Violence In Argentine Literature And Film 1989 2005

Why has violence been a predominant topic in contemporary Argentine film and literature? What conclusions can be drawn from the dissemination of violent images and narratives that depict violence in Argentina? In Argentina, the problem of violence is rooted in the country's long experience with authoritarian rule as well as in more recent trends such as the weakening of the state and the rule of law brought about by neoliberal reforms. The eleven essays that make up Violence in Argentine Literature and Film (1989-2005) seek to interpret and analyze the extent to which violence communicates structural inequalities or lines of fissure in contemporary Argentina resulting from the transformations that the state, the economy, and society in general have experienced during the past two decades. Applying a variety of critical approaches, the contributors explore violence in Argentine cultural productions as it relates to four broad themes: the body as site of physical violence, the legacies of Argentina's authoritarian past, the collapse of the myth of the Argentine nation, and the current battles over how to define particular "social and geographical places" in the context of an increasingly violent society.

Why has violence been a predominant topic in contemporary Argentine film and literature? What conclusions can be drawn from the dissemination of violent images and narratives that depict violence in Argentina? In Argentina, the problem of violence is rooted in the country's long experience with authoritarian rule as well as in more recent trends such as the weakening of the state and the rule of law brought about by neoliberal reforms. The eleven essays that make up Violence in Argentine Literature and Film (1989-2005) seek to interpret and analyze the extent to which violence communicates structural inequalities or lines of fissure in contemporary Argentina resulting from the transformations that the state, the economy, and society in general have experienced during the past two decades. Applying a variety of critical approaches, the contributors explore violence in Argentine cultural productions as it relates to four broad themes: the body as site of physical violence, the legacies of Argentina's authoritarian past, the collapse of the myth of the Argentine nation, and the current battles over how to define particular "social and geographical places" in the context of an increasingly violent society.

This innovative study finds that, through his unique representation of violence, Argentine director Pablo Trapero has established himself as one of the 21st century's distinctly political filmmakers. By examining the broad concept of violence and how it is represented on-screen, Douglas Mulliken identifies and analyzes the ways in which Trapero utilizes violence, particularly Žižek's concept of objective violence, as a means through which to mediate the political Through a focus on several previously under-studied elements of Trapero's films, Mulliken highlights the ways in which the director's work represents present-day concerns about social inequalities and injustice in neoliberal Argentina on-screen. Finally, he examines how Trapero combines aspects of Argentina's long tradition of political film with elements of Nuevo Cine Argentino to create a unique political voice.

Films like Zama and The Headless Woman have made Lucrecia Martel a fixture on festival marquees and critic's best lists. Though often allied with mainstream figures and genre frameworks, Martel works within art cinema, and since her 2001 debut The Swamp she has become one of international film's most acclaimed auteurs.Gerd Gemünden offers a career-spanning analysis of a filmmaker dedicated to revealing the ephemeral, fortuitous, and endless variety of human experience. Martel's focus on sound, touch, taste, and smell challenge film's usual emphasis on what a viewer sees. By merging of these and other experimental techniques with heightened realism, she invites audiences into film narratives at once unresolved, truncated, and elliptical. Gemünden aligns Martel's filmmaking methods with the work of other international directors who criticize—and pointedly circumvent—the high-velocity speeds of today's cinematic storytelling. He also explores how Martel's radical political critique forces viewers to rethink entitlement, race, class, and exploitation of indigenous peoples within Argentinian society and beyond.

The Feeling Child: Affect and Politics in Latin American Literature and Film compiles a series of essays focusing on the figure of the child within the specific context of the “affective turn” in the study of contemporary sociocultural settings across Latin America. This edited volume looks specifically at the intersection between cultural constructions of childhood and the affective turn within the contemporary sociopolitical landscape of Latin America. The editors and contributors share a common aim in furthering comprehension of the particular intensity of the child’s affective presence—spectatorial, haptic, silent, and spectral, among others—in contemporary Latin American cultural expression. The contributions herein approach this theoretical challenge through an interdisciplinary lens which brings together two burgeoning strands of inquiry. The first is the notion of childhood as a significant, and inherently political, sociocultural space; the second is the recognition that affect is integral and fundamental to gaining a more complex understanding of the manner in which contemporary social worlds are made. In each case, this affective presence is teased out as a register of society, shedding light on the issues marking out the current sociopolitical landscape—in particular the traces of the recent past—in the regions represented. This book brings together established international scholars and young academics focusing on Argentina, Bolivia, Chile, Cuba, and Peru.

This book studies the intimate tensions between affect and emotions as terrains of sociopolitical significance in the cinema of Lucrecia Martel, Albertina Carri, and Lucía Puenzo. Such tensions, Selimović argues, result in “affective moments” that relate to the films’ core arguments. They also signal these filmmakers’ novel insights on complex manifestations of memory, desire, and violence. The chapters explore how the presence of pronounced—but reticent—affect complicates emotional bonding in the everydayness depicted in these films. By bringing out moments of affect in these filmmakers’ diegetic worlds, this book traces the ways in which subtle foci on gender, class, race, and sexuality correlate in these Argentine women’s films.

This edited volume offers a wide-ranging picture of Argentine women filmmakers’ contribution to the film industry from the 1980s to the present by bringing together the work of highly acclaimed and emerging directors. Through thirteen critical essays by leading scholars in the field of Argentine cinema, the book acknowledges that contemporary women filmmakers have transformed the cinema of Argentina by questioning, challenging and debunking hegemonic patriarchal systems of representation. With a focus on women’s voices and experiences, the contributions redress both the under-representation of women and girls onscreen and the perpetuation of stereotypes, while exploring the innovative aesthetics used by these filmmakers.

An engaging and insightful guide to Argentine crime fiction since 2000. Argentina Noir offers a guide to Argentine crime fiction, with a focus on works published since the year 2000. It argues that the novela negra, or crime novel, has become the favored genre for many writers to address the social malaise brought about by changes linked to globalization and market-driven economic policies. Cynthia Schmidt-Cruz presents close readings and original interpretations of eleven novels, all set in or around Buenos Aires, and explores the ways these texts adapt major motifs, figures, and literary techniques in Hispanic crime fiction in order to give voice to wide-ranging social critiques. Schmidt-Cruz addresses such topics as organized crime and institutional complicity, corruption during the presidency of Carlos Menem (1989–1999), terrorist attacks on Jewish institutions in Buenos Aires and the mysterious death of Alberto Nisman, and the winners and the losers of neoliberal structural changes. With a solid underpinning in sociological studies and criticism of the genre and its historical context, Argentina Noir reveals how these novels are renovating the genre to engage pressing issues confronting not only Argentina but also countries throughout Latin America and around the globe. “This is a very significant contribution to the field. It is a full and illustrative, as well as authoritative, guide to crime fiction and the novela negra in Argentina in the twenty-first century, with a particular focus on the literature’s social and political thematics.” — Philip Swanson, author of The New Novel in Latin America: Politics and Popular Culture after the Boom