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Titlebook: Latin American Documentary Film in the New Millennium; María Guadalupe Arenillas,Michael J. Lazzara Book 2016 The Editor(s) (if applicable

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发表于 2025-3-21 18:01:59 | 显示全部楼层 |阅读模式
书目名称Latin American Documentary Film in the New Millennium
编辑María Guadalupe Arenillas,Michael J. Lazzara
视频video
概述Offers new contributions to current debates around Latin American documentary film.Examines continuities and ruptures between the militant “Third Cinema” of the 1960s and 1970s and the more subjective
图书封面Titlebook: Latin American Documentary Film in the New Millennium;  María Guadalupe Arenillas,Michael J. Lazzara Book 2016 The Editor(s) (if applicable
描述.Nearly two decades into the new millennium, Latin American documentary film is experiencing renewed vibrancy and visibility on the global stage. While elements of the combative, politicized cinema of the 1960s and 1970s remain, the region’s production has become increasingly subjective, reflexive, and experimental, though perhaps no less political. At the same time, Latin American filmmakers both respond to and shape global tendencies in the genre. This book highlights the richness and heterogeneity of Latin American documentary film, surveys a broad range of national contexts, styles, and practices, and expands current debates on the genre. Thematic sections address the “subjective turn” of the 1990s and 2000s and the move beyond it; the ethics of the encounter between the filmmaker and the subject/object of his or her gaze; and the performance of truth and memory, a particularly urgent topic as Latin American countries have transitioned from dictatorship to democracy..
出版日期Book 2016
关键词latin america; documentary film; cinema; ethics; performance; subjectivity; memory; ethnography; latin ameri
版次1
doihttps://doi.org/10.1057/978-1-137-49523-5
isbn_ebook978-1-137-49523-5
copyrightThe Editor(s) (if applicable) and The Author(s) 2016
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What Remains of Third Cinema? How do new strategies blend with old ones to create a kind of temporal hybridity in documentary film? How do new movements like Argentina’s . (picket-line cinema) return us to the aesthetics of forty years ago? And how do they diverge? This chapter looks at these questions by considering the evolut
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Andrés Di Tella and Argentine Documentary Filmthe most important social and political events of the twentieth and twenty-first centuries. More importantly, however, he shows how Di Tella’s work reflects a more general development of Argentine documentary filmmaking at the turn-of-the-millennium: particularly the emergence of the “subjective tur
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Displacing the “I”: Uses of the First Person in Recent Argentine Biographical Documentariesires in the 1980s: . (Rodrigo Espina, 2008) and . (Goyo Anchou and Peter Pank, 2011). The first-person enunciation in these films differs from the “memory documentaries” of the last three decades insofar as it adopts a gaze that displaces the “I” to focus on an object other than the self. Gómez’s an
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The “Mobility Turn” in Contemporary Latin American First-Person Documentaryts in the region and that mobility has, in fact, become a way to capture and question identity and memory, as well as the visual regimes that have dominated representative nonfictional films from the region. Following a brief outline of the historical trajectory that territorial mobility has taken i
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Performance, Reflexivity, and the Languages of History in Contemporary Brazilian Documentary Filmrepresentation. This chapter analyzes a series of Brazilian documentaries concerned with subjectivity, personhood, and its particular implications for the documentary encounter. These films are just as much about their subjects as they are about (documentary) cinema as a realm in which intersubjecti
发表于 2025-3-23 07:53:28 | 显示全部楼层
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