For both male protagonists as well as for the films themselves, this point of arrival is one of great potentiality but also of great risk: of incomprehension, abandonment, even death. In a context of catastrophic socio-economic decline around the millennium after decades of dictatorship and neoliberal adjustment policies a situation to which Argentina seems today to have returned full circle, following a brief period of stability and moderate redistribution under the Kirchner administrations , the film industry had paradoxically been one of the few sectors to experience a boost, due in part to increased state subsidies following the passing of a national film law in as well as to a more intense but also diversified relation to the transnational funding and festival system and the consolidation of training institutions and infrastructures for film and audiovisual media professionals. One of the unforeseen side-effects of the spread of private cable TV and the neoliberal dismantling of the industrial sector in the s and s had been the emergence of Argentine as a prized low-wage, high-competence shooting location for commercial ads and even the odd blockbuster. Literary and artistic performances such as the editoras cartoneras cardboard publishing houses or, towards the end of the s, a theatre boom of biodramas that conjoined in spectacular and haunting ways the intimate and the political, were speaking perhaps more forcefully than film to the post re-emergence of political languages and identities, including a resurgent claim for justice for the victims of the bloody military dictatorship installed in What kinds of formal and thematic concerns have emerged in recent years, and how have these incorporated and contested the innovations in other cultural forms, as well as in other cinemas beyond the horizons of Argentina and Latin America?

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Brahn The Optic of the State offers a fascinating critique of the visual aspects of national mythology. Moving from botanical explorations ansermann early modernity, through the legacies jehs mid-twentieth-century landscape design, up to present struggles for the rights of nature and speculative post-human creations, the critical essays and visual contributions in this anthology use interdisciplinary encounters to reimagine the landscape and how we inhabit it.

For more information, or to order this book, please visit https: The careful presentation of artifacts and spectacles was also aimed abroad in order to win the favor of European imperial powers and thereby acquire a competitive place in the nascent global economy of the late nineteenth century.

The Optic of the State traces the production of nationalist imaginaries through the public visual representation of modern state formation in Brazil and Argentina. Yet amid fracking, deep sea drilling, biopiracy, and all the other environmental ravages of late capitalism, we are brought to re-examine the terms of landscape formations. In what ways might artistic, scholarly, and scientific work on nature abdermann our thinking amdermann seeing the world as something we act on, and instead give agency to the landscape itself?

Iconography, Culture and the State in Latin America. As Jens Andermann reveals, the foundational visions of national heritage, territory, and social and ethnic composition were conceived and implemented, but also disputed and contested, in a complex interplay between government, cultural, and scientific institutions and actors, as a means of propagating political agendas and power throughout the emerging states.

Twitter Tweets by ChicagoDistrib. White Noise Ballrooms Stephen Barber. You may purchase this title at these fine bookstores. Outside the USA, see our international sales information. For poets, artists, philosophers, and even environmental jrns and historians, the landscape has long constituted a surface onto which to project visions of utopia beyond modernity and capitalism.

Natura takes up this challenge, exploring how recent activist practices and eco-artistic turns in Latin America can help us to reconfigure the categories of nature and the human. TOP 10 Related.


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From the perspective of aesthetics, critical theory and cultural history, this project aims to join the debate in rehabilitating landscape as a mode of aesthetic knowledge-production that explores the mutually transformative assemblages between human and non-human agents by which places are forged and reproduced over time. In methodological and disciplinary terms, the project is seeking to break new ground in various ways: first, in moving beyond nation-centered critical paradigms and towards a mode of reading local against transnational formations; second, in advancing a transversal concept of landscape, which allows understanding landscape not so much as a content or genre but rather as a problematic traversing the arts, literature, architecture and cinema, without ignoring the specificities and generic traditions of each; and third, in seeking out relations between processes of crisis and reconfiguration on the level of aesthetic form, on one hand, and on that of social experience of space and place, on the other. In this way the project offers a new archaeology of Latin American aesthetic modernity, shaped by genealogies of place-making and displacement that reformulate and critique the two key tropings of colonial and nineteenth-century landscapes: gardens and journeys. Photo: Ana Asensio, Glauber Rocha, Terra em trance, film still,


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