1 Data compiled from (accessed June 13, 2008).
2 Llach, ‘‘A Depression in Perspective,’’ 40.
3 Klein, ‘‘Stumbling on the Verge of the Abyss,’’ 5.
4 Batlle, ‘‘De la virtual extinción a la nueva ley,’’ 19–20.
5 Quintín, ‘‘De una generación a otra,’’ 114.
6 Xavier, ‘‘Allegories of Underdevelopment,’’ 18 (quoted in Johnson, ‘‘Brazilian
Cinema Novo,’’ 103).
7 Law 24.377 for the ‘‘Fomento y Regulación de la Actividad Cinematográfica Na-
cional’’ provided for a significant increase in funding available for national films,
achieved partly through a 10 percent tax on video rentals and sales and on other
taxes relating to the broadcasting of films on television and cable channels. Like
previous legislation, it also provided for a screening quota, under which exhibi-
tors were obliged to screen one Argentine film for every six foreign films. As
Diego Batlle notes, however, this stipulation was not always enforced. See Batlle,
‘‘De la virtual extinción a la nueva ley,’’ 19.
8 Batlle, ‘‘De la virtual extinción a la nueva ley,’’ 25.
9 Wolf, ‘‘Las estéticas del nuevo cine argentino,’’ 29.
10 Aguilar, Otros mundos, 215–19.
11 See Moguillansky and Ré, ‘‘Nueva crítica, nuevo cine,’’ for a detailed exploration
of the symbiosis between filmmakers and critics in this period.
12 Jameson, Signatures of the Visible, 144.
13 Deleuze, Cinema 2, 75.
14 Grimson, ‘‘La experiencia argentina y sus fantasmas,’’ 187–88; Svampa, El dilema
argentino, 387.
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