Abstract
The artistic boom and industrial consolidation that took place in Italian cinema after the Second World War had a wide reception in Argentina. Although Neorealism’s influence has been noticed in Latin American cinemas’ renovation, I consider that the presence of commedia all'italiana (produced over the fifties and sixties) in Buenos Aires’ cinemas has also had a strong effect on spectators ?some of whom would become filmmakers, and who later on took aspects of that model for their own films. Audience’s preference for these movies undoubtedly operated as an important reference for local producers during the following years. In this article, I examine comedies’ reception at a quantitative (observing the screening programmes) and qualitative (analyzing different kinds of reviews) levels. This process has also been part of a broader transnational development of peninsular cinema in Argentina, taking into account the centrality of Italian’s culture in the South American country.
Highlights
[1] Quiero agradecer a los trabajadores de la Biblioteca de la ENERC y, especialmente, a Julio Artucio, que acompañó esta pesquisa y me facilitó algunos materiales difíciles de hallar
industrial consolidation that took place in Italian cinema after the Second World War had a wide reception in Argentina
Although Neorealism's influence has been noticed in Latin American cinemas' renovation
Summary
Si bien se ha atendido a la influencia del neorrealismo en la renovación de los cines latinoamericanos, considero que la presencia de la commedia all’italiana (producida en las décadas de los cincuenta y sesenta) en las carteleras porteñas tuvo, asimismo, un fuerte efecto en los espectadores —algunos de los cuales se convertirían en realizadores y tomarían aspectos de ese modelo para sus propios filmes—. Examino la recepción de las comedias a nivel cuantitativo (observando la cartelera) y cualitativo (analizando las críticas de diverso carácter). Palabras clave: cine italiano, comedia, recepción, cine argentino [1] Quiero agradecer a los trabajadores de la Biblioteca de la ENERC y, especialmente, a Julio Artucio, que acompañó esta pesquisa y me facilitó algunos materiales difíciles de hallar. Finalmente, subrayar que esta investigación fue realizada en el marco de mi trabajo como becaria doctoral del Consejo Nacional de Investigaciones Científicas y Técnicas de la Argentina
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