Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This article analyzes the joint work of Augusto Roa Bastos, Tomás Eloy Martínez and Daniel Cherniavsky for the films El último piso and El terrorista in the framework of the transformations that took place in Argentine cinema at the beginning of the 1960s. The common writing work that brought together the narrators and the filmmaker fostered an innovative way of confluence between film and literature, different from that which had been established in the studios’ production. In this sense, co-writing altered and expanded the limited roles of librettist and director, and questioned the figure of authorship as it was installed in the literary institution. At the same time, the work of co-writing of these two films anticipates the poetics of the 1960s, between the realistic demand and the modernizing vocation.

This article explores different modes of the image of contemporary architecture, in its physical concretions at space when they are modeled at 3D and at the computer simulation-assisted design −, through which architecture is designed and communicated. In these modes, the image makes visible as it hides, in fact, sometimes it hides in terms of appearance, updating in this way a long tradition of art and classic image which also contains important business strategies with links, publicity and own branding marketing. In consequence, and critically, as well as exploring the processes of visibility and hiddenness, the article concludes studying the incidence of these at the experience of the user and consumer of these images.

The recent history of Argentinawas marked by the repression deployed during State terrorism of the seventies. This period has been considered as extreme and traumatic experience of high social and collective scope. This leads us to think about the particularities of the elaboration of recent past events of limit events by the affected societies. In this paperwe ask ourselves: In what ways can art collaborate in the elaboration of traumatic events? Based on a case study located in the city of Ensenada, province of Buenos Aires, we will analyze the procedures and scope of artistic practices that commemorate and pay homage to the disappeared and murdered people through a collective work of memories, in which family members and relatives of the victims actively participate.

Historically, different disciplines have used photography to show a step forward in research and the message they want to deliver. Photography, on the other hand, has been at service of text and thoughts, without been deeply considered as a singular object of studying. The photos which we intend to work with haven`t been lucky either. From the moment they were created, their importance in relation to the represented object has been subject of debate, meaning how faithfully were other’s body characteristics printed on the photos for the investigator to focus on later. Carlos Bruch’s photos about different native communities (both in the north and the south of Argentina) show an understanding of photography, but also allows us to think of the photographer’ s deeply conception regarding the country inhabitants, as well as science as a way to order and comprehend the world.

This essay is a reflection about the spaces of display and movement of experimental film and video art in Buenos Aires ‘city and at the rest of the country, from the 1970s to the present day. The same is part of a research project of the research program in design and communication of the Universidad de Palermo. The objective is to offer a panorama of spaces that have scheduled in different moments in the history of Argentina’s audiovisual, works by artists, experimental filmmakers and video. The experimental language needs alternative places to run such as festivals and special programming spaces to introduce themselves to the public.

This essay questions different concepts from artist’s works from two generations performed by photography and video and analyzes the intrinsic characteristics of the different creation processes related to the expanded uses of the image and the persistence of the structures that have origined the patterns of our image’s culture.

Abstract: Through this specific issue of Cuadernos, we reflect on Latin American artistic creations, as instruments, vehicles and even critical triggers of history and memory.

With the rise of neoliberalism forms of political communication were modernized. This has been evident in several countries of the region since 1989, when refurbished right wing forces affirmed themselves in the practice of democracy. In the electoral campaigns a new tool was introduced: the transmission of the debate between presidential candidates on television. Undoubtedly, the model that opened the way to this practice was the debate between Richard Nixon and John F. Kennedy in 1960. But unlike what happened in the United States, in Latin America this practice has not been vertebrally incorporated into national political cultures. However, it is possible to track several cases that invite reflection. In this article we state that in Latin America the presidential debates are a conjunctural political fact that assumes their own characteristics (“the originality of the copy”) both in its form and in its content according to the socio-historical conditions in which they occur. To account for this, we observe a set of audiovisual records of presidential debates and offer a cumulative and comprehensive historical view. The heterogeneity of this group reinforces the idea of short-term conditions that surround the debates rather than an attachment to formats imported from the northern hemisphere's political systems.

This essay represents a first approach to the research problem of my next project. The aim is to analyze if and how the “Gypsy being” can participate in an innovation strategy in social design through the cultural revaluation of flamenco in conjunction with an autonomous socioeconomic organization. As a preliminary work, a cut of the theoretical framework and antecedents that will be the basis of the ethnographic research on the performatic practices of the Gitano-Calé community (Romani of Spanish origin) in Argentina and Spain, in the light of the processes of identity and existential creativity, cultural policies and the construction of collective autonomy.

The last decade in Ecuador was marked by the media-political dispute between the former President of the Republic, Rafael Correa, and the private media that became political actors. With the arrival in 2017 of the new president Lenín Moreno (a successor of Correa himself), Ecuador faced a change not only of leader, but also a sharp turn in national politics. The conservative political and economic forces, adversaries during Correa's presidency, became Moreno allies. In this context, the mass media also turned from being adversaries and contesting Correa’s political field to become Moreno’s allies. This article presents a comparative analysis of the way in which two of the main media framed the social reactions to different economic measures: the inheritance and capital gains laws of Correa (2015) and the Decree 883 of Moreno (2019). It involves the analyze of two newspapers, El Telégrafo (public) and El Comercio (private), since they allow to identify the differences between the media based on their legal nature in each period.