Grupo Cine Liberación

The Grupo Cine Liberación ("The Liberation Film Group") was an Argentine film movement that took place during the end of the 1960s. It was founded by Fernando Solanas, Octavio Getino and Gerardo Vallejo, and became closely linked to the Peronist Left. In the subsequent years other films directors (grupo Realizadores de Mayo, Enrique and Nemesio Juárez, Pablo Szir, etc.) revolved around the active core of the Cine Liberación group.[1][2]

Along with Raymundo Gleyzer's Cine de la Base in Argentina, the Brazilian Cinema Novo, the Cuban revolutionary cinema and the Bolivian film director Jorge Sanjinés, the Grupo Cine Liberación was part of the Tercer Cine movement.[3] The name of Tercer Cine (or Third Film, in an obvious allusion to the Third World) was explicitly opposed to "First World" cinema, that is, Hollywood, and was also contrasted with auteur film, deciding to engage itself more explicitly in the social and political movements.[3]

From his exile in Francoist Spain, Juan Peron sent in 1971 two letters to Octavio Getino, one congratulating him for this work of Liberation Film Group, and another concerning two documentaries that were to be done with him (La Revolución Justicialista and Actualización política y doctrinaria).[3]

The graphist Raimundo Ongaro, also founder of the CGT de los Argentinos (CGTA) trade-union, was also close to this movement.

Theory and practice

One of the principles of the Grupo Cine Liberación was to produce anonymous films, in an endeavour to favorite collective creation processes, to create a collective discourse, and also to protect themselves from political repression. According to Lucio Mufud, the collective authorship movement of the 1960s and 1970s was "among other things, about erasing any authorial mark. It concerned itself, on the one hand, with protecting the militant creators from state repression. But it was also about having their voice coincide with the 'voice of the people.'[4]" Another similar group included the Grupo Cine de la Base (The Base Film Group), which included the film director Raymundo Gleyzer, who produced Los Traidores (The Traitors, 1973), and was later "disappeared" during the dictatorship.[5]

Both Grupo Cine Liberación and Grupo Cine de la Base were especially concerned with Latin American integration, neo-colonialism and advocated the use of violence as one of the alternative possible means against hegemonic power.[5]

La Hora de los hornos (1968)

In 1968, the Cuban film director Santiago Álvarez collaborated with Octavio Getino and Fernando Solanas on the four-hour documentary La Hora de los hornos ("The Hour of the furnaces"), about foreign imperialism in South America. The title of the film itself comes from a writing by 19th Century Cuban poet and independence leader José Martí, who proclaimed, in an eponymous manifest, the need to start the independence war against Spain again.

Among the other subjects explored in this film were the musical and cultural scene in Latin America and the dictatorships which gripped the region – at the same time, several Latin American authors, including the Mexican Carlos Fuentes and the Argentine Julio Cortázar, initiated the Dictator Novel genre. The movie was diffused only in alternative circuits, both by choice and by censorship obligations.[5]

Ya es tiempo de violencia (1969)

In 1969, the film director Enrique Juárez thus anonymously produced Ya es tiempo de violencia (Now is the Time for Violence), mainly concerned with the events of the May 1969 Cordobazo riots and the assassination of the trade-unionist Augusto Vandor on 30 June 1969.[6] Other images included those of the massive funerals of Emilio Jáuregui, another trade-unionist shelled three days before Vandor's death during a demonstration in protest of Nelson Rockefeller's (owner of Miramax there) arrival to Argentina.[6]

The film, entirely made clandestinely, criticized Juan Carlos Onganía's dictatorship and the media's official discourse.[6] Ya es tiempo de violencia was thought to have been destroyed in the turmoil of the 1976 coup d'état and the "Dirty War," but a copy of it was in fact stored by the Cuban film institute Icaic.[6] In 2007, the film was brought back to Buenos Aires by Fernando Krichmar, a member of the Grupo Cine Insurgente (Insurgent Cine Group), and Aprocinain (Asociación para el Apoyo Patrimonial Audiovisual y la Cinemateca Nacional) made another copy of it to insure its preservation.[6]

In this film documentary, Enrique Juárez used a multiplicity of voice-overs (among which an anonymous narrator and an anonymous Peronist activist, among others) against censorship exerted by the hegemonic discourse[4] — the voices are in fact those of Juárez himself, the actor Héctor Alterio, etc.

The film itself was almost exclusively composed from media images, with the editing used to contradict the official discourse by using contradictory voices and images (i.e. a civil servant of Juan Carlos Onganía's dictatorship states that everything is well, contradicted by images showing the Cordobazo riots). Furthermore, the voice-over often address itself directly to the spectator, urging him to take action.[4]

El Camino hacia la muerte del viejo Reales (1968)

El Camino hacia la muerte del viejo Reales was mainly produced by Gerardo Vallejo, and depicted the exploitation of sugarcane workers. Persecuted by Ongania's dictatorship, Vallejo fled to Rome and finished the film there.[2] Although the movie won several awards abroad, it was censored in Argentina in 1972, and diffused in clandestine networks. It only re-appeared legally due to a decree passed by Juan Peron's after his return in 1973 to Argentina.[2] Vallejo returned from exile after Peron's return, but he was again forced into exile after a bomb planted by the Argentine Anticommunist Alliance exploded in his home in December 1974.[2]


  • Ya es tiempo de violencia (1969, completely anonymous, produced by Enrique Juárez)
  • La desconocida (1962), also by Enrique Juárez
  • El Camino hacia la muerte del viejo Reales (1968, by Octavio Getino, Fernando Solanas and Gerardo Vallejo)
  • Perón, la revolución justicialista (1971, by Octavio Getino and Fernando Solanas)

See also


  1. ^ Muere Gerardo Vallejo, fundador de Grupo Cine Liberación Archived 19 May 2014 at, Noticias de Cine Social, 8 February 2007 (in Spanish)
  2. ^ a b c d Gerardo Vallejo, emblema del cine militante de los ‘60 y ‘70, Pagina 12, 7 February 2007 (in Spanish)
  3. ^ a b c Oscar Ranzani, La revolución es un sueño eterno, Pagina 12, 20 October 2004 (in Spanish)
  4. ^ a b c Lucio Mufud, Un llamado a transformar la realidad, Pagina 12, 25 August 2007 (in Spanish)
  5. ^ a b c Entrevista con Alfredo Marino, by Jairo Straccia, Segundo Enfoque, May 2003 (in Spanish)
  6. ^ a b c d e Ana Bianco, La militancia en imágenes, Pagina 12, 25 August 2007 (in Spanish)

External links

Acid Western

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Cinema of Argentina

Cinema of Argentina refers to the film industry based in Argentina. The Argentine cinema comprises the art of film and creative movies made within the nation of Argentina or by Argentine filmmakers abroad.

The Argentine film industry has historically been one of the three most developed in Latin American cinema, along with those produced in Mexico and Brazil. Throughout the 20th century, film production in Argentina, supported by the State and by the work of a long list of directors and actors, became one of the major film industries in the Spanish-speaking world.

Argentina has won sixteen Goya Awards for Best Spanish Language Foreign Film, which makes it the most awarded country. It is also the first Latin American country that has won Academy Awards, in recognition of the films The Official Story (1985) and The Secret in Their Eyes (2009).


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Fernando Solanas

Fernando Ezequiel 'Pino' Solanas (born 16 February 1936) is an Argentine film director, screenwriter and politician. His films include La hora de los hornos (The Hour of the Furnaces) (1968), Tangos: el exilio de Gardel (1985), Sur (1988), El viaje (1992), La nube (1998) and Memoria del saqueo (2004), among many others. Since 2013, he has been a National Senator representing the Autonomous City of Buenos Aires.

Solanas studied theatre, music and law. In 1962, he directed his first short feature Seguir andando and in 1968 he covertly produced and directed his first long feature film La Hora de los Hornos, a documentary on neo-colonialism and violence in Latin America. The film won several international awards and was screened around the world. Solanas has won the Grand Jury Prize and the Critics Award at the Venice Film Festival and the Prix de la mise en scène at the Cannes Film Festival. In 1999 he was the President of the Jury at the 21st Moscow International Film Festival. He was awarded a special Golden Bear at the 2004 Berlin Film Festival. He collaborated with tango composer and musician Ástor Piazzolla on the soundtracks for various movies.

Films depicting Latin American military dictatorships

This is a list of movies that are related to the military dictatorships in South America and Caribbean that appeared during the context of the Cold War.

General Confederation of Labour of the Argentines

The CGTA (CGT de los Argentinos, or General Confederation of Labour of the Argentine) was an offshoot of the General Confederation of Labour created during the Normalisation Congress of the CGT of 28–30 March 1968, and which lasted until 1972.

Behind the figure of the graphist Raimundo Ongaro (also close to the film movement Grupo Cine Liberación), it gathered opponents to the "participationists" (the latter including Augusto Vandor, then leader of the CGT, José Ignacio Rucci, José Alonso, etc.) who supported collaboration with Juan Carlos Onganía's military dictatorship (1966–1970). The CGTA gathered many unionist delegates who refused to participate to the Normalisation Congress, opposing collaboration with the junta. It had support from various artists, among whom Rodolfo Walsh, author of the "Program of 1st of May" of the CGTA and chief editor of its weekly. The CGTA was also close to the clerical Movimiento de Sacerdotes para el Tercer Mundo, a group of priests close to the Liberation Theology, forming one of the first model of Neoperonism.

The CGTA supported the more radical unions' branches (ports, oil, sugar industry, etc.), quickly establishing national scale. It was headed in Cordoba by the leader of the Cordobese trade union Luz y Fuerza, Agustín Tosco. They took an important part in the Cordobazo uprising and the call for a general strike, which occurred on 30 June 1969, hours following Augusto Vandor's assassination. Thereafter, most of its leaders, including Raimundo Ongaro, Agustín Tosco, Elpidio Torres, Lorenzo Pepe, etc., were jailed.

Following the failure of a 120 days strike at the Fabril Financiera, and the reconciliation between Augusto Vandor, leader of the "participationists", with Juan Perón, the CGTA witnessed many of its unions joining the 62 Organisations, the Peronist political front of the CGT. Despite this, in 1969, the CGTA still boasted 286,184 members, while the Nueva Corriente de Opinión (or Participationism), headed by José Alonso and Rogelio Coria boasted 596,863 members and the CGT Azopardo, headed by Vandor, boasted 770,085 members and the majority in the Confederal Congress.

Hamilton Underground Film Festival

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There is a yearly section for experimental fone films, Super 8 mm film and subverts. Since 2009 the festival has featured a collaborative digital film section in which participants operate under the same name: Karen Karnak. There is also a special remix section where films can be entered under a Attribution-Noncommercial-Share Alike 3.0 Unported creative commons license. This will allow other contributors to remix selected works and create collaborative works.

Héctor Alterio

Héctor Benjamín Alterio Onorato (born 21 September 1929) is an Argentine theatre, film and television actor, well known both in Argentina and Spain.

List of apocalyptic films

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Loyalty Day (Argentina)

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Meat pie Western

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The term "meat pie Western" is a play on the term Spaghetti Western, used for Italian-made Westerns, relating in both cases to foods are regarded as national dishes.

Octavio Getino

Octavio Getino (August 6, 1935 in León, Spain – October 1, 2012) was an Argentine film director and writer who is best known for co-founding, along with Fernando Solanas, the Grupo Cine Liberación and the school of Third Cinema.

Getino was born in Spain and migrated to Argentina in the 1950s.

In 1964 he was awarded the Premio Casa de las Américas for his short-stories book Chulleca. Getino also left a number of essays on cinema and sociology.

From 1989 to 1990, Getino led the Instituto Nacional de Cinematografía (INCAA).

He died of cancer at 77, on October 1, 2012.

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Outline of film

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Raimundo José Ongaro (13 February 1924̣ – 1 August 2016) was an Argentine union leader. He was secretary general of the General Confederation of Labour of the Argentines (CGTA) between 1968 and 1974.

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Santiago Álvarez (filmmaker)

Santiago Álvarez Román (March 18, 1919 – May 20, 1998) was a Cuban filmmaker. He wrote and directed many documentaries about Cuban and American culture. His "nervous montage" technique of using "found materials," such as Hollywood movie clips, cartoons, and photographs, is considered a precursor to the modern video clip.

Third Cinema

Third Cinema (Spanish: Tercer Cine) is a Latin American film movement that started in the 1960s–70s which decries neocolonialism, the capitalist system, and the Hollywood model of cinema as mere entertainment to make money. The term was coined in the manifesto Hacia un tercer cine (Toward a Third Cinema), written in the late 1960s by Argentine filmmakers Fernando Solanas and Octavio Getino, members of the Grupo Cine Liberación and published in 1969 in the cinema journal Tricontinental by the OSPAAAL (Organization of Solidarity with the People of Asia, Africa and Latin America).

Underground film

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By theme
By movement
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