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Between 1966 and 1983 all governments in Argentina was military, except in the interregnum between May 1973 and March 1976. Throughout this period various conflicts rocked the national policy and military actor responded in different ways to them. The domain of military power on the national policy explains the place of the leading military player in the documentary films of the period. These differences in the frameworks of the representations of military actor and, in general, domestic political conflicts can be summarized in the path that leads from the membership of the revolutionary narrative to the defense of humanitarism between 1966 and 1983. We propose an analysis of political and social context in which the filmmakers realise the representations as a highly politicized subject in the period since the outbreak of political violence in documentary film, with La hora de los hornos (Fernando Solanas and Octavio Getino) in 1968, to the democratic rule favor of La república perdida i and ii (Miguel Pérez, 1983 and 1986) in the 80’s.

El Actor Militar y el Cine Documental Argentino (’60-’80) Antagonismo y Radicalidad