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Beatriz Tadeo Fuica

Agustín Tosco Propaganda was published in the Argentine film journal El Amante Cine. It was written by Israel Adrián Caetano before his film Pizza, Beer and Cigarettes (Caetano and Stagnaro, 1998) triggered the concept of New Argentine Cinema. In this provocative text, Caetano criticised the way Argentine cinema had usually been made and, in a form of manifesto, he presented the principles that his own films – and those of many other young directors – have followed since then. Although New Argentine Cinema has been thoroughly studied in the English-speaking academia, only a few authors have made reference to this seminal text. Being aware of the principles set in this manifesto more than twenty years ago will help researchers and students understand some important features that tend to be overlooked when exploring not only Argentinean cinema, but also many other cinemas of the region.

Film Studies
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Deborah Martin

with previous Argen­ tine filmmaking that, in the late 1990s and early 2000s, came to be known as ‘New Argentine Cinema’, yet with only three feature films, her critical acclaim and international appeal looks set to outstrip that of any of her New Argentine contemporaries. The cinema of Lucrecia Martel examines her place within that body of work, or tendency in Argentine filmmaking, yet also explores correspondences between her work and other national and global filmmaking trends. It brings together some of the important critical approaches to Martel’s work

in The cinema of Lucrecia Martel
Silence, historical memory and metaphor
Maria M. Delgado

that do not necessarily feature Spanish characters or a Spanish locale but rather ‘invest’ in a trend, such as the New Argentine Cinema – the generation of film school-educated independent filmmakers whose poetic, neo-realist aesthetic and move away from the studio-bound, magic realist whimsy and/or political didacticism of their predecessors marked a decisive shift in Argentine filmmaking. 4 This was an enterprising ‘poor’ cinema with a

in Spanish cinema 1973–2010
the cases of Lucrecia Martel and Isabel Coixet
Paul Julian Smith

in 1995 (122). Martel at once coincides with and diverges from the improvised but rapidly consolidated criteria for the ‘new Argentine cinema’. She studied filmmaking in Buenos Aires and won a public competition with an early short that was distributed as part of the portmanteau Historias breves (1995). In common with other local features, her films were exhibited (briefly) on the dedicated screens

in Hispanic and Lusophone women filmmakers
Subjective realism, social disintegration and bodily affection in Lucrecia Martel’s La ciénaga (2001)
Julián Daniel Gutiérrez- Albilla

-making Art after Modernism ( New Haven : Yale University Press , 2004 ). Gundermann , C. ‘The stark gaze of the New Argentine Cinema: restoring strangeness to the object in the perverse age of commodity fetishism’ , Journal of Latin American Cultural Studies , 14 ( 2005 ), 241–61 . Gutiérrez-Albilla , J. D. , ‘Becoming a queen mother in and through film: trans

in Hispanic and Lusophone women filmmakers
(Auto)biography in Sandra Kogut’s Um Passaporte Húngaro (2001) and Albertina Carri’s Los rubios (2003)
Charlotte Gleghorn

propels classical genealogical quests. Autobiography and film Subjective and autobiographical filmmaking has recently attracted sustained critical attention, not least in the literature devoted to the cinematic revivals experienced in Brazil and Argentina since the mid-1990s, dubbed the retomada (renaissance) and the nuevo cine argentino (New Argentine

in Hispanic and Lusophone women filmmakers
Abstract only
Distanciation and embodiment
Deborah Martin

contemporary Argentine cinema’, 2006, 55). 34 Although the time-image privileging ‘slow cinema’ of Lisandro Alonso, for example La libertad (2001), and certain sequences of Caetano’s Bolivia do emphasise the extra-visual senses, in general films associated with New Argentine Cinema do not stage sensory experiments as part of the diegesis in the same way as Martel’s first two features. In later films by Albertina Carri (La rabia, 2008) and Julia Solomonoff (El último verano de la boyita, 2009), we see the influence of Martel’s experimentations with sound and touch. 35

in The cinema of Lucrecia Martel