Compare the revolutionary cinemas of Cuba and Argentina. Identify important parallels and differences between the filmmaking (and film theory) efforts of Cuban and Argentine directors during the late 1960s and early 1970s. In what ways did these directors blend European art-cinema modernism and Third World political content? How did the political situation in each country influence the extent to which they adopted or rejected western or First World conventions?
What will be an ideal response?
Answer may vary.
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