<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0797-3691</journal-id>
<journal-title><![CDATA[Dixit]]></journal-title>
<abbrev-journal-title><![CDATA[Dixit]]></abbrev-journal-title>
<issn>0797-3691</issn>
<publisher>
<publisher-name><![CDATA[Universidad Católica del Uruguay.]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0797-36912017000100074</article-id>
<article-id pub-id-type="doi">10.22235/d.v0i26.1339</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Cine clásico argentino: espacio, mirada y autorreflexividad. Los casos de La trampa y Cosas de mujer.]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Pardo]]></surname>
<given-names><![CDATA[Soledad]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Buenos Aires  ]]></institution>
<addr-line><![CDATA[Buenos Aires ]]></addr-line>
<country>Argentina</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2017</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2017</year>
</pub-date>
<numero>26</numero>
<fpage>74</fpage>
<lpage>83</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_arttext&amp;pid=S0797-36912017000100074&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_abstract&amp;pid=S0797-36912017000100074&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_pdf&amp;pid=S0797-36912017000100074&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este artículo propone un replanteamiento de los cánones del cine clásico-industrial argentino a partir del análisis de dos películas del período: La trampa (Christensen, 1949) y Cosas de mujer (Schlieper, 1951). Mediante el estudio de algunas operaciones de puesta en escena se ponen de relieve la construcción de los espacios y los personajes que conducen la mirada, además de los gestos autorreflexivos que aparecen en estos dos filmes. La discusión sobre la noción misma de cine clásico, así como sobre las características que diversos autores le han adjudicado, permite concluir en la necesidad de revisar ese concepto.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article proposes a rethinking of the canons of classic-industrial cinema in Argentina, from the analysis of two films of the period: La trampa (Christensen, 1949) and Cosas de mujer (Schlieper, 1951). Through the study of some of their staging operations, the construction of the spaces and the character-looks are highlighted, as well as the self-reflective gestures that appear in these productions. The discussion on the very notion of classical cinema and its characteristics, according to various researchers, allows us to conclude on the need to review this concept.]]></p></abstract>
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<kwd lng="es"><![CDATA[artes escénicas]]></kwd>
<kwd lng="es"><![CDATA[historia del cine]]></kwd>
<kwd lng="es"><![CDATA[cine clásico argentino]]></kwd>
<kwd lng="es"><![CDATA[puesta en escena]]></kwd>
<kwd lng="es"><![CDATA[autorreflexividad]]></kwd>
<kwd lng="en"><![CDATA[performing arts]]></kwd>
<kwd lng="en"><![CDATA[history of Cinema]]></kwd>
<kwd lng="en"><![CDATA[Argentinian classic cinema]]></kwd>
<kwd lng="en"><![CDATA[staging]]></kwd>
<kwd lng="en"><![CDATA[self-reflexivity]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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</article>
