Although certain periods of sociopolitical and economic turbulence — notably the neo-fascist coup of 1976 — have depressed the production of Argentine films, Argentine film-making has always been a vigorous proposition. While there remains a certain measure of potboiler production in both Mexico and Brazil (the latter country is particularly notable for films that provide vehicles for soap opera stars), current Argentine films probably include the most professional, artistic, and socioculturally meaningful titles in Latin America.

Concomitantly, Argentine filmmaking, especially since the last quarter of the twentieth century, is the most critically analyzed production on the continent. Jessica Stites Mor’s monograph joins a list that includes books by Gonzalo Aguilar, Ana María Amado, Claudio España, Tamara Falicov, Jorge Finkielman, David William Foster, César Magrini, and Joanna Page. Without enumerating the specific approaches of each of these works, which range from industry issues to...

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