Chapters in this book

1. Front Matter i
2. Contents vii
3. Figures ix
4. Preface xiii
5. Acknowledgments xix
6. Introduction xxiii
7. Early Cinema, 1896–1932
8. Melodrama and Avant- la- Lettre Documentary in Alcides Greca’s El último malón (The Last “Indian” Raid, 1917) 7
9. Kitsch and Exoticism in Nelo Cosimi’s La quena de la muerte (Death Kena, 1929) 25
10. Classical Cinema, 1933–1956
11. Femme Fatale in Luis Belisario García Villar’s Frontera Sur (Southern Border, 1943) 49
12. Betrayal and Insanity in Lucas Demare’s El último perro (The Last One Standing, 1956) 63
13. Modernity and Auteur Cinema, 1957–1983
14. The Shifting Meanings of Translation in Lautaro Murúa’s Shunko (1960) 89
15. Transculturation in Jorge Prelorán’s Hermógenes Cayo (1967) 101
16. Cinema in Democracy, 1983–1993
17. Fatal Kindness in Raúl Tosso’s Gerónima (1986) 127
18. Bewitched Mirror Images in Edgardo Cozarinsky’s Guerriers et Captives (Warriors and Captives, 1989) 139
19. Contemporary Period, 1993–2017
20. The Power of the Word in Philip Cox and Valeria Mapelman’s Mbyá: Tierra en rojo (We Are the Indians, 2005) 159
21. State Terrorism in Valeria Mapelman’s Octubre Pilagá (Pilagá October, 2010) 173
22. Life as a Specimen: Alejandro Fernández Mouján’s Damiana Kryygi (2015) 193
23. Clashing Ideologies, Denunciation, and Reparation in Ulises de la Orden’s Tierra adentro (Inland, 2011) 209
24. Silence and Isolation in Mathieu Orcel’s Para los pobres piedras (Stones for the Poor, 2013) 223
25. Immersion and Metamorphosis in Inés de Oliveira Cézar’s Cassandra (2012) 231
26. The Power of Constellations in Sebastián Lingiardi’s Las pistas- Lanhoyij- Nmitaxanaxac (Clues- Lanhoyij- Nmitaxanaxac, 2010) 251
27. Conclusion 265
28. Political Map of Argentina 275
29. Notes 277
30. Bibliography 317
31. Index 349