of exhibition and production, and the conception of the filmic moment as an act, were some of the subjects that concerned the filmmaker/intellectual figure towards the end of the sixties.
publisher Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba
publishDate 2013
url https://revistas.unc.edu.ar/index.php/toma1/article/view/9333
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first_indexed 2024-09-03T22:57:42Z
last_indexed 2024-09-03T22:57:42Z
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