Dear villa: The marginalist ecstasy on television and in the argentine narrative in the zero years
In the months before December 2001 and even in a stronger way in the years thatfollow, a significant interest in social exclusion seems to increase and take overjournalistic micros, series and documentaries in Argentine televisión. At the same time,different cultural manifestations like the cinema a...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones de la Facultad de Filosofía y Humanidades
2020
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/recial/article/view/29426 |
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| Sumario: | In the months before December 2001 and even in a stronger way in the years thatfollow, a significant interest in social exclusion seems to increase and take overjournalistic micros, series and documentaries in Argentine televisión. At the same time,different cultural manifestations like the cinema and cumbia undertake the task ofnarrating the routine of those that live in the urban periphery. The fenomenon has itsreplica in literary fiction and thus many writers of the new generations begin to chronicle the social emergency in their narratives and focus their attention on the spaceof villa miseria. Among these texts there can be found Cuando me muera quiero que metoquen cumbia. Vida de pibes Chorros (2003) by Cristian Alarcón, Santería (2008) andSacrificio (2010) by Leonardo Oyola and La virgen cabeza (2009) by Gabriela CabezónCámara. Closer to fascination than to political denounciation, literature will swaybetween the aesthetization of desperate delinquency and the bizarre celebration ofmarginality. Such options bring together the narrative to the show put on by televisionprogrammes such as Policías en acción or Crónica TV reports. |
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