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

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The Triptych of Imagination is a project of the Department of Culture and Innovation of the province of Santa Fe. It consists of three areas: The Mill, The Light Corner, and The Eave. Each of themhas special characteristics that definetheir aesthetics andtheir pedagogical and artistic proposal. I intend to analyze El Molino, Cultural factory (The Mill). The use of image in this space is essential, because its image completes it and it articulates it with craftsmanship, thus  combining various forms of experiencing art and crafts. El Molino proposes an approach from the society to cultural spaces, as well as a new way of looking  at art, that parts from traditional ideas. I intend to observe these new approaches and looks from my own conceptual articulation, gestated in a subjective experience with space, linking the currents of Visual Studies, mainly Inés Dussel’scontributions, with Walter Benjamin’sproposalon art and  technical  reproducibility. In order to do all this, I will focus particularly on a ludic–pedagogical device of the Molino: «The Gioconda and Its interventions».

This paper analyzes the appropriation of archives in the compilation documentary Con la pataquebrada, which allows us to see the various positions that women have occupied in Spanish films from the thirties to the dawn of the twenty–first century, as well as the discourses produced about them in these films. This work considers how the film fulfills its manifest intention of showing the underlying chauvinism in some dominating representations of femininity, in particular when it underlines the perpetuation of arquetypes such as the femme fatale which is part of a Manichaean vision of femininity. On the other hand, this research also highlights the elements that contradict the project of criticism of Iberianchauvinism, notably when the film reveals the conception of the female body as spectacle and its instrumentalizationfor political purposes which characterizes many productions of the seventies. Thus, it is possible to show the film’s tendency to ambiguity and its counterproductive effects.

The article focuses on the narrative of two contemporary Argentine writers —Naty Menstrual and Martín Villagarcía— and on the ways their texts showcase queer appropriation of urban space within the city of Buenos Aires at the beginning of the 21 st century. The article uses theoretical concepts such as Henri Lefebvre’s production of space, Michel Foucault’s heterotopy, and Dianne Chisholm’s queer spaces/constellations to show that in the narrative of Menstrual and Villagarcía abstract urban space is subverted by queer characters who appropriate said space in order to construct new forms of bodily and sexual pleasure, and, also, to reconstitute their own subjectivity. Furthermore, their texts present certain problems related to the process of urban space appropriation by signaling the emergence of discrimination, commercialization, and automatization of pleasure that lead towards the alienation of the queer subject.

It could be argued that in recent years there has been a tendency in some media theorists – especially film theorists – that consists of making a dramatic break between images captured digitally and those that are analog, essentially in their indexical aspect. This aspect is, in Peircean semiotics,attributed to signs that maintain an existential relation with their objects, a trace of their presence in time and space. For some contemporary thinkers –the philosopher of technique Bernard Stiegler, for example –who is aligned with the theoretical tradition of photorealism led by figures such as Roland Barthes and Andre Bazin, the digital image is subjected to a discretization process in which the guarantee of the existence of what is portrayed is lost –in contrast with the analog photography– which is characterized by continuity, and which shows an absolute contiguity to its referent. Others like Tom Gunning or Arlindo Machado consider that this approach mystifies analogue photography and obliterates the complexity of its processes and its historicity. Contemporary documentaries, largely influenced by the emergence of new recording, editing and display technologies based on digital substrate, appear as a paradox in which a field of production, traditionally based on a strong indexical connection with its objects, get close to the issue of the digital revolution that establishes a crisis of beliefs based on a break between the image and its referent. We analyze this issue through 2 productions: Recollection (Kamal Aljafari, 2015), a film made possible by digital alteration tools, and Life in a Day (Kevin McDonald, 2011), a production that shows the importance of digital culture to carry out a large–scale collective documentary.

Documentary cinema and television news programs share a way of looking at the world characterized by a particular relation with reality. Both belong to genres known by presenting facts, characters, places, etc. which belong to the historical world. This article reflects on the relations established between these discourses (established as credible) and their representations, and the beliefs and previous ideas of the spectators. We focus on the theoretical perspective of Eliseo Verón, added to the contributions of Social Psychology in respect to social identity, and the construction and functioning of social thought.To exemplify these concepts, a set of Argentine audiovisuals are analyzed taking into consideration three concepts (genre, technical images and the link between individual and social representations) that are understood as theoretical and operative instances for the development of analysis and reflection.

En el presente trabajo aspiramos abordar la miradaetnográfica de Alcides Greca en el filme El último malón (1917). Su mirada reposa en la comunidad mocoví de San Javier, provincia de Santa Fe, Argentina, en la primera mitad del siglo XX. Para ello, se rastrean los elementos políticos, ideológicos y  académicos de la época que permiten ver y mostrar al aborigen como un sujeto de alteridad en un proceso de construcción y constitución de la República Argentina como un Estado–nación. Así también, consideramos los inicios del cine en la Argentina, el ejercicio de Greca como director del filme, y su posible labor como etnógrafo. Se destaca el valor del filme como potencial documento etnográfico y se realiza una aproximación al quehacer antropológico  observando algunas similitudes.

The figure of the diva is the center of a series of discourses that associate gender, nation and sexuality. This article claims that it is possible to establish a genealogical identity between the American visual production of Hollywood musicals of the early twentieth century andmusic videos of the early twenty–firstcentury. From a queer theory perspective —which draws on analytical vectors from gender studies, film studies and visual studies— this article raises reflective axes on the functioning of the figure of the diva within the musical genre and its particular appearance within the space of the brothel. Previous theories that have approached the subject are tackled; connections betweentwo ways of thinking space, utopianism and pornotopia,and the figure of the Tiller Girls, are presented; two mystifying categories of feminine representation are proposed: dreamy girl and Gold Digger,to finally conclude with some considerations on the issueof sex work as a contemporary backdrop to this relation.