<?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>S0797-36912020000100016</article-id>
<article-id pub-id-type="doi">10.22235/d.vi32.2005</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Exploraciones industriales y autorales en las películas de Chilefilms realizadas por directores argentinos en los años 40]]></article-title>
<article-title xml:lang="en"><![CDATA[Industrial and authorial explorations in Chilefilms movies made by Argentine directors in the 1940s]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Kelly-Hopfenblatt]]></surname>
<given-names><![CDATA[Alejandro]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Buenos Aires Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET). ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Argentina</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2020</year>
</pub-date>
<numero>32</numero>
<fpage>16</fpage>
<lpage>32</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_arttext&amp;pid=S0797-36912020000100016&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_abstract&amp;pid=S0797-36912020000100016&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_pdf&amp;pid=S0797-36912020000100016&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: Durante la década de 1940 distintos países latinoamericanos desarrollaron industrias cinematográficas nacionales en procesos que implicaron una marcada tensión entre los impulsos nacionalistas de sus intenciones y las improntas cosmopolitas de sus producciones. El caso de Chilefilms resulta de gran interés tanto por la historia de su producción como por las características de algunas de sus realizaciones, especialmente dos películas realizadas por directores argentinos: La casa está vacía, de Carlos Schlieper, y La dama de la muerte, de Carlos Hugo Christensen. Este artículo propone reconsiderar, a partir de estos films, los conceptos utilizados tradicionalmente por la historiografía para postular una aproximación alternativa que enriquezca los estudios de la historia fílmica latinoamericana. Para ello se plantea indagar en las divergencias que supusieron con respecto al cine clásico, a partir de un análisis de su construcción espacio-temporal y sus ejes narrativos para resaltar sus desvíos de tradiciones genéricas y autorales]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: In the decade of 1940 different Latin American countries developed national film industries whose activities implied a constant tension between nationalistic intentions and cosmopolitan productions. Chilefilms is a noteworthy case of study due to its history and some of the movies it produced, mainly two film directed by Argentine filmmakers: La casa está vacía, by Carlos Schlieper, and La dama de la muerte, by Carlos Hugo Christensen. Taking these productions as a starting point, this article looks into historiography&#8217;s traditional concepts in order to propose alternative approaches that will enrichen Latin American classical cinema studies. Therefore, their divergences with classical cinema are considered through their time-space construction and their narrative lines, focusing on their detour from generic and authorial traditions]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[cine clásico latinoamericano]]></kwd>
<kwd lng="es"><![CDATA[industria cinematográfica]]></kwd>
<kwd lng="es"><![CDATA[trashumancia]]></kwd>
<kwd lng="es"><![CDATA[modernidad]]></kwd>
<kwd lng="es"><![CDATA[Chilefilms]]></kwd>
<kwd lng="en"><![CDATA[classic latin american cinema]]></kwd>
<kwd lng="en"><![CDATA[film industry]]></kwd>
<kwd lng="en"><![CDATA[trashumance]]></kwd>
<kwd lng="en"><![CDATA[modernity]]></kwd>
<kwd lng="en"><![CDATA[Chilefilms]]></kwd>
</kwd-group>
</article-meta>
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