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This article analyzes the compositional modes and signifying functions of landscape in four recent Latin American films. Comparing their deployment of the landscape form with rural-based predecessors from Brazilian and Argentine cinematic modernity, the article traces an exhaustion of landscape as purveyor of allegorical meanings. Yet the more recent films also reveal—through their self-conscious deployment of the landscape form—the historical conditions of this crisis, thus paradoxically endowing landscape once again with epistemological valences beyond the time-image.
Jens Andermann (Sun,) studied this question.