Analysis Of Andrés Di Tella And Argentine Documentary Film

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Jorge Ruffinelli, in “Andrés Di Tella and Argentine Documentary Film,” also tracks broad developments in recent Latin American documentary filmmaking by focusing on the case of Argentine director Andrés Di Tella, whose films like La televisión y yo (Television and Me, 2002) and Fotografías (Photographs, 2007) figure among the most prominent examples of the subjective turn. In addition to making films that concretize metacinematic practices, Di Tella has also given numerous interviews and written essays in which he reflects on the importance of the “personal archive” in today’s documentary filmmaking, the exploratory, “essayistic” nature of his films, and the interfacing that occurs between the public and the private. Far from narcissism or …show more content…

Acknowledging a world in which we humans are hyperconnected yet paradoxically estranged from one another, Furtado highlights how certain new Brazilian documentaries hint at an unrealized potential for constructing collective horizons, even though we are never quite sure if these horizons will materialize in a world in which it has become ever more difficult to envision collective projects. If Deleuze was right in affirming that the “people have gone missing” in contemporary documentary films, material objects and the magic of the movie camera can be mediators that facilitate human interaction. Reminiscent of Piedras’s “mobility turn,” movement, for Furtado, brings individuals into contact with one another in ways that challenge the hyperindividualized neoliberal moment. Although we are still far removed from the 1970s sense of the “people” as a political construct, we find that new documentaries have not given up completely on the desire to bring human beings together to forge meaningful relationships and communities and to break with self-centered modes of

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