Monte criollo and Palermo. Hybridization of Gangster Movies, Film Noir and the Imaginary of Criollismo and Tango Tradition.
Abstract
The following paper analyzes Arturo S. Mom ́s movies Monte criollo (1935) and Palermo (1937) as two examples of the first approaches of Argentine cinema to the genre thriller or crime film. In that sense, I discuss the ways in which these films takes up, on the one hand, some topics and patterns of the film noir and the gangster movie, that is, models of Classical Hollywood Cinema, and on the other, merge these traditions with aspects of contemporary popular culture from Argentina, elements of Criollismo and tango tradition. In this hybridization, some motives that the literary and cinematic traditions had placed in the field of villainy are resignified, for example eloquence and the seduction of a nice voice-that in the gothic and detective fiction tradition were identified with evilness-are now ennobled, based on the premise of the tango singer ́s heroism. I also try to show how a particular local crime, kidnapping and murder of Eugenio Pereyra Iraola, changes the film representation of criminals at that time, and, furthermore, how these movies discuss female and male archetypes of the time and propose new models of gender identities.Downloads
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26-01-2016
Pablo Setton, R. (2016). Monte criollo and Palermo. Hybridization of Gangster Movies, Film Noir and the Imaginary of Criollismo and Tango Tradition. Art and Identity Policies, 13(13), 251–268. https://doi.org/10.6018/251001
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