Modern routines: The perception of time and space in film spectators’ memories of cinemagoing in 1940s Buenos Aires

The renewal of theoretical and methodological tools, putting the spotlight of film historiography on movie audiences and their movie-going routines, has meant a significant shift for the study of national and regional cinemas. The New Cinema History movement has demonstrated the vital importance of introducing in-depth, data-based studies of exhibition, distribution and programming, considering both individual and collective experiences. One trend in this renewal of cinema history are studies that rely on oral testimonies of the elderly to reconstruct their movie-going practices. This article discusses the ways spatial and temporal perceptions appear in oral narratives of movie-going experiences in Buenos Aires during the 1940s and 1950s. Based on twenty qualitative interviews with elderly men and women who attended cinemas during that period, we explore how through their imaginaries they build a certain place in the past that shows sharp contrasts to the perceived present. We trace the ways in which memories are intertwined with the emergence of modern routines in their environment and the way the cinematographic experience affected the audience’s mental cartography of the different environments of Buenos Aires. Film consumption, which included not only going to the pictures but also a constant presence of its imaginaries in their daily life, led them to develop new sensorial skills, helping them face a changing world

Mujeres en el cine del primer peronismo: entre el melodrama y la propaganda

El texto se propone estudiar las representaciones de la mujer en las películas de propaganda estatal durante el peronismo clásico. Estos documentales permanecen ocultos en la historiografía del género, entonces el objetivo no se reduce a ponerlos en valor sino también a revelarlos como antecedentes del cine político posterior. El análisis teje un entramado con los personajes femeninos de los melodramas prestigiosos del período, y la trama que resulta de esta articulación evidencia una distribución de personajes para el documental y la ficción, teniendo en cuenta los signos que caracterizan la vida pública y privada. Estas articulaciones entre representaciones vinculadas al mundo real y al ficcional aluden tanto a las transformaciones en la arena social, como a las sumisiones al orden familiar dominante.</p

Cultura y Cinefilia. Historia del público de la Cinemateca Uruguaya

Autor: Germán Silveira. Montevideo, Cinemateca Uruguaya, 2019, 300 pp.Autor: Germán Silveira. Montevideo, Cinemateca Uruguaya, 2019, 300 pp