The Garden of the Forking Paths: Argentine Cinema

King, John; Torrents, Nissa

doi:10.2307/343599

Hispania

1989

DOI: 10.2307/343599

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The Garden of the Forking Paths: Argentine Cinema

John King¹,

Nissa Torrents²

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Cited by 6 publications

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Coloniality and the Trappings of Modernity in Viridiana and The Hand in the Trap

Martín-Márquez¹

2011

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The transatlantic co-productions Viridiana and The Hand in the Trap , which swept the top awards at Cannes in 1961, are remarkably similar in their juxtaposition of Catholic repression and modern mores. Yet the films differ dramatically in their treatment of colonial legacies—legacies that shaped the divergent reception of their directors, Luis Buñuel and Leopoldo Torre Nilsson, among Eurocentric arbiters of cultural modernity.

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Coloniality and the Trappings of Modernity in Viridiana and The Hand in the Trap

Martín-Márquez¹

2011

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Approaching the (Trans)National in Criticism of Early Latin American Sound Film

Poppe¹

2014

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"De tal palo tal astilla": 76 89 03 y "los hijos del Proceso"

Copertari¹

2006

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This essay examines the Argentine film 76 89 03, whose release in 2000 stirred up a violent controversy in Argentina. Focusing on the film's representation of school, family, and advertising discourses produced during the dictatorship, and exploring the film's relationship to the comedias picarescas (a film genre approved by the military), I analyze the rereading that 76 89 03 offers of the way in which the last military dictatorship may have paved the way for the neo-liberal transformation of Argentina in the 1990s.

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The Garden of the Forking Paths: Argentine Cinema

Cited by 6 publications

References 0 publications

Coloniality and the Trappings of Modernity in Viridiana and The Hand in the Trap

Coloniality and the Trappings of Modernity in Viridiana and The Hand in the Trap

Approaching the (Trans)National in Criticism of Early Latin American Sound Film

"De tal palo tal astilla": 76 89 03 y "los hijos del Proceso"

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