Guerrilla fighters with a taste for rage. The representation of Tacuara in the Argentine cinema of the 60's

The Tacuara Nationalist Movement was one of the most controversial radical movements in recent Argentine history. Reviewing two Argentine films of the 60’s’ neglected by historiography such as Lucas Demare’s Los guerrilleros and Fernando Ayala’s With taste of rage, we will analyze the way in which n...

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Autor principal: Campos, Esteban
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Estudios Históricos Profesor Carlos S. A. Segreti 2017
Materias:
political violence
radical extremist
stereotype
guerrilla
nationalism
violencia política
radical extremista
estereotipo
nacionalismo
Acceso en línea:https://revistas.unc.edu.ar/index.php/anuarioceh/article/view/21998
Aporte de:
Anuario del Centro de Estudios Históricos Profesor Carlos S. A. Segreti de Universidad Nacional de Córdoba
id I10-R307-article-21998
record_format ojs
spelling I10-R307-article-219982021-06-01T21:54:25Z Guerrilla fighters with a taste for rage. The representation of Tacuara in the Argentine cinema of the 60's Guerrilleros con gusto a rabia. La representación de Tacuara en el cine argentino de los años 60 Campos, Esteban political violence radical extremist stereotype guerrilla nationalism violencia política radical extremista estereotipo guerrilla nacionalismo The Tacuara Nationalist Movement was one of the most controversial radical movements in recent Argentine history. Reviewing two Argentine films of the 60’s’ neglected by historiography such as Lucas Demare’s Los guerrilleros and Fernando Ayala’s With taste of rage, we will analyze the way in which national cinema represented topics such as modernity and tradition, nationalist and guerrilla violence, women and youth. In the work it is suggested that both films structured a drama based on the journalistic and police chronicle of the moment, spreading a stereotype of the extremist radical with elements of the original Tacuara, the Revolutionary Nationalist Movement Tacuara and the first argentine guervarists guerrillas. The films are compared with other contemporary productions that thematized nationalist violence, such as Leopoldo Torre Nilsson’s La terraza and El ojo de la cerradura, and the short film El ciclo by Raymundo Gleyzer. El Movimiento Nacionalista Tacuara fue uno de los movimientos radicales más controvertidos de la historia argentina reciente. Al revisar dos largometrajes argentinos de los años 60’ descuidados por la historiografía como Los guerrilleros de Lucas Demare, y Con gusto a rabia de Fernando Ayala, se analizará la manera en que el cine nacional representó tópicos como la modernidad y la tradición, la violencia nacionalista y guerrillera, las mujeres y la juventud. En el trabajo, se sugiere que ambos filmes estructuraron un drama a partir de la crónica periodística y policial del momento, difundiendo un estereotipo del radical extremista con elementos de la Tacuara originaria, el Movimiento Nacionalista Revolucionario Tacuara y las primeras guerrillas guevaristas argentinas. Las películas se comparan con otras producciones contemporáneas que tematizaron la violencia nacionalista, como La terraza y El ojo de la cerradura, de Leopoldo Torre Nilsson y el cortometraje El ciclo, de Raymundo Gleyzer. Centro de Estudios Históricos Profesor Carlos S. A. Segreti 2017-12-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículos de investigación libres application/pdf https://revistas.unc.edu.ar/index.php/anuarioceh/article/view/21998 10.52885/2683-9164.v0.n17.21998 Anuario del Centro de Estudios Históricos Profesor Carlos S. A. Segreti; Núm. 17 (2017); 94-110 2683-9164 1666-6836 10.52885/2683-9164.v0.n17 spa https://revistas.unc.edu.ar/index.php/anuarioceh/article/view/21998/21692 Derechos de autor 2017 Esteban Campos
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-307
container_title_str Anuario del Centro de Estudios Históricos Profesor Carlos S. A. Segreti
language Español
format Artículo revista
topic political violence
radical extremist
stereotype
guerrilla
nationalism
violencia política
radical extremista
estereotipo
guerrilla
nacionalismo
spellingShingle political violence
radical extremist
stereotype
guerrilla
nationalism
violencia política
radical extremista
estereotipo
guerrilla
nacionalismo
Campos, Esteban
Guerrilla fighters with a taste for rage. The representation of Tacuara in the Argentine cinema of the 60's
topic_facet political violence
radical extremist
stereotype
guerrilla
nationalism
violencia política
radical extremista
estereotipo
guerrilla
nacionalismo
author Campos, Esteban
author_facet Campos, Esteban
author_sort Campos, Esteban
title Guerrilla fighters with a taste for rage. The representation of Tacuara in the Argentine cinema of the 60's
title_short Guerrilla fighters with a taste for rage. The representation of Tacuara in the Argentine cinema of the 60's
title_full Guerrilla fighters with a taste for rage. The representation of Tacuara in the Argentine cinema of the 60's
title_fullStr Guerrilla fighters with a taste for rage. The representation of Tacuara in the Argentine cinema of the 60's
title_full_unstemmed Guerrilla fighters with a taste for rage. The representation of Tacuara in the Argentine cinema of the 60's
title_sort guerrilla fighters with a taste for rage. the representation of tacuara in the argentine cinema of the 60's
description The Tacuara Nationalist Movement was one of the most controversial radical movements in recent Argentine history. Reviewing two Argentine films of the 60’s’ neglected by historiography such as Lucas Demare’s Los guerrilleros and Fernando Ayala’s With taste of rage, we will analyze the way in which national cinema represented topics such as modernity and tradition, nationalist and guerrilla violence, women and youth. In the work it is suggested that both films structured a drama based on the journalistic and police chronicle of the moment, spreading a stereotype of the extremist radical with elements of the original Tacuara, the Revolutionary Nationalist Movement Tacuara and the first argentine guervarists guerrillas. The films are compared with other contemporary productions that thematized nationalist violence, such as Leopoldo Torre Nilsson’s La terraza and El ojo de la cerradura, and the short film El ciclo by Raymundo Gleyzer.
publisher Centro de Estudios Históricos Profesor Carlos S. A. Segreti
publishDate 2017
url https://revistas.unc.edu.ar/index.php/anuarioceh/article/view/21998
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first_indexed 2024-09-03T20:25:26Z
last_indexed 2024-09-03T20:25:26Z
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