Includes bibliographical references )pages 317-347) and index.
Contents:
Introduction -- Early cinema 1896-1932. Melodrama and avant-la-lettre documentary in Alcides Greca's El último malón (the last "Indian" raid, 1917) -- Kitsch and exoticism in Nelo Cosimi's La quena de la muerte (Death kena, 1929) -- Classical cinema 1933-1956. Femme fatale in Luis Belisario García Villar's Frontera sur (Southern border,1943) -- Betrayal and insanity in Lucas Demare's El último perro (The last one standing, 1956) -- Modernity and auteur cinema 1957-1983. The shifting meanings of translation in Lautaro Murúa's Shunko (1960) -- Transculturation in Jorge Prelorán's Hermógenes cayo (1967) -- Cinema in democracy 1983-93. Fatal kindness in Raúl Tosso's Gerónima (1986) -- Bewitched mirror images in Edgardo Cozarinsky's Guerreros y cautivas (Warriors and captives, 1989) -- Contemporary period: 1993-2017. The power of the word in Philip Cox and Valeria Mapelman Mbyá: Tierra en rojo (We are the Indians, 2005) -- State terrorism in Valeria Mapelman's Octubre pilagá (Pilaga October, 2010) -- Life as a specimen: Alejandro Fernández Mouján's Damiana kryygi (2015) -- Clashing ideologies, denunciation, and reparation in Ulise de la Orden's Tierra adentro (inland, 2011) -- Silence and isolation in Mathieu Orcel's Para los pobres piedras (Stones for the poor, 2013) -- Immersion and metamorphosis in Inés de Oliveira Cézar Cassandra (2012) -- The power of constelations in Sebastián Lingiardi's Las pistas-Lanhoyij-Nmitaxanaxac (Clues-Lanhoyij- Nmitaxanaxac, 2010) -- Conclusion -- Appendix: political map of Agentina.
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