Cynthia Margarita Tompkins is Professor of Spanish at Arizona State University and the author of Experimental Latin American Cinema: History and Aesthetics.

"This is an enormous contribution to film and cultural studies, due to its meticulously researched registry of film titles and filmmakers, primary and secondary source bibliography, direct citations from the films translated into English, important stills and basic biography of the filmmakers, carefully analysed within the era of production of the individual work. Especially valuable are the introductions to each era, which historicize the films within the cinema tradition of the time." — Bulletin of Spanish Studies"…[an] ambitious, wide-ranging book." — CHOICE"Cynthia Margarita Tompkins's book is the most comprehensive analysis of the cinematic representations of Argentinean Indigenous peoples ever written. Her writing is lucid, insightful, grounded in a thorough familiarity with the films, and aware of the most current theoretical debates in film/theory and cultural studies. The book will surely become a breakthrough in its field." — Santiago Juan-Navarro, author of Archival Reflections: Postmodern Fiction of the Americas (Self-Reflexivity, Historical Revisionism, Utopia)

• List of Figures Preface Acknowledgments IntroductionPart I. Early Cinema, 1896–1932 1. Melodrama and Avant- la- Lettre Documentary in Alcides Greca’s El último malón (The Last "Indian" Raid, 1917) 2. Kitsch and Exoticism in Nelo Cosimi’s La quena de la muerte (Death Kena, 1929) Part II. Classical Cinema, 1933–1956 3. Femme Fatale in Luis Belisario García Villar’s Frontera Sur (Southern Border, 1943) 4. Betrayal and Insanity in Lucas Demare’s El último perro (The Last One Standing, 1956) Part III. Modernity and Auteur Cinema, 1957–1983 5. The Shifting Meanings of Translation in Lautaro Murúa’s Shunko (1960)6. Transculturation in Jorge Prelorán’s Hermógenes Cayo (1967) Part IV. Cinema in Democracy, 1983–1993 7. Fatal Kindness in Raúl Tosso’s Gerónima (1986) 8. Bewitched Mirror Images in Edgardo Cozarinsky’s Guerriers et Captives (Warriors and Captives, 1989) Part V. Contemporary Period, 1993–2017 9. The Power of the Word in Philip Cox and Valeria Mapelman’s Mbyá: Tierra en rojo (We Are the Indians, 2005) 10. State Terrorism in Valeria Mapelman’s Octubre Pilagá (Pilagá October, 2010) 11. Life as a Specimen: Alejandro Fernández Mouján’s Damiana Kryygi (2015) 12. Clashing Ideologies, Denunciation, and Reparation in Ulises de la Orden’s Tierra adentro (Inland, 2011) 13. Silence and Isolation in Mathieu Orcel’s Para los pobres piedras (Stones for the Poor, 2013) 14. Immersion and Metamorphosis in Inés de Oliveira Cézar’s Cassandra (2012) 15. The Power of Constellations in Sebastián Lingiardi’s Las pistas- Lanhoyij- Nmitaxanaxac (Clues- Lanhoyij- Nmitaxanaxac, 2010) Conclusion Appendix: A Political Map of Argentina Notes Bibliography Index

Cynthia Margarita Tompkins is Professor of Spanish at Arizona State University and the author of Experimental Latin American Cinema: History and Aesthetics.

"This is an enormous contribution to film and cultural studies, due to its meticulously researched registry of film titles and filmmakers, primary and secondary source bibliography, direct citations from the films translated into English, important stills and basic biography of the filmmakers, carefully analysed within the era of production of the individual work. Especially valuable are the introductions to each era, which historicize the films within the cinema tradition of the time." — Bulletin of Spanish Studies"…[an] ambitious, wide-ranging book." — CHOICE"Cynthia Margarita Tompkins's book is the most comprehensive analysis of the cinematic representations of Argentinean Indigenous peoples ever written. Her writing is lucid, insightful, grounded in a thorough familiarity with the films, and aware of the most current theoretical debates in film/theory and cultural studies. The book will surely become a breakthrough in its field." — Santiago Juan-Navarro, author of Archival Reflections: Postmodern Fiction of the Americas (Self-Reflexivity, Historical Revisionism, Utopia)

• List of Figures Preface Acknowledgments IntroductionPart I. Early Cinema, 1896–1932 1. Melodrama and Avant- la- Lettre Documentary in Alcides Greca’s El último malón (The Last "Indian" Raid, 1917) 2. Kitsch and Exoticism in Nelo Cosimi’s La quena de la muerte (Death Kena, 1929) Part II. Classical Cinema, 1933–1956 3. Femme Fatale in Luis Belisario García Villar’s Frontera Sur (Southern Border, 1943) 4. Betrayal and Insanity in Lucas Demare’s El último perro (The Last One Standing, 1956) Part III. Modernity and Auteur Cinema, 1957–1983 5. The Shifting Meanings of Translation in Lautaro Murúa’s Shunko (1960)6. Transculturation in Jorge Prelorán’s Hermógenes Cayo (1967) Part IV. Cinema in Democracy, 1983–1993 7. Fatal Kindness in Raúl Tosso’s Gerónima (1986) 8. Bewitched Mirror Images in Edgardo Cozarinsky’s Guerriers et Captives (Warriors and Captives, 1989) Part V. Contemporary Period, 1993–2017 9. The Power of the Word in Philip Cox and Valeria Mapelman’s Mbyá: Tierra en rojo (We Are the Indians, 2005) 10. State Terrorism in Valeria Mapelman’s Octubre Pilagá (Pilagá October, 2010) 11. Life as a Specimen: Alejandro Fernández Mouján’s Damiana Kryygi (2015) 12. Clashing Ideologies, Denunciation, and Reparation in Ulises de la Orden’s Tierra adentro (Inland, 2011) 13. Silence and Isolation in Mathieu Orcel’s Para los pobres piedras (Stones for the Poor, 2013) 14. Immersion and Metamorphosis in Inés de Oliveira Cézar’s Cassandra (2012) 15. The Power of Constellations in Sebastián Lingiardi’s Las pistas- Lanhoyij- Nmitaxanaxac (Clues- Lanhoyij- Nmitaxanaxac, 2010) Conclusion Appendix: A Political Map of Argentina Notes Bibliography Index

Cynthia Margarita Tompkins is Professor of Spanish at Arizona State University and the author of Experimental Latin American Cinema: History and Aesthetics.

"This is an enormous contribution to film and cultural studies, due to its meticulously researched registry of film titles and filmmakers, primary and secondary source bibliography, direct citations from the films translated into English, important stills and basic biography of the filmmakers, carefully analysed within the era of production of the individual work. Especially valuable are the introductions to each era, which historicize the films within the cinema tradition of the time." — Bulletin of Spanish Studies"…[an] ambitious, wide-ranging book." — CHOICE"Cynthia Margarita Tompkins's book is the most comprehensive analysis of the cinematic representations of Argentinean Indigenous peoples ever written. Her writing is lucid, insightful, grounded in a thorough familiarity with the films, and aware of the most current theoretical debates in film/theory and cultural studies. The book will surely become a breakthrough in its field." — Santiago Juan-Navarro, author of Archival Reflections: Postmodern Fiction of the Americas (Self-Reflexivity, Historical Revisionism, Utopia)

• List of Figures Preface Acknowledgments IntroductionPart I. Early Cinema, 1896–1932 1. Melodrama and Avant- la- Lettre Documentary in Alcides Greca’s El último malón (The Last "Indian" Raid, 1917) 2. Kitsch and Exoticism in Nelo Cosimi’s La quena de la muerte (Death Kena, 1929) Part II. Classical Cinema, 1933–1956 3. Femme Fatale in Luis Belisario García Villar’s Frontera Sur (Southern Border, 1943) 4. Betrayal and Insanity in Lucas Demare’s El último perro (The Last One Standing, 1956) Part III. Modernity and Auteur Cinema, 1957–1983 5. The Shifting Meanings of Translation in Lautaro Murúa’s Shunko (1960)6. Transculturation in Jorge Prelorán’s Hermógenes Cayo (1967) Part IV. Cinema in Democracy, 1983–1993 7. Fatal Kindness in Raúl Tosso’s Gerónima (1986) 8. Bewitched Mirror Images in Edgardo Cozarinsky’s Guerriers et Captives (Warriors and Captives, 1989) Part V. Contemporary Period, 1993–2017 9. The Power of the Word in Philip Cox and Valeria Mapelman’s Mbyá: Tierra en rojo (We Are the Indians, 2005) 10. State Terrorism in Valeria Mapelman’s Octubre Pilagá (Pilagá October, 2010) 11. Life as a Specimen: Alejandro Fernández Mouján’s Damiana Kryygi (2015) 12. Clashing Ideologies, Denunciation, and Reparation in Ulises de la Orden’s Tierra adentro (Inland, 2011) 13. Silence and Isolation in Mathieu Orcel’s Para los pobres piedras (Stones for the Poor, 2013) 14. Immersion and Metamorphosis in Inés de Oliveira Cézar’s Cassandra (2012) 15. The Power of Constellations in Sebastián Lingiardi’s Las pistas- Lanhoyij- Nmitaxanaxac (Clues- Lanhoyij- Nmitaxanaxac, 2010) Conclusion Appendix: A Political Map of Argentina Notes Bibliography Index