Na pista do crime: o policial argentino como gênero em Betibú
From 2010 to 2014, the Argentine crime movies experienced one of their most effervescent periods with “The Secret of their eyes” (2010), by Juan José Campanella, a Oscar winner, “Thesis on a Homicide” (2013), by Hernán Goldfrid, that got approval by audience and critics, and “Betibú” (2014), by Mich...
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| Format: | Electronic Article |
| Language: | Portuguese |
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2015
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| In: |
Significação
Year: 2015 |
| Online Access: |
Volltext (kostenfrei) |
| Journals Online & Print: | Drawer...
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| Check availability: | HBZ Gateway |
| Summary: | From 2010 to 2014, the Argentine crime movies experienced one of their most effervescent periods with “The Secret of their eyes” (2010), by Juan José Campanella, a Oscar winner, “Thesis on a Homicide” (2013), by Hernán Goldfrid, that got approval by audience and critics, and “Betibú” (2014), by Michel Cohen, a film that offers a new way of looking reality in the country. The criminal narrative in Argentina is linked to the literary tradition, and meets in Jorge Luís Borges and Bioy Casares strong advocates, on the one hand, by the other, to the development of the film industry since 1933 to 1942, highlighting “Fuera de la Ley” (1937) by Manuel Romero. The whodunit formula with a noir style is present in “Betibu” combining elements of crime genre and suspense thrillers, and criticizing media and life in global cities.Keywords: Crime Fiction; neonoir; neopolicial; Argentine Cinema; Brazilian CinemaEntre 2010 e 2014, o policial argentino viveu um de seus períodos mais efervescentes, com “O Segredo dos seus olhos” (2010), de Juan José Campanella, que conquistou um Oscar, “Tese sobre um homicídio” (2013), de Hernán Goldfrid, êxito de bilheteria e crítica, e “Betibú” (2014), de Michel Cohen, película que lança um novo olhar sobre o gênero e sobre a realidade do país. A narrativa policial na Argentina está ligada à tradição literária, que teve em Jorge Luís Borges e Bioy Casares fortes defensores, de um lado, e de outro ao desenvolvimento da indústria cinematográfica, entre 1933 a 1942, com destaque para “Fuera de la ley” (1937), de Manuel Romero. A trama de investigação com toque noir está presente em “Betibú”, que mescla elementos do gênero criminal e de suspense, e critica a mídia e a vida nas cidades globais.Palavras-chave: Ficção policial; neonoir; neopolicial; cinema argentino; cinema brasileiro |
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| ISSN: | 2316-7114 |
