An examination of Argentina's "Dirty War" in films made after the advent of democracy in 1983. The systematic illegal persecution and annihilation of political opponents of the 1979-1983 Argentine military dictatorship, commonly known today as the "Dirty War", became one of the main themes of the nation's cinema after the regime's fall. In this study, while providing a detailed survey of the conditions of production of post-dictatorship Argentine cinema, the author focuses on a selected corpus of films in order to explore how issues of memory, mourning and trauma, together with questions of gender and genre representation, have been dealt with in the cinema that followed the advent of democracy in 1983. By means of a solid theoretical underpinning and the thorough textual analysis of some canonical films, such as La historia oficial and Sur, and others less well known, for example En retirada, La amiga, El acto en cuestion, the book offers new insights into contemporary Latin American cinema. Constanza Burucua, having completed her PhD at the University of Warwick, is an independent film producer in Caracas.

Historically, cinema in the Americas has been signed by a state of precariousness. Notwithstanding the growing accessibility to video and digital technologies, access to the material means of film production is still limited, affecting the spheres of production, distribution, and reception. Equally, questions about the precarious can be traced in cultural and archival policies, film legislations, as well as in thematic and aesthetic choices. While conventional definitions of the precarious have been associated with notions of scarcity and insecurity, this volume looks at precariousness from a non-monolithic angle, exploring its productivity and potential for original, critical approaches, with the aim of providing new readings to the variedly rich and complex cinemas of the Americas.

Historically, cinema in the Americas has been signed by a state of precariousness. Notwithstanding the growing accessibility to video and digital technologies, access to the material means of film production is still limited, affecting the spheres of production, distribution, and reception. Equally, questions about the precarious can be traced in cultural and archival policies, film legislations, as well as in thematic and aesthetic choices. While conventional definitions of the precarious have been associated with notions of scarcity and insecurity, this volume looks at precariousness from a non-monolithic angle, exploring its productivity and potential for original, critical approaches, with the aim of providing new readings to the variedly rich and complex cinemas of the Americas.