Abstract
The present article attempts to trace, critically, the reception of Brecht in European cinema first, to then analyze some concrete cases of this tradition in contemporary Argentine cinema, with a special focus on Albertina Carri’s The Blonds and Lola Aria’s Teatre of War. The intention is to contrast the different formulations of this interpretative tradition in order to analyze its circulation and the innovations, reformulations, enrichments or impoverishments that are particularly manifest in the works of some European and Argentine filmmakers. In this sense, the present article seeks to outline a critical genealogy of the Brechtian tradition, following the research line that authors such as Walter Benjamin and Roland Barthes opened in their studies on Brecht.
Keywords:
Brecht interruption and distance; brechtian alienation; european cinema; argentine cinema