Cinema as “nucleus of political action” in Los hijos de Fierro by Fernando Solanas
In an article published in the magazine Third World Cinema in 1969 the filmmakers Fernando Solanas and Octavio Getino —members of the Liberation Film Group— criticized the movie Martín Fierro directed by Leopoldo Torre Nilsson (1968) for establishing a distorted view of history that eliminated the p...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba
2021
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/toma1/article/view/35789 |
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I10-R10-article-357892022-11-15T13:46:28Z Cinema as “nucleus of political action” in Los hijos de Fierro by Fernando Solanas El cine como “núcleo de actuación política” en Los hijos de Fierro de Fernando Solanas Oulego, Daniela militant cinema Liberation Film Group Martin Fierro peronism popular memory cine militante Grupo Cine Liberación Martín Fierro memoria popular peronismo In an article published in the magazine Third World Cinema in 1969 the filmmakers Fernando Solanas and Octavio Getino —members of the Liberation Film Group— criticized the movie Martín Fierro directed by Leopoldo Torre Nilsson (1968) for establishing a distorted view of history that eliminated the presence of masses in line with the ideological interests of the military government. On the contrary, the transposition Los hijos de Fierro (1972-75) by Fernando Solanas intended to distance itself from the movie by Torre Nilsson through the inclusion of people in a political rereading that proposed an analogy between the literary work and the peronist resistance. Because of this, the aim of the present paper is to study in the film Los hijos de Fierro by Solanas the use of literature in militant cinema for political practice. For that reason, it’ll investigate the figure of the gaucho Martín Fierro as representative of people (Marechal, 1998), integrated by “the sons of Fierro” (Astrada, 2006). Besides, the analysis will focus on the role of militant cinema as “nucleus of political action” (González, 2007) which politically committed actions produced effects on the same history that it was telling in an audiovisual way. En un artículo publicado en la revista Cine del Tercer Mundo en el año 1969, los cineastas Fernando Solanas y Octavio Getino —miembros del Grupo Cine Liberación— criticaron la película Martín Fierro dirigida por Leopoldo Torre Nilsson (1968) por instaurar una visión tergiversada de la historia que eliminaba la presencia de las masas en consonancia con los intereses ideológicos del gobierno militar. Por el contrario, la transposición Los hijos de Fierro (1972-75) de Fernando Solanas pretendía distanciarse de la película de Torre Nilsson mediante la inclusión del pueblo en una relectura política que planteaba una analogía entre la obra literaria de José Hernández y la resistencia peronista. En razón de esto, el presente trabajo se propone estudiar en la película Los hijos de Fierro de Solanas el uso de la literatura en el cine militante para la práctica política. Para ello, se indagará la figura del gaucho Martín Fierro como representante del pueblo (Marechal, 1998), integrado por “los hijos de Fierro” (Astrada, 2006). Además, el análisis se centrará en el rol del cine militante en tanto “núcleo de actuación política” (González, 2007) cuyo accionar comprometido políticamente producía efectos en la misma historia que estaba relatando de manera audiovisual. Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2021-11-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/toma1/article/view/35789 Toma Uno; No. 9 (2021): Politics, the political, policies, in Cinema and Audiovisual Arts TOMA UNO; Núm. 9 (2021): La política, lo político, las políticas, en el Cine y las Artes audiovisuales 2250-4524 2313-9692 10.55442/tomauno.n9.2021 ark:/s22504524/qoi0z31ty spa https://revistas.unc.edu.ar/index.php/toma1/article/view/35789/36014 https://revistas.unc.edu.ar/index.php/toma1/article/view/35789/36015 https://revistas.unc.edu.ar/index.php/toma1/article/view/35789/36016 http://creativecommons.org/licenses/by-nc-nd/2.5/ar/ |
| institution |
Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-10 |
| container_title_str |
Revistas de la UNC |
| language |
Español |
| format |
Artículo revista |
| topic |
militant cinema Liberation Film Group Martin Fierro peronism popular memory cine militante Grupo Cine Liberación Martín Fierro memoria popular peronismo |
| spellingShingle |
militant cinema Liberation Film Group Martin Fierro peronism popular memory cine militante Grupo Cine Liberación Martín Fierro memoria popular peronismo Oulego, Daniela Cinema as “nucleus of political action” in Los hijos de Fierro by Fernando Solanas |
| topic_facet |
militant cinema Liberation Film Group Martin Fierro peronism popular memory cine militante Grupo Cine Liberación Martín Fierro memoria popular peronismo |
| author |
Oulego, Daniela |
| author_facet |
Oulego, Daniela |
| author_sort |
Oulego, Daniela |
| title |
Cinema as “nucleus of political action” in Los hijos de Fierro by Fernando Solanas |
| title_short |
Cinema as “nucleus of political action” in Los hijos de Fierro by Fernando Solanas |
| title_full |
Cinema as “nucleus of political action” in Los hijos de Fierro by Fernando Solanas |
| title_fullStr |
Cinema as “nucleus of political action” in Los hijos de Fierro by Fernando Solanas |
| title_full_unstemmed |
Cinema as “nucleus of political action” in Los hijos de Fierro by Fernando Solanas |
| title_sort |
cinema as “nucleus of political action” in los hijos de fierro by fernando solanas |
| description |
In an article published in the magazine Third World Cinema in 1969 the filmmakers Fernando Solanas and Octavio Getino —members of the Liberation Film Group— criticized the movie Martín Fierro directed by Leopoldo Torre Nilsson (1968) for establishing a distorted view of history that eliminated the presence of masses in line with the ideological interests of the military government. On the contrary, the transposition Los hijos de Fierro (1972-75) by Fernando Solanas intended to distance itself from the movie by Torre Nilsson through the inclusion of people in a political rereading that proposed an analogy between the literary work and the peronist resistance.
Because of this, the aim of the present paper is to study in the film Los hijos de Fierro by Solanas the use of literature in militant cinema for political practice. For that reason, it’ll investigate the figure of the gaucho Martín Fierro as representative of people (Marechal, 1998), integrated by “the sons of Fierro” (Astrada, 2006). Besides, the analysis will focus on the role of militant cinema as “nucleus of political action” (González, 2007) which politically committed actions produced effects on the same history that it was telling in an audiovisual way. |
| publisher |
Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba |
| publishDate |
2021 |
| url |
https://revistas.unc.edu.ar/index.php/toma1/article/view/35789 |
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AT oulegodaniela cinemaasnucleusofpoliticalactioninloshijosdefierrobyfernandosolanas AT oulegodaniela elcinecomonucleodeactuacionpoliticaenloshijosdefierrodefernandosolanas |
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2022-08-20T01:15:12Z |
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2023-02-28T06:26:05Z |
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