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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
Silence, historical memory and metaphor
Maria M. Delgado

perhaps not surprising, therefore, that in two nations where political leaders have positioned themselves in close relationship to public accountability for historical crimes, issues of historical memory should prove an influential trope in contemporary filmmaking. In Argentina, Albertina Carri’s Los Rubios/The Blonds (2003), Nicolás Prividera’s M (2003), Lucía Cedrón’s Cordero de dios/Lamb of God (2008), Israel Adrián

in Spanish cinema 1973–2010