In the political turmoil of the 1960s and 1970s, music emerged as an essential form of social and political engagement in Brazil, Chile, Argentina, and Uruguay. However, in spite of the similar historical context, the música popular brasileira (MPB) of this period is rarely considered in connection with the nueva canción latinoamericana. This paper analyzes how these distinct and parallel movements responded to social and political needs in the years prior to and during the military dictatorships in Brazil and the Southern Cone. Exploring the qualities typical of the nueva canción found in the MPB songs of Geraldo Vandré, Chico Buarque, and Milton Nascimento underscores the similarities between the two categories. Through a comparative study, I argue that these musical forms responded to parallel social and political needs in distinct ways in order to reinforce specific discursive constructions of national identity and popular culture, as well as to confirm existing understandings of politically committed music.
在20世纪60年代和70年代的政治动荡中，音乐在巴西、智利、阿根廷和乌拉圭成为社会和政治参与的重要形式。然而，尽管有类似的历史背景，这一时期的música popular brasileira (MPB)很少被认为与新canción latinoamericana有关。本文分析了在巴西和南锥体的军事独裁统治之前和期间，这些不同的、平行的运动是如何回应社会和政治需求的。探索在Geraldo vandr、Chico Buarque和Milton Nascimento的MPB歌曲中发现的典型的nueva canción的特征，强调了这两类歌曲之间的相似性。通过比较研究，我认为这些音乐形式以不同的方式回应了平行的社会和政治需求，以加强国家认同和流行文化的特定话语结构，并确认对政治承诺音乐的现有理解。
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In Argentina, the late 1960s and early 1970s were characterized by political tensions that negatively affected the national community. Despite the passing of two laws between 1966 and 1968 to protect national cinema through loans and exhibition quotas, Argentine filmmaking lacked quality films and was limited by censorship. In 1970, a biopic of the nineteenth-century Argentine liberator, José de San Martín, El santo de la espada, directed by Leopoldo Torre Nilsson, became a major box-office success. Film scholars, however, have seen it as propaganda, given that it received both official approval and funding during the military government of General Onganía. Based on Andrew Higson’s definition of national cinemas, my reading proposes that El santo de la espada competed exceptionally well with Hollywood blockbusters in the Argentine domestic market. Relying on reports published in the general press and trade journals and on insights from stardom studies and theory in relation to historical films, I trace the production and reception of this popular film as well as the reasons why El santo de la espada has not been properly included in Argentine film history.
在阿根廷，1960年代末和1970年代初的特点是政治紧张，对国家社会产生了不利影响。尽管1966年至1968年间通过了两部法律，通过贷款和放映配额来保护国家电影，但阿根廷电影制作缺乏高质量的电影，并受到审查制度的限制。1970年，莱奥波尔多·托雷·尼尔森(Leopoldo Torre Nilsson)执导的一部关于19世纪阿根廷解放者约瑟·德·圣Martín的传记片《El santo de la espada》取得了巨大的票房成功。然而，电影学者认为这是一种宣传，因为它在Onganía将军的军政府期间得到了官方的批准和资助。根据安德鲁·希格森(Andrew Higson)对国家影院的定义，我的阅读认为，在阿根廷国内市场上，El santo de la espada与好莱坞大片的竞争异常激烈。根据发表在一般媒体和行业期刊上的报道，以及与历史电影有关的明星研究和理论的见解，我追溯了这部受欢迎电影的制作和接受，以及为什么埃尔桑托·德·拉·埃斯帕达没有被适当地列入阿根廷电影史的原因。
{"title":"El santo de la espada: Building Nationhood through Film","authors":"C. Rocha","doi":"10.7560/SLAPC3305","DOIUrl":"https://doi.org/10.7560/SLAPC3305","url":null,"abstract":"In Argentina, the late 1960s and early 1970s were characterized by political tensions that negatively affected the national community. Despite the passing of two laws between 1966 and 1968 to protect national cinema through loans and exhibition quotas, Argentine filmmaking lacked quality films and was limited by censorship. In 1970, a biopic of the nineteenth-century Argentine liberator, José de San Martín, El santo de la espada, directed by Leopoldo Torre Nilsson, became a major box-office success. Film scholars, however, have seen it as propaganda, given that it received both official approval and funding during the military government of General Onganía. Based on Andrew Higson’s definition of national cinemas, my reading proposes that El santo de la espada competed exceptionally well with Hollywood blockbusters in the Argentine domestic market. Relying on reports published in the general press and trade journals and on insights from stardom studies and theory in relation to historical films, I trace the production and reception of this popular film as well as the reasons why El santo de la espada has not been properly included in Argentine film history.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3305","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the 1960s, Brazil experienced profound changes, due mainly to the emergence of the urban masses. At that time, political and cultural projects of a populist and nationalist nature appeared, supported by the idea of a national popular culture through which the masses would be led to a tomada de consciência (critical consciousness) of the country’s social problems. It fell to the intellectuals to lead the way, to create a distinctive national popular culture that, contrary to foreign imports, would reflect the true experience of the popular classes, among whom they proudly counted themselves. In this context, popular culture became associated with products made and distributed by the Centros Populares de Cultura (Popular Culture Centers—CPC). This essay aims at analyzing the role of the intellectuals affiliated with the CPC in realizing these objectives.
在20世纪60年代，巴西经历了深刻的变化，主要是由于城市群众的出现。当时，民粹主义和民族主义性质的政治和文化项目出现了，由民族流行文化的想法支持，通过这种文化，群众将被引导到对国家社会问题的tomada de consciência(批判意识)。这就落在了知识分子的肩上，他们要带头创造一种独特的民族流行文化，这种文化与外国舶来品相反，将反映大众阶级的真实经验，他们自豪地认为自己是大众阶级的一员。在这种背景下，流行文化与“大众文化中心”(Centros Populares de Cultura, cpc)制作和发行的产品联系在一起。本文旨在分析中共知识分子在实现这些目标中的作用。
{"title":"Under the Spell of Populism: Popular Culture and Intellectuals in Brazil","authors":"Cacilda M. Rêgo","doi":"10.7560/SLAPC3311","DOIUrl":"https://doi.org/10.7560/SLAPC3311","url":null,"abstract":"In the 1960s, Brazil experienced profound changes, due mainly to the emergence of the urban masses. At that time, political and cultural projects of a populist and nationalist nature appeared, supported by the idea of a national popular culture through which the masses would be led to a tomada de consciência (critical consciousness) of the country’s social problems. It fell to the intellectuals to lead the way, to create a distinctive national popular culture that, contrary to foreign imports, would reflect the true experience of the popular classes, among whom they proudly counted themselves. In this context, popular culture became associated with products made and distributed by the Centros Populares de Cultura (Popular Culture Centers—CPC). This essay aims at analyzing the role of the intellectuals affiliated with the CPC in realizing these objectives.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3311","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this article is to analyze the ambiguous characteristics of the male representations in Leonardo Favio’s Soñar, soñar (1976). Favio was one of the most popular directors of the period. His films always present figures related to Argentina’s popular classes. In Soñar, soñar, Carlos, a young man from a small town (played by Carlos Monzón) and a popular Argentine boxing champion, meets Mario, an urban artist (played by Gian Franco Pagliaro) and a popular Argentine singer. Carlos decides to travel with Mario to Buenos Aires to become an artist himself. The affective relationship between the characters is ambiguous and exceeds the usual boundaries of Argentine homosocial bonds. Specifically, Carlos’s character is a “country man” in a performance that, intensifying sentimentalism and ridicule, vindicates his subaltern position, thus exceeding the usual limits of the traditional Argentine conceptions of masculinity. These disruptive male figures are displayed in a plot with elements of popular melodrama.
{"title":"Amistades apasionadas: Reflexiones en torno a las representaciones masculinas presentes en la película argentina Soñar, soñar, de Leonardo Favio","authors":"S. Navone","doi":"10.7560/SLAPC3306","DOIUrl":"https://doi.org/10.7560/SLAPC3306","url":null,"abstract":"The aim of this article is to analyze the ambiguous characteristics of the male representations in Leonardo Favio’s Soñar, soñar (1976). Favio was one of the most popular directors of the period. His films always present figures related to Argentina’s popular classes. In Soñar, soñar, Carlos, a young man from a small town (played by Carlos Monzón) and a popular Argentine boxing champion, meets Mario, an urban artist (played by Gian Franco Pagliaro) and a popular Argentine singer. Carlos decides to travel with Mario to Buenos Aires to become an artist himself. The affective relationship between the characters is ambiguous and exceeds the usual boundaries of Argentine homosocial bonds. Specifically, Carlos’s character is a “country man” in a performance that, intensifying sentimentalism and ridicule, vindicates his subaltern position, thus exceeding the usual limits of the traditional Argentine conceptions of masculinity. These disruptive male figures are displayed in a plot with elements of popular melodrama.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3306","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The ideological polarization that framed the Cold War period (1945–1989) affected not only international relations but also the social commitments and aesthetic options of those artists and cultural activists who instigated the Latin American decolonization processes of the 1960s and 1970s. In this framework, the positivistic signature of the socialist-capitalist divide drove the decolonizing forces of the region to mistrust any form of popular culture produced from the industrial capitalist centers of power. Anglo-American rock was generally perceived as working against facilitating social class awareness. This article investigates the points of convergence and disagreement between these two movements, paying special attention to Violeta Parra and Víctor Jara’s aesthetic and ethical viewpoints, both of whom are foundational and emblematic members of the Chilean “nueva canción” movement.
{"title":"Autenticidad y alienación: Disonancias ideológico-culturales entre la “nueva canción” chilena y el rock anglosajón","authors":"W. Pino-Ojeda","doi":"10.7560/SLAPC3308","DOIUrl":"https://doi.org/10.7560/SLAPC3308","url":null,"abstract":"The ideological polarization that framed the Cold War period (1945–1989) affected not only international relations but also the social commitments and aesthetic options of those artists and cultural activists who instigated the Latin American decolonization processes of the 1960s and 1970s. In this framework, the positivistic signature of the socialist-capitalist divide drove the decolonizing forces of the region to mistrust any form of popular culture produced from the industrial capitalist centers of power. Anglo-American rock was generally perceived as working against facilitating social class awareness. This article investigates the points of convergence and disagreement between these two movements, paying special attention to Violeta Parra and Víctor Jara’s aesthetic and ethical viewpoints, both of whom are foundational and emblematic members of the Chilean “nueva canción” movement.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3308","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay considers the powerful social impact of a seemingly innocuous 1960s mainstream Argentine cartoon strip called Mafalda. Focusing on its main protagonist, a little girl from an average Buenos Aires middle-class family, the essay outlines the significant counterhegemonic gender discourses disseminated by the popular strip, reflecting on how it captured the imagination of female fans. The analysis shows how an apparently inoffensive popular culture icon, which came to life and thrived during one of the least democratic and most repressive periods of Argentine history, managed to publicize ideas considered subversive by those in power. Ultimately, the essay questions to-date unchallenged scholarly interpretations that fail to properly consider the reception of popular-culture icons like Mafalda and presume masculinist ideologies to have been all powerful, and near inescapable, in the Argentina of the period.
{"title":"Popular Culture, Politics, and Alternative Gender Imaginaries in 1960s and 1970s Argentina","authors":"A. Premat","doi":"10.7560/SLAPC3304","DOIUrl":"https://doi.org/10.7560/SLAPC3304","url":null,"abstract":"This essay considers the powerful social impact of a seemingly innocuous 1960s mainstream Argentine cartoon strip called Mafalda. Focusing on its main protagonist, a little girl from an average Buenos Aires middle-class family, the essay outlines the significant counterhegemonic gender discourses disseminated by the popular strip, reflecting on how it captured the imagination of female fans. The analysis shows how an apparently inoffensive popular culture icon, which came to life and thrived during one of the least democratic and most repressive periods of Argentine history, managed to publicize ideas considered subversive by those in power. Ultimately, the essay questions to-date unchallenged scholarly interpretations that fail to properly consider the reception of popular-culture icons like Mafalda and presume masculinist ideologies to have been all powerful, and near inescapable, in the Argentina of the period.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3304","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Among the signifiers that codified 1960s counterculture, the psychedelic drug experience opened possibilities for social and literary experimentation. Mexican Onda writers imported the international counterculture into their writing, as a counter-hegemonic strategy—an attempt to question conventional paradigms of self, representation, and language. Through altered states of consciousness, these writers construct a subjectivity rooted outside national boundaries and projected onto an alternate reality. The drug experience in these works constitutes an aesthetic device that questions the 1960s Mexican polity. In this paper, I present four processes connected to the psychedelic drug experience—”initiations,” “intoxications,” “translations,” and “reproductions”—that culturally and aesthetically frame a selected corpus of Onda texts.
{"title":"Intoxicated Writing: Onda Writers and the Drug Experience in 1960s Mexico","authors":"Hugo M. Viera","doi":"10.7560/SLAPC3310","DOIUrl":"https://doi.org/10.7560/SLAPC3310","url":null,"abstract":"Among the signifiers that codified 1960s counterculture, the psychedelic drug experience opened possibilities for social and literary experimentation. Mexican Onda writers imported the international counterculture into their writing, as a counter-hegemonic strategy—an attempt to question conventional paradigms of self, representation, and language. Through altered states of consciousness, these writers construct a subjectivity rooted outside national boundaries and projected onto an alternate reality. The drug experience in these works constitutes an aesthetic device that questions the 1960s Mexican polity. In this paper, I present four processes connected to the psychedelic drug experience—”initiations,” “intoxications,” “translations,” and “reproductions”—that culturally and aesthetically frame a selected corpus of Onda texts.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3310","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-05-02DOI: 10.1017/9781108325745.001
C. Rocha, Cacilda M. Rêgo
A the world, the mid-1960s to the mid-1970s were years of intense political confrontations shaped by the Cold War. The United States faced the antagonism of the Soviet Union and became more involved in Vietnam. Domestically, Lyndon B. Johnson implemented his Great Society plan, which aimed to combat socioeconomic inequalities, and the civil rights movement worked to end discrimination against African Americans. As the editors of Social Text summed it up in The 60s without Apology,
20世纪60年代中期到70年代中期是冷战造成的激烈政治对抗的年代。美国面对苏联的对抗，越来越多地卷入越南战争。在国内，林登·约翰逊(Lyndon B. Johnson)实施了旨在消除社会经济不平等的“伟大社会”计划，民权运动致力于结束对非洲裔美国人的歧视。正如《社会文本》的编辑在《没有道歉的60年代》中总结的那样，
{"title":"Editors’ Preface","authors":"C. Rocha, Cacilda M. Rêgo","doi":"10.1017/9781108325745.001","DOIUrl":"https://doi.org/10.1017/9781108325745.001","url":null,"abstract":"A the world, the mid-1960s to the mid-1970s were years of intense political confrontations shaped by the Cold War. The United States faced the antagonism of the Soviet Union and became more involved in Vietnam. Domestically, Lyndon B. Johnson implemented his Great Society plan, which aimed to combat socioeconomic inequalities, and the civil rights movement worked to end discrimination against African Americans. As the editors of Social Text summed it up in The 60s without Apology,","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/9781108325745.001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"56918318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay explores the complex relationship between race and class in the formation of a very specific and enduring notion of Dominican televisual stardom stemming from the late 1970s. My point of analysis centers on Charytín Goyco (known affectionately as “the blonde bombshell of America”), whose career as a singer, actress, and television personality commenced in the Dominican Republic in the early 1970s and then continued in Puerto Rico and, subsequently, in Miami. Throughout this essay I explicate how Goyco’s rise to fame was, to some degree, made possible by the political and social media framework set in the Dominican Republic under the presidential administrations of Joaquín Balaguer, who served three terms during the years of 1960–1962, 1966–1987, and 1986–1996. Paying particular attention to Goyco’s evolution as a televisual persona, I argue that her television personality is a site of contradictory interpretations if we are to understand the specific places of power, race, and class that have been afforded her.
{"title":"Charytín Goyco, la rubia de América: A Case Study of Television Stardom in the Dominican Republic in the 1970s","authors":"Danny Méndez","doi":"10.7560/SLAPC3303","DOIUrl":"https://doi.org/10.7560/SLAPC3303","url":null,"abstract":"This essay explores the complex relationship between race and class in the formation of a very specific and enduring notion of Dominican televisual stardom stemming from the late 1970s. My point of analysis centers on Charytín Goyco (known affectionately as “the blonde bombshell of America”), whose career as a singer, actress, and television personality commenced in the Dominican Republic in the early 1970s and then continued in Puerto Rico and, subsequently, in Miami. Throughout this essay I explicate how Goyco’s rise to fame was, to some degree, made possible by the political and social media framework set in the Dominican Republic under the presidential administrations of Joaquín Balaguer, who served three terms during the years of 1960–1962, 1966–1987, and 1986–1996. Paying particular attention to Goyco’s evolution as a televisual persona, I argue that her television personality is a site of contradictory interpretations if we are to understand the specific places of power, race, and class that have been afforded her.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3303","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the mid-1960s to mid-1970s, North America and Western Europe became cemented as modern liberal democracies, increasingly emphasizing civil liberties, individualism, egalitarianism, and diversity. In the Southern Cone those same modernizing tendencies faced strong opposition from the landed elite and the military, who targeted the counterculture’s young people and staged numerous coups in an attempt to turn back the clock. The propaganda of Argentina’s brutal and humorless Proceso dictatorship attempted to recreate an imaginary past, a caricature of classic ideals such as el ángel del hogar and the Latin Honor Code. But its repressive machinery was countered by another “machine,” a rock band headed by Charly García called La Máquina de Hacer Pájaros, who combined music, film, comics, and pop culture icons in a witty discourse that subtly contradicted that of the military government, at a time when any dissent was extremely dangerous. La Máquina, which cartoonist and García contemporary “Crist” described as “un pájaro progresivo,” deconstructed the regime’s authoritarian discourse, reconstructing in its place a lyrical depiction of liberal democratic ideals.
在20世纪60年代中期到70年代中期，北美和西欧成为现代自由民主国家，越来越强调公民自由、个人主义、平等主义和多样性。在南锥体，同样的现代化趋势遭到了地主精英和军方的强烈反对，他们以反主流文化的年轻人为目标，发动了无数次政变，试图让时光倒流。对阿根廷残酷无情的独裁统治进程的宣传，试图重现一个虚构的过去，一种对el ángel del hogar和拉丁荣誉法典等经典理想的讽刺。但它的镇压机器遭到了另一个“机器”的反击，这是一个由查理García领导的名为La Máquina de Hacer Pájaros的摇滚乐队，他们将音乐、电影、漫画和流行文化偶像结合在一起，以一种诙谐的话语巧妙地与军政府的话语相矛盾，当时任何异议都是极其危险的。La Máquina，被漫画家和García当代“克里斯特”描述为“un pájaro progressivo”，它解构了政权的专制话语，重建了自由民主理想的抒情描述。
{"title":"Un pájaro progresivo: Pop Music, Propaganda, and the Struggle for Modernity in Argentina","authors":"Timothy H. Wilson","doi":"10.7560/SLAPC3307","DOIUrl":"https://doi.org/10.7560/SLAPC3307","url":null,"abstract":"In the mid-1960s to mid-1970s, North America and Western Europe became cemented as modern liberal democracies, increasingly emphasizing civil liberties, individualism, egalitarianism, and diversity. In the Southern Cone those same modernizing tendencies faced strong opposition from the landed elite and the military, who targeted the counterculture’s young people and staged numerous coups in an attempt to turn back the clock. The propaganda of Argentina’s brutal and humorless Proceso dictatorship attempted to recreate an imaginary past, a caricature of classic ideals such as el ángel del hogar and the Latin Honor Code. But its repressive machinery was countered by another “machine,” a rock band headed by Charly García called La Máquina de Hacer Pájaros, who combined music, film, comics, and pop culture icons in a witty discourse that subtly contradicted that of the military government, at a time when any dissent was extremely dangerous. La Máquina, which cartoonist and García contemporary “Crist” described as “un pájaro progresivo,” deconstructed the regime’s authoritarian discourse, reconstructing in its place a lyrical depiction of liberal democratic ideals.","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/SLAPC3307","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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