Deshonra o la trama enrejada del cine y la política
The Argentine cinema showed a remarkable development during the 40’s when very good film directors, actors and actresses opened a new era. Besides, the cinematographic industry being already supported by previous governments was finally established. During the first Peronist period, some productions...
সংরক্ষণ করুন:
| প্রকাশিত: | URI:https://journals.openedition.org/nuevomundo, |
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| প্রধান লেখক: | , |
| বিন্যাস: | Article ou chapitre numérique |
| ভাষা: | Français |
| প্রকাশিত: |
Nuevo mundo mundos nuevos
2008
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| বিষয়গুলি: | |
| অনলাইন ব্যবহার করুন: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| সংক্ষিপ্ত: | The Argentine cinema showed a remarkable development during the 40’s when very good film directors, actors and actresses opened a new era. Besides, the cinematographic industry being already supported by previous governments was finally established. During the first Peronist period, some productions used to praise the regime, while others tried to avoid a very strict censorship that ranged from compulsory acceptance of actors and subjects to loans administration. The case of the film Director, Daniel Tinayre arouses the interest for a more detailed analysis. Although he organized much of his films during the abovementioned period he achieved an outstanding balance between praising and insulting. He eluded censorship in a very clever way. Deshonra, one of the most important films of Daniel Tinayre and a symbolic film of this period is here studied. It shows the achievements of the peronist government as regards prison policy but at the same time it conveys the feeling of suffocation that the society suffered as a consequence of the political regime in force. |
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