Historical stasis: Solanas and the restoration of political film after the 2001 Argentine crisis
Abstract:This article argues that Fernando Solanas's documentary production in the wake of the 2001 Argentine institutional crisis (especially his 2004 film Social Genocide Memoria del saqueo) should not be straightforwardly paired with his 1960s' film The Hour of the Furnaces, nor to the project of Third Cinema as it was fostered by Solanas' and Getino's theorization of the relationship between cinematic practice and national liberation. Close comparative examination points to a series of differences in the rhetorical structure of the films as well as in the political proposals at stake. Among the most important differences is the way each film relates to and constructs a historical sequence. This methodological transformation in the narration of history accounts for a radically different conceptualization of agency and the role of the subject, which conflicts with recent statements on the return of the political to Latin America.
Document Type: Research Article
Publication date: December 1, 2009
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- In 2013, Studies in Hispanic Cinemas, is changing its name to Studies in Spanish & Latin American Cinemas to reflect more accurately its content, which is dedicated to the study of Spanish-speaking and Latin American cinemas, including the cinemas of Spain and Spanish-speaking South, Central and North America including the Caribbean, as well as Brazil.
Our target readership includes students, teachers and scholars. The journal is written in English to maximize the opportunities for contact between academic disciplines such as Media, Film Studies, Latin American and Post-colonial Studies, as well as Hispanic Studies, thereby encouraging an inter- cultural and inter- disciplinary focus.
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