Desintegración y justicia en el cine argentino contemporáneo

Copertari, Gabriela

doi:10.1017/9781846157134

Cited by 8 publications

(1 citation statement)

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“…A plethora of monographs, chapters and articles that are predominantly about or implicitly more highly value the nuevo cine argentino have been published in English and Spanish since its emergence (Aguilar 2006;Andermann 2011;Andermann and Fernández Bravo 2013;Bernades, Lerer and Wolf 2002;Garavelli 2011;Gundermann 2005;Page 2009;Pena Pérez 2009;Rêgo and Rocha 2011;Ros 2011;Sosa 2009; in a list that is by no means exhaustive). A much smaller number of monographs, chapters and articles dedicated wholly or in part to mainstream filmmaking have appeared (Copertari 2005;Navitski 2012;Getino 2007;Rocha 2012) and only one monograph, an anthology and a handful of chapters or articles that attempt to give an overview of both (Copertari 2009;Falicov 2007b;Rêgo and Rocha 2011). One exception in the former, more plentiful, group of publications is Jaime Pena Pérez's Historias extraordinarias: nuevo cine argentino (Extraordinary stories: New Argentine Cinema 1998, which includes the industrial filmmaking of Trapero and Caetano.…”

Section: On the Roadmentioning

confidence: 99%

New Transnationalisms in Contemporary Latin American Cinemas

Tierney¹

2018

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This book would not have been possible without the help and support of many individuals and institutions. I would like to thank Sussex University for two terms and one part-time semester of leave, and in particular the chairs of Media, Film and Music, Sue Thornham and Tim Jordan, and also the subject heads in film, Thomas Austin and Frank Krutnik. I would also like to thank the Center for Latin American and Latino Studies (CLALS) at American University (Washington DC) where a Research Fellowship in Autumn 2016 helped me with writing the final chapters of the manuscript and also Jeffrey Middents for help in organising the Fellowship. Some of the research for this book has also been conducted as part of the research project: 'Transnational relations in Spanish-American digital cinema: the cases of Spain, Mexico and Argentina' (CSO2014-52750-P), funded by the Spanish Ministry of Economy and Competitiveness. I thank José Cerdán Los Arcos and Miguel Fernández-Rodríguez Labayen for incorporating me into the project. Additionally, initial research for this book, in Mexico City in 2005/2006, was helped by funding from the Arts and Humanities Research Council.I am eternally grateful to all those who have helped in some way by answering questions, providing information, materials and/or contacts, and friendship and positive energy which have helped in the book writing process: Misha MacLaird (in particular),

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