Publication: Monte criollo y Palermo. Cruce entre películas de gangsters, film noir y el imaginario del criollismo tanguero
Authors
Pablo Setton, Román
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Publisher
Murcia: Servicio de Publicaciones de la Universidad de Murcia
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DOI
https://doi.org/10.6018/251001
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info:eu-repo/semantics/article
Description
Abstract
El siguiente trabajo analiza las películas Monte criollo (1935) y Palermo (1937),
de Arturo S. Mom como dos ejemplos de las primeras aproximaciones del cine
argentino al género policial o crime film. En ese sentido, discutimos los modos
en que estas películas trabajan, por un lado, con motivos del cine negro y de las
películas de gangsters, es decir, los modelos del cine clásico hollywoodense y, por
otro, cómo fusionan estas tradiciones con elementos propios de la cultura popular
argentina contemporánea, los imaginarios del tango y del criollismo. A partir de
esa fusión, algunos elementos que la tradición había colocado en el ámbito de
la villanía son resignificados, tal como sucede con el dominio de la voz –que la
tradición del gótico y del policial identificaban con el mal– que ahora, a partir de la
heroicidad local del cantor de tangos, es ennoblecido. En este sentido, mostramos
también de qué modo un crimen local concreto, el secuestro y asesinato de
Eugenio Pereyra Iraola, modifica en el cine la representación de los criminales. A su
vez, discutimos de qué modo estas películas reelaboran los arquetipos femeninos
y masculinos de la época y proponen nuevos modelos de identidades genéricas
The following paper analyzes Arturo S. Mom´s movies Monte criollo (1935) and Palermo (1937) as two examples of the first approaches of Argentine cinema to the genre thriller or crime film. In that sense, I discuss the ways in which these films takes up, on the one hand, some topics and patterns of the film noir and the gangster movie, that is, models of Classical Hollywood Cinema, and on the other, merge these traditions with aspects of contemporary popular culture from Argentina, elements of Criollismo and tango tradition. In this hybridization, some motives that the literary and cinematic traditions had placed in the field of villainy are resignified, for example eloquence and the seduction of a nice voice-that in the gothic and detective fiction tradition were identified with evilness-are now ennobled, based on the premise of the tango singer´s heroism. I also try to show how a particular local crime, kidnapping and murder of Eugenio Pereyra Iraola, changes the film representation of criminals at that time, and, furthermore, how these movies discuss female and male archetypes of the time and propose new models of gender identities.
The following paper analyzes Arturo S. Mom´s movies Monte criollo (1935) and Palermo (1937) as two examples of the first approaches of Argentine cinema to the genre thriller or crime film. In that sense, I discuss the ways in which these films takes up, on the one hand, some topics and patterns of the film noir and the gangster movie, that is, models of Classical Hollywood Cinema, and on the other, merge these traditions with aspects of contemporary popular culture from Argentina, elements of Criollismo and tango tradition. In this hybridization, some motives that the literary and cinematic traditions had placed in the field of villainy are resignified, for example eloquence and the seduction of a nice voice-that in the gothic and detective fiction tradition were identified with evilness-are now ennobled, based on the premise of the tango singer´s heroism. I also try to show how a particular local crime, kidnapping and murder of Eugenio Pereyra Iraola, changes the film representation of criminals at that time, and, furthermore, how these movies discuss female and male archetypes of the time and propose new models of gender identities.
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Citation
Arte y políticas de identidad, Vol. 13 (2015)251-268
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