Autor/es
Descripción
ver mas
Colaborador
Moguillansky, Marina
Materias
Spatial Coverage
Temporal Coverage
1950-1960
Idioma
spa
Extent
403 p.
Derechos
info:eu-repo/semantics/openAccess
Atribución-NoComercial-SinDerivadas 2.0 Genérica (CC BY-NC-ND 2.0)
Formato
application/pdf
Identificador
Cobertura
ARG
1950-1960
Abstract
In this thesis we develop the history of the exhibition and reception of films in alternative and non-commercial circuits in Argentina, in the period in which cinema consolidated its place in the artistic field, both internationally and locally. In this process, a new type of film critic sought to be included in the artistic field and thus achieved a prominent role in the fields of teaching, production, circulation and film consumption, extending its scope to the participation in political-cultural debates.
Concerning this matter, we argue that in order for cinema to consolidate its place in the field of the arts, it was necessary a new type of critical discourse to take it as an object with a new perspective. Both cinema and criticism achieved their own identity and legitimacy as part of the same cultural framework. By questioning about the value of filmmakers as authors and the possible meanings of their works, critics contributed to the formation of a new type of spectators and directors. Relying on a filmmaking tradition developed since the 1920's, it postulated itself as an intellectual guide and source of legitimacy for a new generation of filmmakers trained in the film projections of film clubs and art cinema circuits.
In order to show the cultural framework in which this new perspective is configured, we look into the emergence and development of cinephilia in Argentina, from the 1930s to its consolidation in the 1950s and 1960s. We focus on the key role of film clubs in the legitimization of a cinematographic canon characterized as artistic or quality films and we point out the importance that these associations gave to the publication of magazines through which they aimed at the formation of spectators and filmmakers, in times when higher studies on cinema were non-existent or in their infancy.
In the first part of the work we analyse the gestation of a cinematographic culture in western cities and its expansion and transformation towards the middle of the 20th century when, in the post-war period, an erudite variant with a strong generational imprint emerged. This modality of reception beyond commercial films market was developed in a network of film clubs, film libraries, archives and festivals, and was contemporary to the consolidation of the cinema as a symbolic good with patrimonial, cultural and artistic values.
In this analysis we include the construction of film audiences since the beginning of the 20th century, the first literary texts that were precursors of film journalism, writings about film in the commercial press and the emergence of other types of magazines with an aesthetic and political interest in national cinema. In addition, we go over the initial forms of erudite cinephilia in national and foreign urban centres, their international links and the analysis of the printed materials that accompanied the screenings.
In the second part of the thesis, we analyse the two main film clubs that were active in Argentina between the 1940s and the 1960s and the magazines they published, paying special attention to the context in which they circulated: Gente de Cine, from the film club of the same name founded by Rolando "Roland" Fustiñana that operated between 1942 and 1965, and Tiempo de Cine, a publication of the film club Núcleo founded in the transition to the 1960s.
To characterize Gente de Cine, we place its emergence and consolidation in the context of the cultural policies of Peronism, focusing on policies directed at the film industry, which were widely resisted by film club members and critics of a new generation of specialized journalists. Within this framework, the film club became a key place for the formation of an audience that was looking for options outside the commercial exhibition circuit, by proposing itself as a space for meeting and discussion. Based on the analysis of its magazine, we give an account of the set of voices that formed a new type of cinematographic view. We also consider the dialogues that were established with other entities and publications, both European and local.
Núcleo film club was consolidated during the passage from the 1950s to the 1960s, a period marked by the opening up to the outside world, cultural modernization and the growing attacks of censorship that characterized the decade following the overthrow of the Peronist government. The tensions in the intellectual field also produced a large circulation of cultural magazines in which the autonomy of art and its passage through politics was debated. The cinematographic field was subjected to similar pressures and crossovers. The emergence of the Núcleo film club in this period of transition was key to the vernacular film culture. The analysis of its magazine Tiempo de Cine (1960-1965/1968) places it as a point of arrival for the cinephilia in Argentina, considered as a specific type of culturally legitimate film reception, which assigned to the filmmakers the role of author and to the critics that of intellectual interpreters of filmmakers’ works. A modality that reached its peak in the 1960s and that coexisted, towards the end of the period, with political debates about the role of art and artists in a convulsed environment in the country and in Latin America.
Concerning this matter, we argue that in order for cinema to consolidate its place in the field of the arts, it was necessary a new type of critical discourse to take it as an object with a new perspective. Both cinema and criticism achieved their own identity and legitimacy as part of the same cultural framework. By questioning about the value of filmmakers as authors and the possible meanings of their works, critics contributed to the formation of a new type of spectators and directors. Relying on a filmmaking tradition developed since the 1920's, it postulated itself as an intellectual guide and source of legitimacy for a new generation of filmmakers trained in the film projections of film clubs and art cinema circuits.
In order to show the cultural framework in which this new perspective is configured, we look into the emergence and development of cinephilia in Argentina, from the 1930s to its consolidation in the 1950s and 1960s. We focus on the key role of film clubs in the legitimization of a cinematographic canon characterized as artistic or quality films and we point out the importance that these associations gave to the publication of magazines through which they aimed at the formation of spectators and filmmakers, in times when higher studies on cinema were non-existent or in their infancy.
In the first part of the work we analyse the gestation of a cinematographic culture in western cities and its expansion and transformation towards the middle of the 20th century when, in the post-war period, an erudite variant with a strong generational imprint emerged. This modality of reception beyond commercial films market was developed in a network of film clubs, film libraries, archives and festivals, and was contemporary to the consolidation of the cinema as a symbolic good with patrimonial, cultural and artistic values.
In this analysis we include the construction of film audiences since the beginning of the 20th century, the first literary texts that were precursors of film journalism, writings about film in the commercial press and the emergence of other types of magazines with an aesthetic and political interest in national cinema. In addition, we go over the initial forms of erudite cinephilia in national and foreign urban centres, their international links and the analysis of the printed materials that accompanied the screenings.
In the second part of the thesis, we analyse the two main film clubs that were active in Argentina between the 1940s and the 1960s and the magazines they published, paying special attention to the context in which they circulated: Gente de Cine, from the film club of the same name founded by Rolando "Roland" Fustiñana that operated between 1942 and 1965, and Tiempo de Cine, a publication of the film club Núcleo founded in the transition to the 1960s.
To characterize Gente de Cine, we place its emergence and consolidation in the context of the cultural policies of Peronism, focusing on policies directed at the film industry, which were widely resisted by film club members and critics of a new generation of specialized journalists. Within this framework, the film club became a key place for the formation of an audience that was looking for options outside the commercial exhibition circuit, by proposing itself as a space for meeting and discussion. Based on the analysis of its magazine, we give an account of the set of voices that formed a new type of cinematographic view. We also consider the dialogues that were established with other entities and publications, both European and local.
Núcleo film club was consolidated during the passage from the 1950s to the 1960s, a period marked by the opening up to the outside world, cultural modernization and the growing attacks of censorship that characterized the decade following the overthrow of the Peronist government. The tensions in the intellectual field also produced a large circulation of cultural magazines in which the autonomy of art and its passage through politics was debated. The cinematographic field was subjected to similar pressures and crossovers. The emergence of the Núcleo film club in this period of transition was key to the vernacular film culture. The analysis of its magazine Tiempo de Cine (1960-1965/1968) places it as a point of arrival for the cinephilia in Argentina, considered as a specific type of culturally legitimate film reception, which assigned to the filmmakers the role of author and to the critics that of intellectual interpreters of filmmakers’ works. A modality that reached its peak in the 1960s and that coexisted, towards the end of the period, with political debates about the role of art and artists in a convulsed environment in the country and in Latin America.
Título obtenido
Doctora de la Universidad de Buenos Aires en Ciencias Sociales
Institución otorgante
Universidad de Buenos Aires. Facultad de Ciencias Sociales