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• W267358261 abstract "Andermann, Jens. New Argentine Cinema. London/New York: I.B. Tauris, 2012 209 pp. ISBN 978-1-84885-463-5 With New Argentine Cinema Jens Andermann purports to offer a unique starting point from which to consider this recent wave of eclectic and hard-to-define cinematic production. Unlike previous studies which analyzed generational movement as it was taking place, Andermann undertakes a retrospective examination that looks back upon movement as a whole, contextualizing last twenty years of national cinema within Argentina's economic, political, social, and cultural crises. At same time, author deliberately avoids classifying new Argentine cinema in terms of approbation or disapproval as evidenced by state or corporate funding or box-office ratings, which he claims often leads to defining movement as merely rebellious or as art-house experimentation. Instead, by taking multiple approaches and discussing significance of both well-known and relatively obscure works by a number of diverse directors (including Martin Rejtman, Raul Perrone, Pablo Trapero, Albertina Carri, Lucrecia Martel, and Lisandro Alonso, among many others), Andermann provides a thorough and comprehensive overview. Each of six chapters focuses on distinct thematic, technical and/or generic characteristics of new Argentine cinema. Observations regarding general trends are followed by remarkably detailed filmic analyses that illustrate point; that is, close readings of specific films serve as case studies and offer supporting evidence for more generalized reflections. Andermann's decision to include lesser-known works contributes to a more expansive understanding of this diverse corpus of cinematic production. To be sure, New Argentine Cinema remains especially impressive for extraordinary breadth of films under study. A brief introduction explains author's methodology, especially his move away from auteurial discourse and towards a more tropological and formal approach (xiv). Aiming to situate movement in its specific social, historic and economic contexts, first chapter, Transitions: How Argentine Film Survived 1990s, outlines major shifts that took place within Argentina's film industry in last two decades while further defining author's understanding of what constitutes new Argentine cinema. Paying particular attention to processes of funding, and distribution, Andermann argues that crisis that challenged very existence of national cinema in early 90s ultimately catalyzed new aesthetics and modes of film-making that characterize loosely-bound generational film movement, understood by author as the heterogeneous outcome over last decade and a half of profound changes in film circulation and consumption--boosted by festivals and film journals--with resultant emergence of new, diversified audiences ... [and] introduction of new, fragmentary and improvisational rhythms of production (10). With this important groundwork in place, Andermann then investigates impact of social geography--that is, significance and meaning of city as well as provinces--in a careful examination of settings and landscapes. In this vein, Chapter Two, Locating Crisis: Compositions of Urban, looks at Buenos Aires as primary site of social crisis. Four disparate sections review key concerns and representational strategies present in a number of films set in metropolis: representations of margins as observed from a distanced outsider position, attempts to reconstruct or rebuild a middle-class community by fostering identification and a sense of belonging for spectator, depictions of minority sexualities especially as evidenced in nocturnal city, and chronicles of migration, diaspora and exile within Buenos Aires. In contrast, third chapter, Margins of Realism: Exploring Contemporary Landscape, considers depictions of interior, with an emphasis on ways in which rural landscape is portrayed within specific genre of road movie. …" @default.
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• W267358261 title "Andermann, Jens. New Argentine Cinema" @default.
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