The Projected Nation : Argentine Cinema and the Social Margins

Investigates how Argentine cinema has represented rural spaces and urban margins from the 1910s to the present. Contents Acknowledgments Introduction: A History of Erasures Chapter 1 National Modernization and the Production of Marginal Spaces in Early Feature Films Filmmaking Autonomy in the 1910s Three Gauchos El último malón: Positivism, Early Ethnography and an Ethic for Civilización Chapter 2 The Classical Cinema and the Perpetuation of a National Fantasy Formal Conventions and Rural Space The Cinema and National Modernization Projects of the 1930s National Spaces and Masculinities The Urban Margins and the End of the Classical Cinema: From Arrabal to Villa Chapter 3 An Inquisitive Gaze on the Nation The Birth of Cinephilia and the Short Film Feature Films Outside the Industry Nuevo Cine Narrative Feature Films Militant Film and Rural Space Fiction Films of the Primavera Camporista Commercial Cinema Responses to the Inquisitive Gaze Civilization, Discontents, and Scopophilia Faith: In the Father and the Son and the Culture Industry Chapter 4 Contemporary Cinema and the Neoliberal Social Margins The Cruel Optimism of Country Life Rural Space in Contemporary Film: Inquisitive Gazes on an Opaque World Pino Solanas and the End of the Pueblo Notes Works Cited Filmography Index The Projected Nation examines the representation of rural spaces and urban margins in Argentine cinema from the 1910s to the present. The literary and visual culture of the nineteenth and early-twentieth centuries formulated a spatial imaginary - often articulated as an opposition between civilization and barbarism, or its inversion?into which the cinema intervened. As the twentieth century progressed, the new medium integrated these ideas with its own images in various ways. At times cinema limited itself to reproducing inherited representations that reassure the viewer that all is well in the nation, while at others it powerfully reformulated them by filming spaces and peoples previously excluded from the national culture and left behind in the nation?s modernizing process. Matt Losada accounts for historical events, technological factors, and the politics of film form and viewing in assessing a selection of works ranging from mass-marketed cinema to the political avant-garde, and from the canonical to the nearly unknown Introduction: A History Of Erasures -- National Modernization And The Production Of Marginal Spaces In Early Feature Films -- The Classical Cinema And The Perpetuation Of A National Fantasy -- An Inquisitive Gaze On The Nation -- Contemporary Cinema And The Neoliberal Social Margins. Matt Losada. Includes Bibliographical References And Index. Includes Filmography.