By Vinicius Navarro, Juan Carlos Rodríguez
Studying the significant breadth and variety of up to date documentary construction, whereas additionally situating nonfiction movie and video in the cultural, political, and socio-economic heritage of the sector, this e-book addresses subject matters comparable to documentary aesthetics, indigenous media, and transnational filmmaking, between others.
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Sample text
This is only the first stage of a multiple fragmentation of the self that characterizes the film: Carri directed ENUNCIATION, HISTORY, AND PRESENT IN NEW ARGENTINE CINEMA 49 the film, Carri held the camera and so became the gaze that is informing the film, Carri appeared on screen, Carri was represented by an actress, Carri’s words are uttered in the film, there are pictures of Carri, Carri is sometimes allegorized by objects, etc. ” What Los rubios does, in the end, is reflect on the deictic nature of the pronoun “I,” on its always unstable referent.
1990a. ” In The Social Documentary in Latin America, edited by Julianne Burton, 403–434. Pittsburgh: University of Pittsburgh Press. ——. 1990b. ” In The Social Documentary in Latin America, edited by Julianne Burton, 267–288. Pittsburgh: University of Pittsburgh Press. ——. 1991. ” In Resisting Images: Essays on Cinema and History, edited by Robert Sklar and Charles Musser. Philadelphia: Temple University Press. Massumi, Brian. 1996. ” In Deleuze: A Critical Reader, edited by Paul Patton. Oxford: Blackwell Publishers.
We have knowledge of the failed first film and of the author’s melancholia, but the film’s affective charge exceeds this armature and approximates us to and through Santiago in an entirely different and affective way. In Jogo de cena, everything looks passably “real,” yet possibly nothing is. The radical indeterminacy of the performances—and therefore of the images—leads the spectator to two different registers. On the one hand, the visible and audible physical experiences of the performers: how tears erupt and/or are produced, the audible grain and tone of the women’s voices, how they shift in their chairs, tilt their heads, breathe.