{"id":333,"date":"2020-10-04T10:01:32","date_gmt":"2020-10-04T17:01:32","guid":{"rendered":"https:\/\/blogs.ubc.ca\/classroomartwork\/?p=333"},"modified":"2022-09-09T22:31:05","modified_gmt":"2022-09-10T05:31:05","slug":"transition-stites-art202","status":"publish","type":"post","link":"https:\/\/blogs.ubc.ca\/classroomartwork\/transition-stites-art202\/","title":{"rendered":"Transition-Stites-ART 202"},"content":{"rendered":"

\"\"<\/em><\/strong><\/p>\n

Transition Cinema
\n<\/em><\/strong>Political Filmmaking and the Argentine Left since 1968<\/em><\/p>\n

(<\/span>University of Pittsburgh Press, 2012)<\/span>
\nART 202<\/span><\/p>\n

In May of 1976, documentary filmmaker and proclaimed socialist Raymundo Gleyzer mysteriously disappeared in Buenos Aires. Like many political activists, Gleyzer was the target of a brutalizing military junta that had recently assumed power. Amazingly, within a few decades, leftist filmmakers would be celebrated as intellectual vanguards in this same city.<\/p>\n

In Transition Cinema, Jessica Stites Mor documents the critical role filmmakers, the film industry, and state regulators played in Argentina\u2019s volatile transition to democracy. She shows how, during different regimes, the state moved to either inhibit or facilitate film production and its content, distribution, and exhibition. She also reveals the strategies the film industry employed to comply with, or circumvent these regulations.<\/p>\n

Stites Mor divides the transition period into three distinct generations, each defined by a major political event and the reactions to these events in film. The first generation began with the failed civil uprising in C\u00f3rdoba in 1969, and ended with the 1976 military takeover. During military rule, repressive censorship spurred underground exhibitions, and allied filmmakers with the Peronist left and radical activists. The second generation arose after the return of civilian rule in 1983. Buenos Aires became the center for state-level cultural programs that included filmmakers in debates over human rights and collective memory campaigns. In 1989, a third generation of filmmaking emerged, with new genres such as cine piquetero (picketer cinema) that portrayed a variety of social movements and brought them into the public eye. By the new millennium, Argentine filmmakers had gained the attention and financial support of international humanitarian and film industry organizations.<\/p>\n

In this captivating study, Stites Mor examines how populist movements, political actors, filmmakers, government, and industry institutions all became deeply enmeshed in the project of Argentina\u2019s transition cinema. She demonstrates how film emerged as the chronicler of political struggles in a dialogue with the past, present, and future, whose message transcended both cultural and national borders.<\/p>\n

(Description Source:\u00a0<\/span>University of Pittsburgh Press<\/a>)
\n<\/span><\/p>\n


\nAuthor<\/em><\/span><\/p>\n

Jessica Stites Mor<\/strong> is an associate professor of History at The University of British Columbia (Okanagan). She received her PhD in history at Yale University in 2008. She was a visiting fellow at the Instituto Ravignani of the Universidad de Buenos Aires from 2004-2007. She currently serves as the editor-in-chief of the Canadian Journal of Latin American and Caribbean Studies<\/em>. She is author of Transition Cinema: Political Filmmaking and the Argentine Left since 1968 <\/em>(Pittsburgh, 2012), co-editor of El Pasado que miramos <\/em>(The Past We View<\/em>, Pa\u00eddos, 2009) with Claudia Feld, and editor of Human Rights and Transnational Solidarity in Cold War Latin America <\/em>(Wisconsin, 2013). She has also co-edited a special issue on South-South Solidarity for the Journal of Latin American and Iberian Research<\/em> (2014), and authored several other journal articles.<\/p>\n


\nUBC Library Holdings<\/em><\/span><\/p>\n

https:\/\/tinyurl.com\/y4q6muzu<\/a><\/p>\n


\nHow to Purchase this Book<\/em><\/span><\/p>\n

From the Publisher –\u00a0<\/span>University of Pittsburgh Press<\/a>
\nFrom Used-book Sellers – ABE<\/a>, Amazon<\/a>, Antiqbook<\/a>, Biblio<\/a>, Vialibri<\/a><\/span><\/p>\n

Paper ISBN:\u00a0<\/span>9780822961918<\/p>\n


\nUBC Okanagan Classroom Artwork Project <\/em><\/span><\/p>\n

The University of British Columbia Okanagan Classroom Artwork Project<\/em> aims to display academically inspiring artwork in classrooms and other teaching areas of the university.<\/span><\/p>\n

Artwork displayed as part of this project \u2013 including the covers of books and journals containing work written or edited by UBCO scholars and researchers \u2013 is intended to help enliven university teaching spaces, educate classroom users about the connections between research and teaching, and introduce members of the broader public to some of the research and scholarship carried out at UBCO.<\/span><\/p>\n


\nHow to Submit Artwork <\/em><\/span><\/p>\n

If you know of other book or journal covers, or other academically inspiring artwork that is connected to work carried out by UBCO artists, scholars or researchers and that is consistent with UBCO\u2019s educational mission, please email your suggestions to classroom.artwork@ubc.ca<\/a>.<\/span><\/p>\n

The\u00a0UBC Okanagan Classroom Artwork Project<\/em>\u00a0began in 2019 with support from the Irving K. Barber School of Arts and Sciences. It is now a joint project of UBCO\u2019s Faculties and the Office of the Provost.<\/p>\n

Artwork and other images that are a part of this project are displayed solely for educational purposes.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Transition Cinema Political Filmmaking and the Argentine Left since 1968 (University of Pittsburgh Press, 2012) ART 202 In May of 1976, documentary filmmaker and proclaimed socialist Raymundo Gleyzer mysteriously disappeared in Buenos Aires. Like many political activists, Gleyzer was the target of a brutalizing military junta that had recently assumed power. Amazingly, within a few […]<\/p>\n","protected":false},"author":73825,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[23,30],"class_list":["post-333","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-history","tag-international-relations"],"_links":{"self":[{"href":"https:\/\/blogs.ubc.ca\/classroomartwork\/wp-json\/wp\/v2\/posts\/333","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ubc.ca\/classroomartwork\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.ubc.ca\/classroomartwork\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/classroomartwork\/wp-json\/wp\/v2\/users\/73825"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/classroomartwork\/wp-json\/wp\/v2\/comments?post=333"}],"version-history":[{"count":6,"href":"https:\/\/blogs.ubc.ca\/classroomartwork\/wp-json\/wp\/v2\/posts\/333\/revisions"}],"predecessor-version":[{"id":2639,"href":"https:\/\/blogs.ubc.ca\/classroomartwork\/wp-json\/wp\/v2\/posts\/333\/revisions\/2639"}],"wp:attachment":[{"href":"https:\/\/blogs.ubc.ca\/classroomartwork\/wp-json\/wp\/v2\/media?parent=333"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.ubc.ca\/classroomartwork\/wp-json\/wp\/v2\/categories?post=333"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.ubc.ca\/classroomartwork\/wp-json\/wp\/v2\/tags?post=333"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}