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Exhibición y distribución de cortometrajes de propaganda de los Estados Unidos en Argentina en los años ’40: el programa de 16 mm de la OCIAA
No full textIn the 1940’s, numerous countries throughout Latin America undertook activities related to the exhibition of propaganda short films. Working within the Good Neighbor Policy, the Office of the Coordinator of Inter-American Affairs (OCIAA) developed an ambitious program that covered an extended institutional and territorial map. By reaching distant geographical spots, it aimed to present audiovisual materials related both to the World War and to the American Way of Life.This essay presents the main guidelines of the 16 mm Program by analyzing its organizational structure, the films it exhibited and the audiences’ experience. While this program’s operations have been studied in other countries such as Chile or Brazil, its activities in Argentina have yet to be considered. Therefore, based on documentation that refers to the organization and practice of OCIAA’s screenings, this essay aims to reconstruct its history in Argentina and propose analytical frameworks for further and deeper studies
Reseña de Adiós al cine, bienvenida la cinefilia
No full textIAE (FFyL, UBA)-CONICETReseña de Adiós al cine, bienvenida la cinefilia. La cultura cinematográfica en transición. Jonathan Rosenbau
Panorama sobre la situación de los estudios de cine en Argentina a partir del año 2000
No full textDurante la última década los estudios de cine en Argentina se han convertido en un campo de gran dinamismo, creciendo cuantitativa y cualitativamente. Su consolidación ha significado la producción de trabajos en torno a una amplia heterogeneidad de temáticas y perspectivas, fundada en el carácter interdisciplinar que ha caracterizado a esta tradición académica. Es el objetivo de este artículo brindar un panorama sobre la situación de los estudios de cine en Argentina a partir del año 2000. No aspiramos a un abordaje exhaustivo, sino que se busca dar cuenta de las dinámicas internas e interconectadas de un campo en constante reformulación. Para ello se han identificado en primer lugar las transformaciones del ámbito de la investigación que han posibilitado el afianzamiento de estos estudios. En este contexto se propone destacar los principales núcleos conceptuales y las líneas de investigación dominantes y recesivas que han dado forma a este campo. Se señalan en este sentido tanto aquellas líneas de trabajo que provienen de la tradición crítica como las que han surgido en sintonía con las transformaciones en la serie social, política y cultural. Asimismo, se propone indagar en las nuevas perspectivas emergentes que están cuestionando algunos conceptos fundamentales que hanestructurado estas investigaciones, incluido el propio estatuto del cinematógrafo</jats:p
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Sequel production in Argentine classical cinema
Get PDFLa secuela cinematográfica suele ser señalada como uno de los principales síntomas de la excesiva comercialización del cine industrial. No obstante, al considerar su presencia en la comedia clásica argentina, se manifiestan otros factores que han incidido históricamente en su producción. En un marco de renovación y reformulación de los sistemas de estrellas y géneros, actores consagrados como Luis Sandrini y Mirtha Legrand recurrieron a ella como una forma de consolidar las transformaciones de sus personajes y renovar los contratos con su público. Detenerse en estos casos, permite profundizar la comprensión de las complejas estrategias comerciales e industriales del cine argentino de los 40.Film sequels are usually marked as one of the main symptoms of industrial cinema’s excessive commercialization. However, considering their presence in classical Argentine comedy, other factors that have historically influenced their production arise. In a context of star and genre systems’ renovation and reformulation, renowned performers such as Luis Sandrini y Mirtha Legrand turned to it as a way to consolidate their characters’ transformations and renew their contracts with their audiences. Focusing on these cases allows a deepening in the comprehension of the complex commercial and industrial strategies carried on by Argentine cinema in the 1940s.Fil: Kelly Hopfenblatt, Alejandro. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Artes del Espectáculo "Dr. Raúl H. Castagnino"; Argentin
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