Abstract
What happens when worlds fade, grow cold, or simply disappear? How can we recognize the other worlds that are beginning to make their presence known, no less intensely, but certainly with less precise contours? These questions, without defined forms and without my knowing precisely the kinds of experiences they referred to, were constantly with me throughout the 1990s. It became increasingly clear that we were experiencing a series of transformations for which a sufficient or suitable conceptual arsenal did not yet exist. In addition to the profound turn our lives took under the neoliberal Peronist government of those years (under which the hegemony currently enjoyed by the same party was established), we experienced a series of global political, economic, and technological transformations that affected the world of labor, the public sphere, and private and intimate life. These changes were not abstract: they managed to shake the mainstays of custom and daily life.
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Notes
According to Richard Sennett, “In the creation of the American Republic, the political analyst Judith Shklar argues, the value of hard work defined the ethos of the self-respecting citizen” (Sennett 2003, 57).
Documentaries have become so important in recent years that in the seventh year of the Buenos Aires Internacional Festival de Cine Independiente (Buenos Aires International Festival of Independent Film) a documentary that entered the official competition was selected as the best film (Mercedes Álvarez’s El cielo gira, “The Sky Turns”). Critical interest in the genre also grew. Among the texts produced on Argentine film, see Andrés Di Tella’s “El documental y yo” (2002) and the fifth issue of the journal Kilómetro 111 (Ensayos sobre cine) (2004), which includes Emilio Bernini’s “Un estado (contemporáneo) del documental. Sobre algunos films argentinos recientes” (“A [Contemporary] State of the Documentary: On Some Recent Argentine Films”) and Mauricio Alonso’s review of Sergio Wolf and Lorena Muñoz’s Yo no sé qué me han hecho tus ojos (2003, released in the United States as I Don’t Know What Your Eyes Have Done to Me). Imágenes de lo real: la representacion de lo politico en el documental argentino (“Images of the Real: The Representation of the Political in Argentine Documentary”), a volume edited by Josefina Sartora and Silvina Rival with contributions by prestigious film critics, including Mariano Mestman, Eduardo Russo, Ricardo Parodi, Gustavo Castagna, Raúl Becero, Jorge Ruffinelli, and Emilio Bernini, was published in 2007.
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© 2008 Gonzalo Aguilar
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Aguilar, G. (2008). Introduction. In: Other Worlds. New Concepts in Latino American Cultures. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230616653_1
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DOI: https://doi.org/10.1057/9780230616653_1
Publisher Name: Palgrave Macmillan, New York
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