Class code ICINE-UT 105-002 / SPAN-UA 9750-002

Instructor Edgardo Dieleke Details [email protected]

Office Hours: to be confirmed.

Class Details Contemporary Argentine Cinema

Tuesday and Thursdays from 5:15 p.m. to 6:45 p.m.

Location to be confirmed.

Prerequisites The course will comprise two weekly sessions of one hour and a half. In addition to this, a weekly screening will be scheduled so that students will be able to watch the films included in the syllabus. All screenings will be English subtitled. The course will be conducted in English. Bibliography will be composed by critical texts in English.

Class The course is designed as an overview of Argentine Cinema during the last fifty years. The Description aftermath of World War II, the downfall of Peronist government, and the decline of the studio system produced a series of political, social, and cultural transformations that have been reflected in the films made since then. In the following years, some facts acquired great importance: the emergence of an independent cinema (on the margins of the industrial system), the connection to other continental cinemas, the relationship with artistic avant-gardes around the world, the experimentation, the social testimony and the political militancy. Cinema is a privileged path to study not only the aesthetic transformations but also the social and political changes at the end of XXth Century. The syllabus will concentrate on these mutations produced during the second half of the century. Through the study of some representative films by Leopoldo Torre Nilsson, Leonardo Favio, Fernando Solanas, Lucrecia Martel, and Pablo Trapero, among others, we will analyze the aesthetic innovations of the so-called Generación del '60; the rise of political cinema at the beginning of the '70s; the complex relationship between films and society during the military dictatorship; and finally, special attention will be given to the explosion of the New Argentine cinema in the '90s. Certain topics will be discussed: cinema and mass culture, films as political weapon, cinema as a privileged aesthetic witness of historical processes, and finally, the boundaries of documentary and fiction. Additionally, the course will include guest filmmakers depending on the semester’s schedule and the availability of the directors. In this case, special attention will be given to young filmmakers of the New Argentine Cinema.

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Desired The course is designed to provide students with a comprehensive knowledge on Contemporary Outcomes Argentine Cinema. In order to do this, we will need to introduce some basic theoretical film concepts and we will learn how to read and how to use critical bibliography. Through the analysis of some crucial films, we will also study the historical and social transformations in Argentina during the XXth Century.

Assessment Attendance and class participation 20 % Components Oral presentation 15 % Homework 15 % Mid-term exam 25 % Final paper 25 %

Homework. Students must comply with the expectations required for their homework. They should carefully organize their lessons before class, complete their exercises, read the required texts and watch the required films according to what is indicated in the syllabus.

Exams. Students must give an oral presentation during the semester, must take a mid-term exam, and must write one final research paper (7-10 pages) at the end of the semester.

Failure to submit or fulfill any required course component results in failure of the class.

Assessment Grade A: The student makes excellent use of empirical and theoretical material and offers Expectations well-structured arguments in his/her work. The student writes comprehensive essays / exam questions and his/her work shows strong evidence of critical thought and extensive reading.

Grade B: The candidate shows a good understanding of the problem and has demonstrated the ability to formulate and execute a coherent research strategy.

Grade C: Work is acceptable and shows a basic grasp of the research problem. However, the work fails to organize findings coherently and is in need of improvement.

Grade D: The work passes because some relevant points are made. However, there may be a problem of poor definition, lack of critical awareness, poor research.

Grade F: The work shows that the research problem is not understood; there is little or no critical awareness and the research is clearly negligible.

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Grade 100-93 A 76-73 C conversion 92-90 A- 72-70 C- 89-87 B+ 69-67 D+ 86-83 B 66-60 D 82-80 B- 59-0 F 79-77 C+

Exams and Final Exam dates cannot be changed under any circumstance. Submission of work Mid term exam dates will be scheduled with each professor and it must be before the break. Unexcused absences from exams are not permitted and will result in failure of the exam. If you are granted an excused absence from examination (with authorization, as above), your lecturer will decide how you will make-up the assessment component, if at all (by make-up examination, extra coursework, or an increased weighting on an alternate assessment component, etc.).

Written work due in class must be submitted during the class time to the professor.

Final essays must be submitted to the professor in print and electronic copy. If the student is not in Buenos Aires, he / she must send a printed copy via express postal mail (i.e. FeDEX, DHL, UPS, etc) to the NYU Center in Buenos Aires – Anchorena 1314 - (C1425ELF) Argentina. This copy must arrive before or on the date of established deadline.

Attendance • NYU Buenos Aires has a strict policy about course attendance. Policy • Students should contact their class teachers to catch up on missed work but should NOT approach them for excused absences. • Absences due to illness must be discussed with the Assistant Director for Academics Affairs, María Pirovano Peña within one week of your return to class. • A doctor note excusing your absence is mandatory. • The date on the doctor’s note must be the date of the missed class or exam • Absence requests for non-illness purposes must be discussed with the Assistant Director for Academics Affairs, María Pirovano Peña prior to the date(s) in question. • If students have more than two unexcused absences they will be penalized by deducting 50 % of the class participation grade. Please be aware that in most of the courses the class participation grade is 20% of the final grade. So the 50% of the class participation grade would mean 10 % of the final grade. • If students have more than four unexcused absences they will fail the course. • Intensive Languages Courses: students who have more than three unexcused absences will be penalized by deducting 50% of the class participation grade. Please be aware that in most of the courses the class participation grade is 20% of the final grade. So the 50% of the class participation grade would mean 10 % of the final grade. Those students who have more than five unexcused absences will fail the course. • Each class has a duration of one hour and half or two hours. Missing one class represents one absence. For those courses that meet once a week (three hours block), missing one class represents two absences.

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• Students are responsible for making up any work missed due to absence. • NYU BA also expects students to arrive to class promptly (both at the beginning and after any breaks) and to remain for the duration of the class. Three late arrivals or earlier departures (10 minutes after the starting time or before the ending time) will be considered one absence. • Please note that for classes involving a field trip or other external visit, transportation difficulties are never grounds for an excused absence. It is the student’s responsibility to arrive at an agreed meeting point in a punctual and timely fashion. • Holidays’ make up classes are mandatory as regular scheduled classes.

Late Late work should be submitted in person to the Assistant Director for Academics Affairs Submission of during office hours (Mon – Fri, 9.30 am to 5 pm), who will write on the essay or other work Work the date and time of submission, in the presence of the student. Another member of the administrative staff can accept the work, in person, in the absence of the Assistant Director for Academics Affairs and will write the date and time of submission on the work, as above.

Work submitted within 5 weekdays after the submission time without an agreed extension receives a penalty of 10 points on the 100 point scale.

Written work submitted after 5 weekdays after the submission date without an agreed extension fails and is given a zero.

Please note end of semester essays must be submitted on time

Plagiarism The presentation of another person’s words, ideas, judgment, images or data as though they Policy were your own, whether intentionally or unintentionally, constitutes an act of plagiarism.

All your written work must be submitted as a hard copy AND in electronic form to the instructor.

It is expected that the student follows the rules on academic honesty and intellectual integrity established by NYU University.

Required Required readings (and some secondary readings) are available at Copies: centro Text(s) de copiado, Av. Santa Fe 2653, local 3, Capital Federal, tel: 4821-2127. [email protected]

Aguilar, Gonzalo. New Argentine Film. Other worlds. Palgrave, Mcmillan, 2011. (Selection)

Barnard, Tim, "Popular Cinema and Populist Politics", in Barnard, Tim (Editor), Argentine Cinema, Nightwood Editions, Toronto, 1986, pp. 5 - 63.

Castagna, Gustavo, "From one vanguard to another: Is there a tradition?", in Horacio Bernades, Diego Lerer and Sergio Wolf (editors), Nuevo cine argentino. Temas, autores y estilos de una renovación, Fipresci / Tatanka, 2002.

Falicov, Tamara, “Young Filmmakers and the New Independent Argentine Cinema” in The Cinematic Tango, Wallflower Press, 2007, pp. 115-150.

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Foster, David William, "Camila: Beauty and Bestiality", in Contemporary Argentine Cinema, University of Missouri Press, Columbia and London, 1992, pp. 14 - 26.

Foster, David William, ": Truth and Consequences", in Contemporary Argentine Cinema, University of Missouri Press, Columbia and London, 1992, pp. 38 - 54.

Gordard, Jean-Luc y Fernando Solanas, "Godard por Solanas, Solanas por Godard", Cine del Tercer Mundo n° 1, Montevideo, octubre de 1969, p. 15. (There is an English version in Cinefiles)

Horton, Robert, "Silvia Prieto", Film Comment vol 36 nº 2, marzo - abril de 2000.

Kohan, Martín: “La apariencia celebrada”, in Punto de vista nº 78, abril de 2004.

Kriger, Clara, "The Official Story", in Elena, Alberto and Marina Díaz López (eds.), The Cinema of Latin America, Wallflower Press, London, 2003, pp. 177 - 183.

Mestman, Mariano, "The Hour of the Furnaces", en Alberto Elena and Marina López (eds.), The Cinema of Latin America, Londres, Wallflower Press, 2003

Morán, Ana Martín, "The Swamp", in Elena, Alberto and Marina Díaz López (eds.), The Cinema of Latin America, Wallflower Press, London, 2003, pp. 231 - 239.

Oubiña, David. “Between breakup and tradition: New Argentinean Cinema”, in Senses of cinema. Issue 57, 2004.

Pick, Zuzana, "Reviewing Women's History: Camila", in The New . A Continental Project, University of Texas Press, Austin, 1993, pp. 82 -89.

Podalsky, Laura, "High-Rise Apartments, Arcades, Cars and Hoteles de citas: Urban Discourse and the Reconstruction of the Public / Private Divide in 1960s Buenos Aires", in Stock, Ann Marie (Editor), Framing Latin American Cinema: Contemporary Critical Perspectives, University of Minnesota Press, Minneapolis, 1997, pp. 1 - 25.

Quintín, "From one generation to another: Is there a dividing line?", in Horacio Bernades, Diego Lerer and Sergio Wolf (editors), Nuevo cine argentino. Temas, autores y estilos de una renovación, Fipresci / Tatanka, 2002.

Reati, Fernando, "Argentine Political Violence and Artistic Representation in Films of the 1980's", in Latin American Literary Review, July-December 1989, pp. 24-39.

Schwarzböck, Silvia and Hugo Salas, "El verano de nuestro descontento. Género y violencia en La ciénaga", in El amante nº 108, March 2001, pp. 10 - 12.

Solanas, Fernando and Octavio Getino, "Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World", in Martin, Michael (Editor), New Latin American Cinema: Theory, Practices, and Transcontinental Articulations, Wayne State University Press, Detroit, 1997, pp. 33 - 58.

Stam, Robert, "Hour of the Furnaces and the Two Avant Gardes", Millenium nº 7/9, 1980/81

Suárez, Pablo, "Martín Rejtman: la superficie de las cosas", en Horacio Bernades, Diego Lerer y Sergio Wolf (editores), El nuevo cine argentino. Temas autores y estilos de una renovación, Fipresci / Tatanka, Buenos Aires, 2002.

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Taylor, Diana, "Damnable Iteration: The Traps of Political Spectacle", in Modern Language Quarterly 57:2, June 1996, pp. 305 - 323.

Supplemental Bernini, Emilio, "Ciertas tendencias en el cine argentino. Notas sobre el 'nuevo cine argentino' Texts(s) (1956-1966)", in Kilómetro 111 nº 1, november 2000, pp. 71 - 88.

------, Estudio crítico sobre Silvia Prieto, Pic Nic Editorial, Buenos Aires, 2008

Castagna, Gustavo, "La generación del 60: Paradojas de un mito", in Wolf, Sergio (ed.), Cine argentino. La otra historia, Ediciones Letra Buena, Buenos Aires, 1993, pp. 245 - 263.

Castor, Nick, "Argentina: 1976-1983", in King, John and Nissa Torrents (Editors), The Garden of Forking Paths: Argentine Cinema, British Film Institute, London, 1987, pp. 81 - 91.

Feldman, Simón, La generación del 60, Centro Editor de América Latina / Instituto Nacional de Cinematografía / Ediciones Culturales Argentinas, Buenos Aires, 1990.

Foster, David, "Contemporary Argentine Cinema", in Martin, Michael (Editor), New Latin American Cinema: Studies of National Cinemas, Wayne State University Press, Detroit, 1997, pp. 464 - 479.

Getino, Octavio, "Some Notes on the Concept of a Third Cinema", in Barnard, Tim (Editor), Argentine Cinema, Nightwood Editions, Toronto, 1986, pp. 99–108.

Kathleen Newman, “Cultural Redemocratization: Argentina, 1978–89,” in On Edge: The Crisis of Contemporary Latin American Culture, George Yúdice, Jean Franco, and Juan Flores (Editors), Minneapolis: University of Minnesota Press, 1992, 161–186.

King, John and Nissa Torrents (Editors), The Garden of Forking Paths: Argentine Cinema, British Film Institute, London, 1987.

------, Sheila Witaker and Rosa Bosch (eds.), An Argentine Passion: Maria Luisa Bemberg and her Films, Verso, London, 2000.

López, Ana, "Argentina, 1955-1976: The Film Industry and its Margins", in King, John and Nissa Torrents (Editors), The Garden of Forking Paths: Argentine Cinema, British Film Institute, London, 1987, pp. 49 - 80.

Mestman, Mariano "Entre Argel y Buenos Aires: El Comité de cine del Tercer Mundo" (1973- 1974), en Gerardo Yoel (compilador), Imgen, política y memoria, Buenos Aires, Libros del Rojas, 2002

Oubiña, David, "Pop Rebel. The Cinema of Leonardo Favio", in Film Comment vol. 37 nº 5, New York, September - October 2001.

------, Estudio crítico sobre La ciénaga, Pic Nic Editorial, Buenos Aires, 2007

Paul Willemen, "The Third Cinema Question: Notes and Reflections", en Jim Pines and Paul Willemen (comps.), Questions of Third Cinema, Londres, British Film Institute, 1989

Wolf, Sergio (ed.), Cine argentino. La otra historia, Ediciones Letra Buena, Buenos Aires, 1993.

Zuzana M. Pick, "The Collective and the Nation: The Hour of the Furnaces", en The New Latin

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American Cinema: A Continental Project, Austin, University of Texas Press, 1993.

Films La casa del ángel (The House of the Angel, Leopoldo Torre Nilsson, 1956) Crónica de un niño solo (Chronicle of a Boy Alone, Leonardo Favio, 1966) La hora de los hornos (The Hour of the Furnaces, Fernando Solanas, 1968) Tiempo de revancha (Time for Revenge, , 1981). La historia oficial (The Official Story, Luis Puenzo, 1984) Pizza, birra, faso (Pizza, Beer & Smokes, Adrián Caetano y Bruno Stagnaro, 1997) Silvia Prieto (Silvia Prieto, Martín Rejtman, 1998) La ciénaga (The Swamp, Lucrecia Martel, 2001) El bonaerense (Pablo Trapero, 2002) Los rubios (The Blondes, Albertina Carri, 2003) Estrellas (Federico León, 2006). El estudiante (Santiago Mitre, 2011). Infancia clandestina (Benjamín Avila, 2012).

Week 1 Unit 1. Brief historical overview. The studio system and the Hollywood classical model. Cinema and popular culture: tango, gauchos, sainetes, folletines. Argentine films and Latin February, American market. The decline of film industry. Thursday 14 King, John. “The social and cultural context”.

Week 2 Unit 2. The loss of continental hegemony. The New Wave: La Generación del '60 and the rise of independent cinema. Film as spectacle vs. film as artistic expression. Authorship and cinéma February, d'auteur: Leopoldo Torre Nilsson. Monday 18 Thursday 21 Barnard, Tim, "The Decline of the Argentine Film Industry: 1942-1955"

Screening: La casa del Ángel

Week 3 Oral Presentation 1: La casa del Ángel

February, Podalsky, Laura, "High-Rise Apartments, Arcades, Cars and Hoteles de citas: Urban Discourse Monday 25 and the Reconstruction of the Public / Private Divide in 1960s Buenos Aires" Thursday March 1 Cinema and social commitment: Fernando Birri.

Screening: Crónica de un niño solo

Week 4 Modernism and mass culture. The unclassifiable films of Leonardo Favio.

March, Unit 3. After the New Wave. Cinema and avant-garde. The film industry and its margins: Monday 5 underground cinema and militant cinema. Argentine filmmakers and the New Latin American

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Thursday 8 Cinema movement. Fernando Solanas and The Hour of the Furnaces.

Oral Presentation 2: La hora de los hornos

Solanas, Fernando and Octavio Getino, "Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World".

Screening: La hora de los hornos.

Week 5 Third World and Third Cinema. Political radicalism and / vs. formal experimentation.

March, Oral Presentation 3: La hora de los hornos Monday 12 Thursday 15 Robert Stam, "Hour of the Furnaces and the Two Avant Gardes"

Jean-Luc Godard y Fernando Solanas, "Godard por Solanas, Solanas por Godard" (There is an English version in Cinefiles)

Unit 4. Cinema during the military dictatorship. Repression, exile, and desaparecidos. Cinema of resistance and cinema of complicity. Adolfo Aristarain: the allegorical style.

Screening: Tiempo de revancha.

Week 6 Unit 5. The re-democratization period: the 1980s. The critique of military dictatorship.

March, Oral Presentation 4: Time of revenge. Monday 19 Thursday 22 Screening: La historia oficial

Mid-term exam

Week 7 BREAK

March 25 – 31

Week 8 The debate between those who were forced into exile and those who remained in the country during the dark years of repression. April, Thursday 4 Oral Presentation 5: La historia oficial.

Foster, David William, "The Official Story: Truth and Consequences"

Kriger, Clara, "The Official Story"

Screening: Pizza, birra, faso

Week 9 Unit 6. The New Argentine Cinema: between breakup and tradition.

April, Oral Presentation 7: New Argentine Cinema + Pizza, birra, faso Monday 8 Falicov, Tamara, “Young Filmmakers and the New Independent Argentine Cinema”

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Thursday 11 Friday 12 Screening: Silvia Prieto

Week 10 Young filmmakers and the rebirth of independent cinema: low-budget movies vs. professional movies. April, Monday 15 Oral Presentation 8: New Argentine Cinema + Silvia Prieto Thursday 18 Castagna, Gustavo, "From one vanguard to another: Is there a tradition?”

Suárez, Pablo, "Martín Rejtman: The surface of things"

Horton, Robert, “Silvia Prieto”

Screening: Un oso rojo

Week 11 New Argentine Cinema. The debate on realism // Mapping Menem's neo-liberal politics: new social configurations, new urban landscapes, new collective identities. Martín Rejtman, April, Lucrecia Martel, Pablo Trapero. Monday 22 Thursday 25 Oral Presentation 9: Un oso rojo.

Gonzalo Aguilar. Other worlds. (Selection).

Screening: La ciénaga

Week 12 The estranged gaze. The cinema of Lucrecia Martel.

April - May , Oral Presentation 10: La ciénaga. Monday 29 Thursday 2 Ana Martín Morán, "The Swamp"

Screening: El bonaerense.

Week 13 The year 2001: the crisis. New cinema and politics / Trapero and Neo realism.

May, Oral Presentation 10: La ciénaga. Monday 6 Thursday 9 Gonzalo Aguilar. Other worlds. (Selection).

Screening: Los rubios

Week 14 Post- Memory and the films of the sons and daughters of the disappeared.

May, Oral Presentation 11: Los rubios. Monday 13 Thursday 16 Martín Kohan, “La apariencia celebrada”

Screening: El estudiante

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Week 15 Argentine Cinema today.

May, Oral Presentation 12: El estudiante. Monday 20 Thursday 23 Closing remarks

Final Exam

TO BE ANNOUNCED

Classroom The use of Blackberrys, phones and IPods in class are forbidden Etiquette

Required Co- Visit to BAFICI (Festival de cine independiente de Buenos Aires). curricular Activities

Suggested Co-curricular Activities

Your Instructor

Edgardo Dieleke is a PhD Candidate in Spanish and Portuguese Languages and Literatures from Princeton University. His dissertation addresses New Argentine Cinema and contemporary Brazilian Cinema. He has taught film courses at NYU Buenos Aires and Universidad de San Andrés, in Argentina. He has published several articles on Latin American Film and literature in magazines and journals in Argentina, Brazil, Spain and United States. He is the editor, together with Paola Cortés Rocca and Claudia Soria, of the book Políticas del sentimiento. El peronismo y la construcción de la Argentina moderna (2010). He is also a scriptwriter and filmmaker. He directed, with Daniel Casabe, the films Cracks de nácar (2011) and The exact shape of the islands (2012).

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