Archive for January 2022

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[Commlist] New book: The (new) global becoming of Argentine cinema. Policies and external markets.

Tue Jan 25 16:07:42 GMT 2022





New book, free access

González, Leandro (2021). /El (nuevo) devenir global del cine argentino. Políticas y mercados externos/. Buenos Aires: TeseoPress. URL: https://www.teseopress.com/cineargentino <https://www.teseopress.com/cineargentino>
Contact: (legonzal /at/ campus.ungs.edu.ar) <mailto:(legonzal /at/ campus.ungs.edu.ar)>

*The (new) global becoming of Argentine cinema. Policies and external markets.
**Abstract (english)*
Film industry has been through processes of commercialization and internationalization practically from its inception. Global dominance of Hollywood has been the most characteristic feature during the last century. However, the world not only consumes North American films: in recent decades a new global map of cinema has been shaped, which is a complex and polycentric map, marked by regional cooperation processes, international film funds and the emergence of new and renewed cinematographies. In this context, the case of the Argentine cinema is emblematic: backed by a long trajectory that enabled to develop different kinds of professional skills, an internationalization process with unprecedented characteristics began to mature after the turn of the century. These are expressed in the bilateral co-production agreements signed with different countries, in the regional integration processes, in the appreciable recognition obtained in the film festival circuit and in a set of other factors outside the cinematographic field (such as the post-convertibility scenario, which generated additional incentives for internationalization). The working hypothesis is that, as a result of the articulation between local factors and the global scenario, a new global becoming of Argentine cinema was produced. The investigation is organized on two levels: on the one hand, it addresses Argentina's participation in the regional cinema spaces of Mercosur and Ibero-America (RECAM and Ibermedia, respectively); on the other, it analyzes the presence and performance of Argentine cinema in the commercial theater circuit of its main foreign markets: Spain, Brazil and France. The analysis is focused in the period comprehended between years 2002-2019 and combines qualitative and quantitative methods: it is based on the review of regulations, the processing of official statistics and the realization of a series of field observations and interviews with various film agents. The central theoretical sources are Cultural Studies, Political Economy of Communication and the contributions of Michel Foucault, from which are taken the materialist conception of culture, the focus on the institutional-legal framework and the emergence of a discourse that —legally registered— generates specific conditions for the circulation of cultural production. In addition, the characteristic features of the new cinema history are collected: contextual turn, methodological eclecticism and interdisciplinarity. The starting point of the analysis is a world film market characterization, which has — contradicting general beliefs — an ostensible dynamism, driven mainly by developing countries and emerging cinematographies. Then, the Argentine participation in regional spaces is studied, introducing some genealogical elements of what resulted in the Ibermedia Program, which is a crucial experience in which Argentina played a leading role. Finally, each one of the case studies is focused, regarding the importance of considering their trajectories, their specificities, and their receptivity towards Argentine cinema. From a systemic analysis model, it will be argued that the links with Spain are explained to some extent by the Ibermedia experience; ties with Brazil, by Ibermedia and RECAM; the relationship with France, for a more singular and robust film policy; the whole, due to the global configuration of the film industry. In this framework, international co-production will appear as a critical, complex and ambiguous phenomenon: on the one hand, it favors the internationalization of Argentine cinema; on the other, it limits the possibilities of appropriating its material and symbolic profits. The best example is that most of the Argentine films with outstanding commercial performance (both in foreign markets and in the domestic market) are co-productions with Spain. For this reason, it is argued that co-production is partially a mutually beneficial product, partially a counter-hegemonic alternative to Hollywood, partially a “necessary evil”, partially a “double-edged sword” and partially a new way of concentrating the benefits on the more powerful side. This completes a portrait of the configuration of cultural forms in the current world as juxtaposed and fragmentary. Additionally, it leads to the need to address some core aspects of a geopolitics of governance of global cultural flows, in which UNESCO and WTO are scenarios where antagonistic positions are manifested. In a broader sense, these aspects require putting into play a relational conception of power articulated with a controversial and conflictive conception of culture. The contribution of this thesis lies in the fact that it offers a systematic and comprehensive analysis on a subject that is little explored in its specificity, as it uses different conceptual and theoretical tools from the social sciences. Furthermore, it contemplates the interrelationship between the material, symbolic and legal dimensions of films. It intends to be a contribution to the film studies and a resource for policy makers. At the same time, it seeks to provide analytical and conceptual keys to understand the circulation of culture in the contemporary world. It is in this complex network that a new global becoming of Argentine cinema unfolds, as its current development faces other and new transformations.


*Table of contents*
Introducción
Parte I. Coordenadas de cine
1. Aspectos teórico-metodológicos
2. Nuevas dinámicas de cooperación regional: Argentina en el programa Ibermedia
Parte II. Un lugar en el mundo
3. Mercados externos y socios de coproducción
4. Cine argentino en España. Integración, cooperación y competencia
5. Cine argentino en Brasil. Expansión, apertura y nuevas relaciones
6. Cine argentino en Francia. Sobre la proyección de un mapa alternativo para el cine de diversidad cultural
Síntesis, reflexiones y contribuciones
Epílogo: pandemia y plataformas
Bibliografía
Anexos

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