This article examines the under-studied film productions known in Peronist Argentina as “docudramas”. Placing documentary elements within a fictional plot, docudramas marked a significant change in the state propaganda machine and were used as a new vehicle to influence social habits. I focus particularly on Soñemos [Let’s Dream], a short film directed in 1951 by Luis César Amadori to showcase urban reforms. Through an analysis of Amadori’s docudrama in regard to its representation of the Children’s City built by the Eva Perón Foundation, I discuss relationships between entertainment, the constitution of a political hegemony, and modernisation. With film techniques such as the dissolve, Soñemos depicts the Children’s City as an enterprise capable of delivering material happiness and amplifies the narrative of a fairy tale come true promised by Evita’s social service programmes. Ultimately, the docudrama affirms the central role played by the state in the definition of the “right to a home” – from supportive benefactor to constitutive replacement.

中文翻译：

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城市埃维塔建成。路易斯·塞萨尔·阿马多里 (Luis César Amadori) 的《Soñemos》（1951）中的电影童年和庇隆主义

本文考察了庇隆主义阿根廷称为“纪录片”的研究不足的电影作品。将纪录片元素置于虚构情节中，纪录片标志着国家宣传机器的重大变化，并被用作影响社会习惯的新工具。我特别关注 Soñemos [Let's Dream]，这是一部由 Luis César Amadori 于 1951 年执导的短片，用于展示城市改革。通过分析阿马多里关于伊娃·庇隆基金会建造的儿童城的表现形式的纪录片，我讨论了娱乐、政治霸权的构成和现代化之间的关系。通过溶解等电影技术，Soñemos 将儿童城描绘成一个能够提供物质幸福的企业，并放大了 Evita 社会服务计划所承诺的童话故事成真。最终，这部纪录片肯定了国家在“住房权”定义中所发挥的核心作用——从支持性的恩人到构成性的替代。