Abstract
This paper explores in a comprehensive way the characteristics of crime film in the classic period of Argentine cinema (1933–1956). I try to show how the city, with its different characteristic spaces, the Riachuelo, the suburbs, the center, builds a certain moral cartography. I also study the crossings between different subgenres of the crime film (gangster movies, film noir, police procedural, etc.), as well as the hybridization with national narratives and imaginaries, especially criollismo and tango.
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