Documentaries and politics in post-dictatorship Argentina
Cuarentena: Exilio y regresoandJuan, como si nada hubiera sucedidoby Carlos Echeverría
Bibliographic Data
| ID | 2957756 |
|---|---|
| Authors | Paola Margulis (0009-0007-1063-9827, Universidad de Buenos Aires, corresponding author) |
| Year | 2013 |
| Volume | 19 |
| Issue | 3-04 |
| Pages | 324-339 |
| Publication date | 2013-07-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Social Identities (JOURNAL) |
| Journal identifiers | ISSN: 1350-4630 • E-ISSN: 1363-0296 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/13504630.2013.774125 |
| OpenAlex | W2006596929 |
| Language | EN |
| References cited | 6 |
While much has been written about Argentine political documentary during the 1960s and 1970s, less has been said about post-dictatorship political documentaries. This article will consider the films Cuarentena: Exilio y regreso (1983) and Juan, como si nada hubiera sucedido (1987) by Carlos Echeverría, an independent filmmaker who focuses on the return to democracy and reflections on the recent past. Cuarentena: Exilio y regreso is about Osvaldo Bayer's experiences and fervent desire to return to his homeland. Osvaldo Bayer is an Argentine writer who was exiled in Germany during the dictatorship. Juan, como si nada hubiera sucedido is one of the most important Argentine films of the last thirty years, as it is among the first documentaries to address the subject of the forced disappearance of people during the last military dictatorship. The film contains interviews with military officers who held high positions during the period, asking them about the roles they played in political disappearances
Art · Democracy · Dictatorship · Homeland · Humanities · Political science · Politics · Sociology · Brazilian cultural history and politics · Cinema History and Criticism · Law · Memory, violence, and history
| Highly cited | No |
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