This research note outlines the current state of preservation and accessibility of an audiovisual document that contains complete video footage of the Trial of the Argentine Military Junta, whose verdict in 1985 found the accused guilty of crimes against humanity perpetrated during the last military dictatorship in Argentina (1976–1983).The project of digitization is the result of a joint effort by the University of Salamanca, the Argentine human rights organization Memoria Abierta, and the judges involved in the case, with the support of the Argentine Cámara Nacional de Apelaciones en lo Criminal y Correccional Federal. Its two main objectives are to preserve and provide open access to the audiovisual document. To date only digitized preservation has been attained, a nonetheless remarkable achievement. Despite legislation dates enforcing the protection of the parties involved in the trial, and the absence of legal constraints, open access to the document has not been obtained.

Este ensayo reseña las siguientes películas:

Ciro y yo. Dir. Miguel Salazar. Prod. La Esperanza. Colombia, 2018, 117 min. Distribuido por Pragda (pragda.com).

Fragmentos. Dir. Mayte Carrasco. Prod. Photoholic y Big Story Films. Colombia, Canadá, Reino Unido, 2019, 23 min. Disponible a través del Canal de YouTube del Museo Nacional de Colombia, https://www.youtube.com/watch?v=d7rAb2O0JV8.

Limbo. Dir. Alex Fattal. Prod. Break the Frame Films y Casatarántula. Colombia-EEUU, 2020. Distribuido por Cinema Guild (cinemaguild.com).

El silencio de los fusiles. Dir. Natalia Orozco. Prod. NCN Televisión, Pulso Mundo y Arte Francia. Colombia, Francia, 2017, 120 min. DVD. Disponible en www.silenciofusiles.com.

El testigo: Caín y Abel. Dir. Kate Horne. Prod. Pacha Films, Horne Productions y Ronachan Films. Colombia, Reino Unido, 2018, 72 min. Disponible en Netflix.

This essay reviews the following works:

Reimagining Brazilian Television: Luiz Fernando Carvalho’s Contemporary Vision. By Eli Lee Carter. Pittsburgh: University of Pittsburgh Press, 2018. Pp. x + 286. $28.95 paperback. ISBN: 9780822964988.

Frontera Verde. By Jenny Ceballos, Mauricio Leiva-Cock, and Diego Ramírez-Schrempp. Netflix, 2019. 8 episodes.

Foundational Films: Early Cinema and Modernity in Brazil. By Maite Conde. Los Angeles: University of California Press, 2018. Pp. xiii + 306. $34.95 paperback. ISBN: 9780520290990.

Mock Classicism: Latin American Film Comedy, 1930–1960. By Nilo Couret. Los Angeles: University of California Press, 2018. Pp. xi + 279. $34.95 paperback. ISBN: 9780520296855.

Roma. Written and directed by Alfonso Cuarón. Netflix, 2018.

Latin American Film Industries. By Tamara L. Falicov. London: Bloomsbury and British Film Institute, 2019. Pp. ix + 193. $31.95 paperback. ISBN: 9781844573103.

Cosmopolitan Film Cultures in Latin America, 1896–1960. Edited by Rielle Navitski and Nicolas Poppe. Bloomington: Indiana University Press, 2017. Pp. xi + 376. $38.00 paperback. ISBN: 9780253026460.

Channeling the State: Community Media and Popular Politics in Venezuela. By Naomi Schiller. Durham, NC: Duke University Press, 2018. Pp. xiv + 275. $26.95 paperback. ISBN: 9781478001447.

Bolívar. By Juana Uribe, María Clara Torres, Ricardo Aponte, and Leonor Sardi. Directed by Luis Alberto Restrepo, Andrés Beltrán, and Jaime Rayo. Netflix-Caracol Internacional, 2019. 63 episodes.

Capitán Latinoamérica: Superheroes in Cinema, Television, and Web Series. By Vinodh Venkatesh. Albany: State University of New York Press, 2020. Pp. xiii + 261. $95.00 hardcover. ISBN: 9781438480152.

This essay reviews the following films:

Aborto en Colombia / Abortion in Colombia. Dir. Nicolás Cuenca Rodríguez and Ángela Amaya Aguirre. Prod. Nicolás Cuenca Rodríguez and Ángela Amaya Aguirre. Colombia, 2021,16 min. Film is available at https://www.youtube.com/watch?v=ahjO46Hwokw.

Fly so Far. Dir. Celina Escher. Prod. Women Make Movies and Prämfilm. El Salvador and Sweden, 2021, 88 min. Film is available on Vimeo and DVD.

Las Libres: La historia después de … / Las Libres: The Story Continues. Dir. Gustavo Montaña in collaboration with Centro Las Libres. Prod. At Dusk Media. Mexico, 2014, 94 min. Film is available at https://www.youtube.com/watch?v=DpW7KJblkbc.

Que sea ley / Let It Be Law. Dir. Juan Solanas. Prod. Cinesur, Les Films du Sud, and Gameland. Argentina, France, and Uruguay, 2019, 86 min.

This essay reviews the following films:

El agente topo. Directed by Maite Alberdi. Produced by Micromundo Producciones, Motto Pictures, and Sutor Kolonko. Chile, 2020, 84 min. Distributed by Micromundo Producciones, Mandra Films, and Volya Films.

La memoria infinita. Directed by Maite Alberdi. Produced by Micromundo Producciones. Chile, 2023, 85 min. Distributed by Micromundo Producciones, Mandra Films, and Volya Films.

Los niños. Directed by Maite Alberdi. Produced by Micromundo Producciones, Mandra Films, and Volya Films. Chile, 2016, 82 min. Distributed by Micromundo Producciones, Mandra Films, and Volya Films.

International reconsideration of Mexican film noir is a recent phenomenon. For decades, Mexican film criticism tended to dismiss the importance of this tradition and even to deny its existence, often citing the presence of melodramatic elements in would-be noir films and the lack of a crime novel tradition for screen adaptations. By comparing two Mexican films to similar American productions and examining the local political and economic conditions of the former, this article argues that Mexican film noir had its own pessimistic viewpoints, which were borrowed from journalism and the illustrated press. These viewpoints were based on existing social ailments and delivered relevant criticism of the institutions, classism, and sexual norms of the postrevolutionary Mexican state of the 1940s and 1950s.

Since 2008, numerous Argentine documentary films have explored the complexities of prison education. Prison education documentaries from other countries usually focus overwhelmingly on the possible success of “rehabilitation.” In contrast, this article argues that contemporary Argentine prison education documentaries encourage critical, at times quasi-abolitionist, perspectives on imprisonment by challenging both punitive attitudes and liberal beliefs in the reinserción (reintegration) of prisoners into society. Analyzing the documentaries El almafuerte (dir. Roberto Sebastián Persano, Santiago Nacif Cabrera, and Andrés Martínez Cantó, Argentina, 2009), 13 puertas (dir. David Rubio, Argentina, 2014), Lunas cautivas (dir. Marcia Paradiso, Argentina, 2012), and Pabellón 4 (dir. Diego Gachassin, Argentina, 2017), it draws on insights from film studies and criminology to show how these films provide intersectional and structural critiques of imprisonment. “Touristic” and affective encounters between incarcerated and non-incarcerated people serve to challenge comfortable viewing positions predicated on internal-external carceral and cinematic divides. These films teach spectators that outside spaces, people, and institutions are all central to the meaning, problems, and incoherence of incarceration in Argentina.

Antes del desarrollo de las tecnologías de la información y comunicación, existían narrativas que no solo ficcionalizaban la influencia de las nuevas mediaciones, sino que se inspiraban en el lenguaje del cine para proponer una experiencia sensorial de lectura distinta. Con las tecnologías digitales, esta experimentación literaria se potencializa. La naturaleza y el lenguaje de estas tecnologías han ampliado lo que primero fue imaginado y ensayado en el formato impreso. Para establecer una continuidad entre las apariciones intermediales de la imagen en movimiento en la narrativa impresa y las posibilidades de efectuación de esa intermedialidad en la literatura digital, se examinará la influencia de la estética visual del cine en dos cuentos del uruguayo Horacio Quiroga y una novela corta del colombiano José Félix Fuenmayor. Este análisis también estudiará dos novelas digitales, Pentagonal: Incluidos tú y yo de Carlos Labbé y Lagunas de Milton Laüfer.

Este ensayo reseña los siguientes documentales:

El viaje de Monalisa. Dir. Nicole Costa. Prod. Gregory Costa y Daniela Camino. Nueva York, 2019, 93 min. https://ondamedia.cl/show/el-viaje-de-monalisa-1626213821621.

Casa Roshell. Dir. Camila José Donoso. Prod. Garbiñe Ortega, Juan Pablo Bastarrachea, Maximiliano Cruz y Sandra Gómez. Chile, 2017, 71 min. https://ondamedia.cl/show/casa-roshell.

Naomi Campbel. Dir. Camila José Donoso y Nicolás Videla. Prod. Catalina Donoso y Rocío Romero. Chile, 2013, 83 minutos. https://www.facebook.com/watch/live/?ref=watch_permalink&v=236699154110418.

En tránsito. Dir. Constanza Gallardo. Prod. Constanza Gallardo y Felipe Garrido González. Chile, 2017, 65 min. https://www.cclm.cl/cineteca-online/en-transito/.

El gran circo pobre de Timoteo. Dir. Lorena Giachino Torréns. Prod. Paola Castillo y Marcela Morilla. Chile, 2013, 76 min. https://vimeo.com/ondemand/timoteo.

Visibles. Dir. Javiera López Godoy. Chile, 2020, 20 minutos. https://www.youtube.com/watch?v=YrUuX3E8xnI&t=413s&ab_channel=Guat.

El diablo es magnífico. Dir. Nicolás Videla. Prod. Sebastián González. Chile, 2016, 80 min. https://ondamedia.cl/show/el-diablo-es-magnifico.