Representación cinematográfica del periodo de transición democrática en la Argentina de 1983. El caso del film nacional En retirada
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Universidad Industrial de Santander
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Con la llegada de la democracia, el cine argentino buscó representar de diversas maneras el pasado reciente, es decir, lo vivido bajo el Proceso de Reorganización Nacional (1976-1983). Aquí se estudia una de esas representaciones que corresponde a las primeras películas filmadas luego de la dictadura en un periodo cinematográfico condicionado por la teoría de los dos demonios y la de la sociedad víctima. Para ello se recurre a un análisis formal y contextual del film. En retirada fue estrenada el 28 de junio de 1984 y producida bajo la ley 23.052/84 que elimina la censura instaurada en 1974.
With the arrival of democracy, Argentine cinema sought to represent in a variety of ways the recent past, that is, what was experienced under the National Reorganization Process (1976-1983). Here one of those representations is studied that corresponds to the first films filmed after the dictatorship in a cinematographic period conditioned by the theory of the two demons and that of the victim society. For this, a formal and contextual analysis of the film is used. Retired was released on June 28, 1984 and produced under law 23,052 / 84 that eliminates the censorship established in 1974.
With the arrival of democracy, Argentine cinema sought to represent in a variety of ways the recent past, that is, what was experienced under the National Reorganization Process (1976-1983). Here one of those representations is studied that corresponds to the first films filmed after the dictatorship in a cinematographic period conditioned by the theory of the two demons and that of the victim society. For this, a formal and contextual analysis of the film is used. Retired was released on June 28, 1984 and produced under law 23,052 / 84 that eliminates the censorship established in 1974.