Argentine Cinema

`If you want to know why Argentine cinema over the past 15 years has proved so vibrant and so innovative, look no further than Jens Andermann's timely book.' -- Maria Delgado, Professor of Theatre and Screen Arts, Queen Mary, University of London --Book Jacket.

This comprehensive and accessible volume surveys Brazilian and Argentine cinematic production from its subsequent dramatic rebirth to the present. It addresses not only the commercially successful films but also the effects of globalization and cultural policies on public incentives for filmmaking. --Book Jacket.

"Foster discusses ten Argentine films, including Kiss of the Spider Woman, The Official Story, and Man Facing Southeast to examine the transformation of social topics into motion pictures and the relationship between commercial filmmaking strategies and Argentine redemocratization."--Publishers website.

This book presents a history of the development of film noir and neo-noir in Argentina, as well as a technical, aesthetic, and socio-historical analysis of recent Argentine neo-noir films. It also considers the question of neo-noir inscription of classic Hollywood noirs.

Argentine filmmaking from the mid-1990s to the present has enjoyed worldwide success. New Argentine Cinema explores this cinema in order to discover the elements that have made for this success, in relation to the country's profound political, social and cultural crisis during the same period. Jens Andermann shows how the most recent wave of films differs markedly from the Argentine cinema of the preceding decade, following the end of the dictatorship in 1983. Studying films by Lisandro Alonso, Albertina Carri, Lucrecia Martel, Raul Perrone, Martin Rejtman, and Pablo Trapero, among others, he identifies a shift in aesthetic sensibilities between these directors and those of the previous generation as well as a profound change in the way films are being made, and their relation to the audiovisual field at large. In combining close comparative analyses with a review of the changing models of production, editing, actorship and location, Andermann uncovers the ways in which Argentine films have managed to construct a complex, multilayered account of their own present, as shot through - or 'perforated' - by the still unresolved legacies of the past.

Argentine Cinema and National Identity covers the development of Argentine cinema since the late 1950s to the mid-1970s, concentrating on the historical film genre and the gauchesque. This cultural history investigates the way Argentine cinema positioned itself when facing the competition of American films.

Examines contemporary cinematic representations of Argentine masculinities, the social construction of gender, and the financing of domestic film production following Argentina's 1990 change to a neo-liberal economic model.