Transition cinema : political filmmaking and the Argentine left since 1968
著者
書誌事項
Transition cinema : political filmmaking and the Argentine left since 1968
(Illuminations : cultural formation of the Americas)
University of Pittsburgh Press, c2012
- : pbk
大学図書館所蔵 全4件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Filmography: p. 229-234
Bibliography: p. 235-250
Includes index
内容説明・目次
内容説明
In May of 1976, documentary filmmaker and proclaimed socialist Raymundo Gleyzer mysteriously disappeared in Buenos Aires. Like many political activists, Gleyzer was the target of a brutalizing military junta that had recently assumed power. Amazingly, within a few decades, leftist filmmakers would be celebrated as intellectual vanguards in this same city.
In Transition Cinema, Jessica Stites Mor documents the critical role filmmakers, the film industry, and state regulators played in ArgentinaAEs volatile transition to democracy. She shows how, during different regimes, the state moved to either inhibit or facilitate film production and its content, distribution, and exhibition. She also reveals the strategies the film industry employed to comply with, or circumvent these regulations.
Stites Mor divides the transition period into three distinct generations, each defined by a major political event and the reactions to these events in film. The first generation began with the failed civil uprising in C\u00f3rdoba in 1969, and ended with the 1976 military takeover. During military rule, repressive censorship spurred underground exhibitions, and allied filmmakers with the Peronist left and radical activists. The second generation arose after the return of civilian rule in 1983. Buenos Aires became the center for state-level cultural programs that included filmmakers in debates over human rights and collective memory campaigns. In 1989, a third generation of filmmaking emerged, with new genres such as cine piquetero (picketer cinema) that portrayed a variety of social movements and brought them into the public eye. By the new millennium, Argentine filmmakers had gained the attention and financial support of international humanitarian and film industry organizations.
In this captivating study, Stites Mor examines how populist movements, political actors, filmmakers, government, and industry institutions all became deeply enmeshed in the project of ArgentinaAEs 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.
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