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dc.contributor.author
Lusnich, Ana Laura
dc.date.available
2020-11-03T20:48:07Z
dc.date.issued
2019-01
dc.identifier.citation
Lusnich, Ana Laura; El devenir de las imágenes en los años de la última dictadura militar argentina: circulación y recepción de las ficciones hermético-metafóricas; Universidad de Málaga. Facultad de Ciencias de la Comunicación; Fotocinema; 18; 1-2019; 249-272
dc.identifier.issn
2172-0150
dc.identifier.uri
http://hdl.handle.net/11336/117542
dc.description.abstract
In the course of the last Argentine military dictatorship (1976-1983), the cinema and the audiovisual media in general became significant actors in the transmission and approval of the policies of the military regime. On the other hand, a no less broad sector maintained a critical and reflective position on the actions of the dictatorship. The objective of this work is to investigate the public evolution of a segment of the film production made in that period -the hermetic-metaphorical fictions that obliquely interpellated the political and social reality of the moment-, with the interest of knowing the degree of acceptance on the part of the public institutions of the time, the spectators and the journalistic media. The work is focused on four films in particular made by two dissident directors of the regime, who were successful in commercial cinemas and generated dissimilar responses in the field of public opinion and the media: The Island (Alejandro Doria, 1979), The Fears (Alejandro Doria, 1980), Time of Revenge (Adolfo Aristarain, 1981) and Last Days of the Victim (Adolfo Aristarain, 1982).
dc.description.abstract
In the course of the last Argentine military dictatorship (1976-1983), the cinema and the audiovisual media in general became significant actors in the transmission and approval of the policies of the military regime. On the other hand, a no less broad sector maintained a critical and reflective position on the actions of the dictatorship. The objective of this work is to investigate the public evolution of a segment of the film production made in that period -the hermetic-metaphorical fictions that obliquely interpellated the political and social reality of the moment-, with the interest of knowing the degree of acceptance on the part of the public institutions of the time, the spectators and the journalistic media. The work is focused on four films in particular made by two dissident directors of the regime, who were successful in commercial cinemas and generated dissimilar responses in the field of public opinion and the media: The Island (Alejandro Doria, 1979), The Fears (Alejandro Doria, 1980), Time of Revenge (Adolfo Aristarain, 1981) and Last Days of the Victim (Adolfo Aristarain, 1982).
dc.format
application/pdf
dc.language.iso
spa
dc.publisher
Universidad de Málaga. Facultad de Ciencias de la Comunicación
dc.rights
info:eu-repo/semantics/openAccess
dc.rights.uri
https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
dc.subject
Argentine dictatorship
dc.subject
Hermetic-metaphorical fictions
dc.subject
Circulation
dc.subject
Reception of films
dc.subject.classification
Estudios sobre Cine, Radio y Televisión
dc.subject.classification
Arte
dc.subject.classification
HUMANIDADES
dc.title
El devenir de las imágenes en los años de la última dictadura militar argentina: circulación y recepción de las ficciones hermético-metafóricas
dc.title
The evolution of the images in the years of the last argentine military dictatorship: circulation and recepcion of hermetic-metaphorical fictions
dc.type
info:eu-repo/semantics/article
dc.type
info:ar-repo/semantics/artículo
dc.type
info:eu-repo/semantics/publishedVersion
dc.date.updated
2020-10-29T20:05:56Z
dc.journal.number
18
dc.journal.pagination
249-272
dc.journal.pais
España
dc.journal.ciudad
Málaga
dc.description.fil
Fil: Lusnich, Ana Laura. Universidad de Buenos Aires. Facultad de Filosofía y Letras; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina
dc.journal.title
Fotocinema
dc.relation.alternativeid
info:eu-repo/semantics/altIdentifier/url/https://revistas.uma.es/index.php/fotocinema/article/view/5536
dc.relation.alternativeid
info:eu-repo/semantics/altIdentifier/doi/https://doi.org/10.24310/Fotocinema.2019.v0i18.5536
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