Noches de sano esparcimiento. La censura cinematográfica en Argentina. 1955-1973.
This work aims to study film censorship in Argentina, starting on defining it as a space of negotiation and conflict based in the fight of the legitimization of determinate social customs of film, where the political and military groups perform a fundamental role that fight over the control of the s...
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| Formato: | article |
| Lenguaje: | EN FR PT |
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Centre de Recherches sur les Mondes Américains
2015
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| Acceso en línea: | https://doaj.org/article/a931ed7075b445b5a12b9048c7a35196 |
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| Sumario: | This work aims to study film censorship in Argentina, starting on defining it as a space of negotiation and conflict based in the fight of the legitimization of determinate social customs of film, where the political and military groups perform a fundamental role that fight over the control of the state machine, the cinematographic management, the clergy and the catholic laity. This concept of censorship assembles the polity of prohibition and promotion proposed by this actors as two complementary strategies for the achievement of the same objective: the definition of the limits of the speakable. The hypothesis that orientates the research is that the dispute for the definition of the politics of prohibition and promotion was based in the conceptions that the different actors in conflict had over the social customs of film and expressed the fights for its legitimization.Regarding cinema, the period 1955-1976 has its own historical density. The changing power alliances inside the State impede the consolidation of a system of effective politic domination; the catholic world debates between the internal tensions product of the growing role of the church as a central institution of political order and the renewing debate impulse by the Second Vatican Council; the North American cinematographic companies move in a context where the international markets are every time more important at the same time that they are confronted by the resurgence of the European cinematography, in the framework of a process of juvenilization of the mass culture. All this tensions and transformations to the interior of the State, the Catholicism and the business are in relationship with the rising of the cinematographic modernizer movement that questions the institutional foundations of films understood as a simple entertainment as well the moral canons from which the traditional Catholics struggle for a more formative cinema. |
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