Autor/es
Descripción
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Colaborador
Dipaola, Esteban Marcos
Spatial Coverage
Idioma
spa
Extent
138 p.
Derechos
info:eu-repo/semantics/openAccess
Atribución-NoComercial-SinDerivadas 4.0 Internacional (CC BY-NC-ND 4.0)
Formato
application/pdf
Identificador
Cobertura
ARG
Abstract
Starting in the 90s, with the strong advent of neoliberalism in Argentina, discussions were set up around security crisis and the escalation of violence that was being experienced in the country and that were alerted from the hegemonic media. In this context, an association between insecurity and poverty was finally welded, with a discourse that would be of marked relevance during the following decades.
In the midst of this crisis, a novel cinematography appeared in the cultural arena that meant a break with the previous cinema, manners and melodramatic, to focus on the everyday things, on youth and building a bridge with the generation of filmmakers of the 60s, that had a great political and artistic weight in Argentinian cinema. This New Argentine Cinema of the late 90s brought with it a refreshing air, with updated views from youth and that implied a novel process for cinema, which embarked on the contemporary era of the new century.
Starting from the idea that the cultural production of an era is essential to think about the configurations around the social, cultural and political life of a historical moment, this thesis proposes to focus on the study of urban marginality as a recurring theme and problem of contemporary Argentine cinema, with the intention of constituting a contribution to the study of local culture with a sociological perspective.
This cinema, which focused on the margins of a society in crisis, produced images and associations that need to be reviewed to unravel the underlying logics they reproduce. The objective of the thesis will be to analyze the expressions on urban marginality produced in contemporary Argentine fiction cinema, in the time period between 1995 and 2015. To do this, and with the intention of carrying out a corpus of work that allows addressing such a widespread phenomenon, we proposed three directors as important exponents of contemporary cinema on marginality: Pablo Trapero, Adrián Israel Caetano and Luis Ortega. The thesis works with three films by each director, from a qualitative methodological proposal that is typical of the social sciences and the analysis of films, as a way of approaching the work on films.
The methodological design starts from the relevance of inter and transdisciplinarity in the social sciences and is tied by the concept of imaginal productions of sociality that is both operational and theoretical. We will start from the
contemporary theory of the social sciences, which studies the conditions of postmodern society, of cultural globalization and the importance of the image in it, to then carry out a theoretical triangulation that allows us to approach the corpus of films from three perspectives different from marginality to find different meanings in dispute and dialogue from the images that are an expression of this cinema.
Some of the questions that lead the research are: if there is an aesthetic of marginality in contemporary Argentine cinema, if there is one, what characteristics does it have? What perspectives on marginality are present in the images of this cinema? are they critical or reproduce stereotypes of the prevailing common sense in the hegemonic press and television media and why does it persist as such a present theme of the national audiovisual? The hypothesis that structures these questions is that contemporary Argentine fiction cinema runs from the discourses so present in its context about insecurity, to produce critical images about urban marginality. Under this idea, we propose that in front of the context of criminalization of poverty and the discourse of insecurity reproduced by a neoliberal matrix, the New Argentine Cinema of the 90s, moves away from the constructions that stigmatize the popular classes. Then, we will evaluate how this relationship unfolds during the following years.
After elaborating the antecedents in the intersections on cinema and marginality in different meanings, we will focus on some of the most important theoretical discussions about contemporary Argentine cinema and, in particular, on the images of marginality in our cinematography, which is a subject that is widely addressed but, only in a few works it is presented as a central problem, which structures the study. With the aim of restoring these works and updating them in a context of great preponderance of the audiovisual world at the global level, this thesis is proposed as a first approach that contributes to future studies and extensions of the phenomenon of urban marginality in the audiovisual, with the plurality that a term like marginality involves.
In the midst of this crisis, a novel cinematography appeared in the cultural arena that meant a break with the previous cinema, manners and melodramatic, to focus on the everyday things, on youth and building a bridge with the generation of filmmakers of the 60s, that had a great political and artistic weight in Argentinian cinema. This New Argentine Cinema of the late 90s brought with it a refreshing air, with updated views from youth and that implied a novel process for cinema, which embarked on the contemporary era of the new century.
Starting from the idea that the cultural production of an era is essential to think about the configurations around the social, cultural and political life of a historical moment, this thesis proposes to focus on the study of urban marginality as a recurring theme and problem of contemporary Argentine cinema, with the intention of constituting a contribution to the study of local culture with a sociological perspective.
This cinema, which focused on the margins of a society in crisis, produced images and associations that need to be reviewed to unravel the underlying logics they reproduce. The objective of the thesis will be to analyze the expressions on urban marginality produced in contemporary Argentine fiction cinema, in the time period between 1995 and 2015. To do this, and with the intention of carrying out a corpus of work that allows addressing such a widespread phenomenon, we proposed three directors as important exponents of contemporary cinema on marginality: Pablo Trapero, Adrián Israel Caetano and Luis Ortega. The thesis works with three films by each director, from a qualitative methodological proposal that is typical of the social sciences and the analysis of films, as a way of approaching the work on films.
The methodological design starts from the relevance of inter and transdisciplinarity in the social sciences and is tied by the concept of imaginal productions of sociality that is both operational and theoretical. We will start from the
contemporary theory of the social sciences, which studies the conditions of postmodern society, of cultural globalization and the importance of the image in it, to then carry out a theoretical triangulation that allows us to approach the corpus of films from three perspectives different from marginality to find different meanings in dispute and dialogue from the images that are an expression of this cinema.
Some of the questions that lead the research are: if there is an aesthetic of marginality in contemporary Argentine cinema, if there is one, what characteristics does it have? What perspectives on marginality are present in the images of this cinema? are they critical or reproduce stereotypes of the prevailing common sense in the hegemonic press and television media and why does it persist as such a present theme of the national audiovisual? The hypothesis that structures these questions is that contemporary Argentine fiction cinema runs from the discourses so present in its context about insecurity, to produce critical images about urban marginality. Under this idea, we propose that in front of the context of criminalization of poverty and the discourse of insecurity reproduced by a neoliberal matrix, the New Argentine Cinema of the 90s, moves away from the constructions that stigmatize the popular classes. Then, we will evaluate how this relationship unfolds during the following years.
After elaborating the antecedents in the intersections on cinema and marginality in different meanings, we will focus on some of the most important theoretical discussions about contemporary Argentine cinema and, in particular, on the images of marginality in our cinematography, which is a subject that is widely addressed but, only in a few works it is presented as a central problem, which structures the study. With the aim of restoring these works and updating them in a context of great preponderance of the audiovisual world at the global level, this thesis is proposed as a first approach that contributes to future studies and extensions of the phenomenon of urban marginality in the audiovisual, with the plurality that a term like marginality involves.
Título obtenido
Magister de la Universidad de Buenos Aires en Comunicación y Cultura
Institución otorgante
Universidad de Buenos Aires. Facultad de Ciencias Sociales