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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Impugn

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

規(guī)章

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

進取心

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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FID

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

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