Journeys in Argentine and Brazilian Cinema: Road Films in a by Natália Pinazza (auth.)

By Natália Pinazza (auth.)

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More specifically, through this organization’s cultural integration proposal of 2005, the aim became the creation of a cinema market by dint of measures such as producing a system to certify the nationality of Mercosur products and establishing a regional screen quota, as well as promoting free circulation of film copies. 6 Since Mercosur’s main strategy is to compete effectively in the global market that is currently dominated by the north (as expressed in the motto “Our North is the South”), Mercosur film policy makers have recognized the importance of promoting a network of cross-border film cooperation if they are to challenge Hollywood’s dominance in national markets.

In Martín (Hache), Madrid is portrayed as a wealthy place in contrast to the economically troubled Buenos Aires. This contrast is clear when images of Hache walking past the graffiti on walls, buses, and old cars is juxtaposed to the sequence showing his father driving in an avenue in Madrid. The images of Madrid have more light and color while Buenos Aires is portrayed as gloomy. His father’s apartment in Madrid is spacious while in Buenos Aires, Hache has to sleep on the sofa because there are more than five people living at the same apartment, which conveys the idea of Buenos Aires as a claustrophobic place, a notion present in some of the Argentine films analyzed in this book.

Chapter 3 addresses the lack of perspective experienced by Argentineans and Brazilians in the early 1990s and how it has informed a number of Argentine and Brazilian nationals reversing the steps of their European parents or grandparents who immigrated to Argentina. Although the characters in Martín (Hache) are not marginalized in Spain like the Brazilian characters in Foreign Land are in Portugal, he is an immigrant who is constantly reminded of his Argentineness. Moreover, his Basque background adds to the complexity of his position in Spain.

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