Memórias de Mulheres: O Legado do Novo Cinema Latino-Americano em Treinta y Dos (Ana Mohaded, 2012) e Con Nombre de Flor (Carina Sama, 2019)

Otros responsables
Fecha
09/2025
Editorial
Universidad Nacional del Litoral. Facultad de Humanidades y Ciencias. Centro de Investigaciones en Estudios Culturales, Educativos, Históricos y Comunicacionales
Revista
Culturas
Título del libro
Nombre del evento
Fecha del evento
Institución organizadora
ISSN
1515-3738
eISSN
2362-5538
ISBN
Idioma
Portugués
Tipo del evento
Clasificación temática
Palabras clave
Resumen
O cinema produzido pelo movimento conhecido como Novo Cinema Latino‑Americano caracterizou‑se por abordar a exclusão social gerada tanto pelas ausências do Estado quanto pelas políticas neoliberais, ressaltando em suas narrativas a violência e o desamparo que atingem os sujeitos marginalizados pelas instituições. O Plano Condor, cujos antecedentes remontam ao golpe de Estado de 1964 no Brasil, espalhou-se por toda a América Latina, como uma campanha de repressão e terrorismo de Estado coordenada por ditaduras militares, a partir da qual foram planejadas e executadas políticas oficiais de extermínio, tortura, desaparecimento forçado e em massa de pessoas. São analisados dois filmes, Treinta y dos (ANA MOHADED, 2012) e Con nombre de flor (CARINA SAMA, 2019), que encenam a luta de resistência, tanto durante os anos do golpe cívico-militar argentino quanto nos anos anteriores a ele, considerando o fortalecimento de uma corrente de discursos negacionistas na América Latina e também no mundo.
Latin American cinema has been characterized by addressing the social exclusion produced by the absence of the state and neoliberal policies, by highlighting in its narratives the violence and helplessness affecting subjects marginalized by institutions. The Condor Plan, whose antecedents take place in the 1964 coup d'état in Brazil, spread throughout Latin America, as a campaign of repression and state terrorism coordinated by military dictatorships from which official policies of extermination, torture, forced and massive disappearance of people were planned and carried out. Two films are analyzed, Treinta y dos (Ana Mohaded, 2012) and Con nombre de flor (Carina Sama, 2019), which stage the struggle of resistance, both during the years of the Argentinean civic-military coup and in the previous years, taking into account the strengthening of a wave of negationist discourses in Latin America and also in the world.
Latin American cinema has been characterized by addressing the social exclusion produced by the absence of the state and neoliberal policies, by highlighting in its narratives the violence and helplessness affecting subjects marginalized by institutions. The Condor Plan, whose antecedents take place in the 1964 coup d'état in Brazil, spread throughout Latin America, as a campaign of repression and state terrorism coordinated by military dictatorships from which official policies of extermination, torture, forced and massive disappearance of people were planned and carried out. Two films are analyzed, Treinta y dos (Ana Mohaded, 2012) and Con nombre de flor (Carina Sama, 2019), which stage the struggle of resistance, both during the years of the Argentinean civic-military coup and in the previous years, taking into account the strengthening of a wave of negationist discourses in Latin America and also in the world.
Colecciones
Aprobación
Revisión
Complementado por
Referenciado por
Licencia Creative Commons
Excepto donde se indique lo contrario, la licencia de este ítem se describe como by
