Title Page, Copyright Page

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pp. c-iii

Contents

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pp. iv-v

Acknowledgments

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pp. vi-ix

Abbreviations

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pp. x-xiii

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Introduction

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pp. 1-16

On May 27, 2003, police barricades caged the four blocks bordering the zone that surrounds the Brukman textile and garment factory, while armed guards anxiously stood watch over a large group of demonstrators who had gathered just outside the riot fences. Situated on Avenida Jujuy, the central...

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Chapter 1

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pp. 17-41

The birth of radical political filmmaking in Argentina was intimately tied to the struggles for social justice that marked the political scene of the late 1960s. Revolutionary politics both at home and abroad brought into question the relationship between filmmakers and the political use-value of their...

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Chapter 2

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pp. 42-74

Guerrilla activities , factory takeovers, strikes, and acts of civil disobedience, on the rise since the Cordobazo, expanded to include high-profile kidnappings, political assassinations, bombings, intelligence breaches, thefts, and money laundering in the early 1970s. The militant cause had swept thousands...

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Chapter 3

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pp. 75-103

At the end of 1982, it might have seemed unlikely that even a peaceful transition to democracy in Argentina would bring about a substantial change in daily life. Army tanks still lined important public plazas, and uniformed officers maintained a watchful eye over commercial centers and plazas. Civilians...

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Chapter 4

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pp. 104-130

Measuring the distance between the origins of structural violence and the reopening of democracy following the dictatorship, the notion of displacement became a central theme of transition cultural politics. Realities of forced migration, disappearance, and what Marina Franco has identified...

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Chapter 5

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pp. 131-158

In 1999 a film collective calling itself the Insurgent Cinema Group produced the documentary Diablo, familia y propiedad (Devil, family, and property), a film about the exploitative working conditions of the Ledesma sugar mill in the northwestern Argentine province of Jujuy. Directed by Fernando Kirchmar,...

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Chapter 6

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pp. 159-185

Film scholars investigating the political cinema of Argentina are often struck by the paradoxical relationship between the objectives outlined by movements such as Cine Liberación or documentalismo and the particulars of the geopolitical economies of film circulation and First World discursive...

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Conclusion

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pp. 186-194

The intellectual and political dynamism of filmmaking that emerged in the city of Buenos Aires as a result of the ongoing transition to democracy suggests new ways of thinking about the role of audiovisual media in cultural history debates. The notion of film as a vibrant contribution to modes of intellectual...

Notes

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pp. 195-226

Glossary

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pp. 227-228

Filmography

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pp. 229-234

Selected Bibliography

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pp. 235-250

Index

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pp. 251-266