By María Guadalupe Arenillas, Michael J. Lazzara
Nearly twenty years into the recent millennium, Latin American documentary movie is experiencing renewed vibrancy and visibility at the worldwide level. whereas parts of the combative, politicized cinema of the Sixties and Nineteen Seventies stay, the region’s creation has turn into more and more subjective, reflexive, and experimental, notwithstanding possibly no much less political. whilst, Latin American filmmakers either reply to and form worldwide trends within the style. This publication highlights the richness and heterogeneity of Latin American documentary movie, surveys a extensive variety of nationwide contexts, kinds, and practices, and expands present debates at the style. Thematic sections deal with the “subjective flip” of the Nineties and 2000s and the circulate past it; the ethics of the come across among the filmmaker and the subject/object of his or her gaze; and the functionality of fact and reminiscence, a very pressing subject as Latin American international locations have transitioned from dictatorship to democracy.
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Additional info for Latin American Documentary Film in the New Millennium
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While sometimes the revolutionary moment appears as another time to be cited, mourned, or evoked, it is also a time that can be celebrated and actualized—plumbed for its combative potential in new times and new contexts. J. LAZZARA is much more than the subjective turn. The upsurge of piquetero cinema is just one more reminder that the “social documentary” has always been prevalent in Latin America and that something of Third Cinema will linger—though perhaps transformed and adapted to new circumstances—as long as endemic inequality and rampant injustice remain.
1 (January 2013): 6. 10. Pablo Piedras, “From Recording to Intervention: History and Documentary Filmmaking in Argentina,” Latin American Perspectives 188, vol. 40, no. 1 (January 2013): 33. 11. See Beatriz Sarlo, Tiempo pasado: cultura de la memoria y giro subjetivo, una discusión (Buenos Aires: Siglo XXI, 2005). 12. Leonor Arfuch, “Espacio biográfico y memoria en la cultura contemporánea: intervenciones sobre el ‘documental subjetivo,’” lecture delivered at Stanford University, May 1, 2009. See also, Leonor Arfuch, El espacio biográfico: dilemas de la subjetividad contemporánea (Buenos Aires: Fondo de Cultura Económica, 2002).
We hope to show that the region’s production is eclectic and heterogeneous, diverse in topics, styles, and techniques. To enhance the book’s value as a reference work, we have included birth dates of filmmakers whenever verifiable, as well as English translations of film titles. We will consider our efforts worthwhile if the reader discovers the vibrancy of a genre that, in our opinion, constitutes one of the richest cultural archives in Latin America today. G. J. LAZZARA NOTES 1. Tauris, 2011), 93.