Abstract
Normal.dotm 0 0 1 85 488 yo 4 1 599 12.0 0 false 21 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.MsoNormalTable {mso-style-name:Tabla normal; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Times New Roman; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Times New Roman; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} The concepts of avant-garde and political cinema cross each other until lose their limits in the critical years of the late 60´s and early 70´s. If we define artistic avant-garde as a position ahead of every cultural hegemony of those time, we understand that Argentinean cinema of that period generated two absolutely revolutionary sets of artworks: Solanas and Gleyzer´s films caused the admiration and compression of the European intellectuals and, two decades later, inspired a new generation of film-makers who take on the production of documentaries confronting the 90´s neoliberalism.
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