A cinema industry without spectators: Theorizing about the public for the New Latin American cinema in the Sixties
Un cine sin espectadores: La teorización sobre el público en el Nuevo Cine Latinoamericano de los sesenta
| 2015 | |
|
New Latin American Cinema Cinematographic Audience Audience Cultivation Anti-colonialist Cinema Film Reception Nuevo Cine Latinoamericano público cinematográfico formación de espectadores cine anticolonialista recepción |
|
| Español | |
| Universidad Católica del Uruguay | |
| LIBERI | |
|
https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/684
https://hdl.handle.net/10895/3445 |
|
| Acceso abierto |
| _version_ | 1815178702884962304 |
|---|---|
| author | Silveira, Germán |
| author_facet | Silveira, Germán |
| author_role | author |
| collection | LIBERI |
| dc.creator.none.fl_str_mv | Silveira, Germán |
| dc.date.accessioned.none.fl_str_mv | 2023-09-12T19:14:15Z |
| dc.date.available.none.fl_str_mv | 2023-09-12T19:14:15Z |
| dc.date.none.fl_str_mv | 2015-12-18 |
| dc.description.en-US.fl_txt_mv | Thorough studies on the New Latin American Cinema of the 1960s have mostly focused on issues such as ideology (a militant cinema), aesthetics (a cinema of poverty) and form (an imperfect cinema). However, a reflection upon the audience developed by the filmmakers has been strangely overlooked. This article aims to theorize on the public, thus rescuing one of the most under-researched aspects of this cinema. Through a critical reading of some texts such as manifestos, interviews and films, this work explores how this movement conceived of the public and the originality this perspective has brought to film history. The spectator was defined as an actor committed to the political changes that Cuban revolution inspired in the region, a spectator who was closer to the conflicts of his/her own historical time than to the comfort of the cinema seat. |
| dc.description.es-ES.fl_txt_mv | El Nuevo Cine Latinoamericano de los años sesenta ha proporcionado un vasto y rico panorama de estudios sobre su carácter ideológico (un cine militante), estético (un cine de la pobreza) o formal (un cine imperfecto). Este artículo se propone rescatar uno de los aspectos quizás menos estudiados del llamado Nuevo Cine Latinoamericano: la teorización sobre el público. A través de una lectura crítica de algunos textos fundamentales (manifiestos, entrevistas, films), se expondrá el carácter original que presenta la nueva concepción de público propuesta por los cineastas, a partir de un espectador definido como un actor imprescindible en los procesos de cambio gestados en la región desde la revolución cubana. En definitiva, un espectador alejado de la butaca y más cerca de su tiempo histórico. |
| dc.format.none.fl_str_mv | application/pdf |
| dc.identifier.none.fl_str_mv | https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/684 10.22235/d.v0i23.684 |
| dc.identifier.uri.none.fl_str_mv | https://hdl.handle.net/10895/3445 |
| dc.language.iso.none.fl_str_mv | spa |
| dc.publisher.es-ES.fl_str_mv | Universidad Católica del Uruguay |
| dc.relation.none.fl_str_mv | https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/684/672 |
| dc.rights.none.fl_str_mv | info:eu-repo/semantics/openAccess |
| dc.source.en-US.fl_str_mv | Dixit; No. 23 (2015): Dixit; 40-55 |
| dc.source.es-ES.fl_str_mv | Dixit; Núm. 23 (2015): Dixit; 40-55 |
| dc.source.none.fl_str_mv | 0797-3691 1688-3497 10.22235/d.v0i23 reponame:LIBERI instname:Universidad Católica del Uruguay instacron:Universidad Católica del Uruguay |
| dc.source.pt-PT.fl_str_mv | Dixit; N.º 23 (2015): Dixit; 40-55 |
| dc.subject.en-US.fl_str_mv | New Latin American Cinema Cinematographic Audience Audience Cultivation Anti-colonialist Cinema Film Reception |
| dc.subject.es-ES.fl_str_mv | Nuevo Cine Latinoamericano público cinematográfico formación de espectadores cine anticolonialista recepción |
| dc.title.none.fl_str_mv | A cinema industry without spectators: Theorizing about the public for the New Latin American cinema in the Sixties Un cine sin espectadores: La teorización sobre el público en el Nuevo Cine Latinoamericano de los sesenta |
| dc.type.none.fl_str_mv | info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
| dc.type.version.none.fl_str_mv | info:eu-repo/semantics/publishedVersion |
| description | Thorough studies on the New Latin American Cinema of the 1960s have mostly focused on issues such as ideology (a militant cinema), aesthetics (a cinema of poverty) and form (an imperfect cinema). However, a reflection upon the audience developed by the filmmakers has been strangely overlooked. This article aims to theorize on the public, thus rescuing one of the most under-researched aspects of this cinema. Through a critical reading of some texts such as manifestos, interviews and films, this work explores how this movement conceived of the public and the originality this perspective has brought to film history. The spectator was defined as an actor committed to the political changes that Cuban revolution inspired in the region, a spectator who was closer to the conflicts of his/her own historical time than to the comfort of the cinema seat. |
| eu_rights_str_mv | openAccess |
| format | article |
| id | LIBERI_227586d1c5644ee0e633a9f6e81afbfb |
| identifier_str_mv | 10.22235/d.v0i23.684 |
| instacron_str | Universidad Católica del Uruguay |
| institution | Universidad Católica del Uruguay |
| instname_str | Universidad Católica del Uruguay |
| language | spa |
| network_acronym_str | LIBERI |
| network_name_str | LIBERI |
| oai_identifier_str | oai:liberi.ucu.edu.uy:10895/3445 |
| publishDate | 2015 |
| reponame_str | LIBERI |
| repository.mail.fl_str_mv | franco.pertusso@ucu.edu.uy |
| repository.name.fl_str_mv | LIBERI - Universidad Católica del Uruguay |
| repository_id_str | 10342 |
| spelling | Silveira, Germán2015-12-182023-09-12T19:14:15Z2023-09-12T19:14:15Zhttps://revistas.ucu.edu.uy/index.php/revistadixit/article/view/68410.22235/d.v0i23.684https://hdl.handle.net/10895/3445Thorough studies on the New Latin American Cinema of the 1960s have mostly focused on issues such as ideology (a militant cinema), aesthetics (a cinema of poverty) and form (an imperfect cinema). However, a reflection upon the audience developed by the filmmakers has been strangely overlooked. This article aims to theorize on the public, thus rescuing one of the most under-researched aspects of this cinema. Through a critical reading of some texts such as manifestos, interviews and films, this work explores how this movement conceived of the public and the originality this perspective has brought to film history. The spectator was defined as an actor committed to the political changes that Cuban revolution inspired in the region, a spectator who was closer to the conflicts of his/her own historical time than to the comfort of the cinema seat. El Nuevo Cine Latinoamericano de los años sesenta ha proporcionado un vasto y rico panorama de estudios sobre su carácter ideológico (un cine militante), estético (un cine de la pobreza) o formal (un cine imperfecto). Este artículo se propone rescatar uno de los aspectos quizás menos estudiados del llamado Nuevo Cine Latinoamericano: la teorización sobre el público. A través de una lectura crítica de algunos textos fundamentales (manifiestos, entrevistas, films), se expondrá el carácter original que presenta la nueva concepción de público propuesta por los cineastas, a partir de un espectador definido como un actor imprescindible en los procesos de cambio gestados en la región desde la revolución cubana. En definitiva, un espectador alejado de la butaca y más cerca de su tiempo histórico. application/pdfspaUniversidad Católica del Uruguayhttps://revistas.ucu.edu.uy/index.php/revistadixit/article/view/684/672Dixit; No. 23 (2015): Dixit; 40-55Dixit; Núm. 23 (2015): Dixit; 40-55Dixit; N.º 23 (2015): Dixit; 40-550797-36911688-349710.22235/d.v0i23reponame:LIBERIinstname:Universidad Católica del Uruguayinstacron:Universidad Católica del UruguayNew Latin American CinemaCinematographic AudienceAudience CultivationAnti-colonialist CinemaFilm ReceptionNuevo Cine Latinoamericanopúblico cinematográficoformación de espectadorescine anticolonialistarecepciónA cinema industry without spectators: Theorizing about the public for the New Latin American cinema in the SixtiesUn cine sin espectadores: La teorización sobre el público en el Nuevo Cine Latinoamericano de los sesentainfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/openAccess10895/34452023-09-12 16:14:15.628oai:liberi.ucu.edu.uy:10895/3445Universidadhttps://www.ucu.edu.uy/https://liberi.ucu.edu.uy/oai/requestfranco.pertusso@ucu.edu.uyUruguayopendoar:103422023-09-12T19:14:15LIBERI - Universidad Católica del Uruguayfalse |
| spellingShingle | A cinema industry without spectators: Theorizing about the public for the New Latin American cinema in the Sixties Silveira, Germán New Latin American Cinema Cinematographic Audience Audience Cultivation Anti-colonialist Cinema Film Reception Nuevo Cine Latinoamericano público cinematográfico formación de espectadores cine anticolonialista recepción |
| status_str | publishedVersion |
| title | A cinema industry without spectators: Theorizing about the public for the New Latin American cinema in the Sixties |
| title_full | A cinema industry without spectators: Theorizing about the public for the New Latin American cinema in the Sixties |
| title_fullStr | A cinema industry without spectators: Theorizing about the public for the New Latin American cinema in the Sixties |
| title_full_unstemmed | A cinema industry without spectators: Theorizing about the public for the New Latin American cinema in the Sixties |
| title_short | A cinema industry without spectators: Theorizing about the public for the New Latin American cinema in the Sixties |
| title_sort | A cinema industry without spectators: Theorizing about the public for the New Latin American cinema in the Sixties |
| topic | New Latin American Cinema Cinematographic Audience Audience Cultivation Anti-colonialist Cinema Film Reception Nuevo Cine Latinoamericano público cinematográfico formación de espectadores cine anticolonialista recepción |
| url | https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/684 https://hdl.handle.net/10895/3445 |
