The battle of Chile: image, poetry, memory
The trauma, by definition, leaves no traces in the psychic apparatus. This absence becomes even more complex when the trauma is linked to stateviolence, which leaves only shapeless, discontinuous and fragmented traces. When we are confronted with this type of experience, the constructionof a movemen...
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2020
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29210 |
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I10-R10-article-292102020-07-08T15:31:29Z The battle of Chile: image, poetry, memory La batalla de Chile: imagen, poesía, memoria Humphreys, Derek Trauma Coup Memory Image Play Trauma Golpe de estado Memoria Imagen Juego The trauma, by definition, leaves no traces in the psychic apparatus. This absence becomes even more complex when the trauma is linked to stateviolence, which leaves only shapeless, discontinuous and fragmented traces. When we are confronted with this type of experience, the constructionof a movement-image as the basis of a narrative allows us to integrate these experiences, even that of the trauma, by deploying an individual novel, amemory and a collective myth of horror. However, it is not the simple reference to the image that this access to a narrative makes possible, but rathera fantastic-fictionnal one, shifted from any « ordinary sense » and which the narrative organizes by the “figuration” which it deploys around anenigmatic void. It is from the films in which the South African artist William Kentridge questions the function of the “memorial” in sites, sometimesforgotten, having witnessed the violence of apartheid, that I propose an approach to the mutation of registers that can be seen in the work of thedocumentary filmmaker Patricio Guzman, between the pure inscription of the image in “La batalla de Chile”, up to the poetic montage of “Nostalgiade la luz”. In this analysis, I propose a parallel between the poetic function of the movement-image and the question of fantasy in Freud, to thenthink about the notion of creativity, defined as the possibility of accessing life from primary shapeless traces by DW Winnicott. El trauma, por definición, no se inscribe psíquicamente. Por esta razón, la violencia de estado solo deja huellas sin forma que son del orden de lo discontinuo, de lo fragmentado. Frente a esta experiencia, la construcción de una imagen-movimiento como fundamento de un relato permite integrar la experiencia, incluyendo la del trauma, y despliega así una novela individual, una memoria e incluso mitos colectivos de elaboración del horror. Ahora bien, no es solamente una simple referencia a la imagen que permite este relato, sino que es una imagen fantasmática, desfasada de toda organización común y que organiza el relato por la “figuración” que despliega en torno a un vacío enigmático. Es a partir de las películas en las que el artista sudafricano William Kentridge interroga la función del “memorial” en lugares que conocieron la violencia del apartheid –a veces, olvidada– que propongo una mirada sobre la mutación de los registros del documentalista Patricio Guzman, entre la pura inscripción de la imagen en “La batalla de Chile”, hasta el montaje poético de “Nostalgia de la luz”. En este análisis, acerco esta función poética al concepto del fantasma en Freud para pensar luego la noción de creatividad como posibilidad de acceder a la vida a partir de las huellas amorfas originarias de D.W.Winnicott. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2020-07-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29210 Ética y Cine Journal; Vol. 10 Núm. 1 (2020): Ética, Estética y Política; 45-51 2250-5415 2250-5660 10.31056/2250.5415.v10.n1 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29210/30025 Derechos de autor 2020 Ética y Cine https://creativecommons.org/licenses/by-sa/4.0/ |
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Universidad Nacional de Córdoba |
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I-10 |
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Revistas de la UNC |
| language |
Español |
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Artículo revista |
| topic |
Trauma Coup Memory Image Play Trauma Golpe de estado Memoria Imagen Juego |
| spellingShingle |
Trauma Coup Memory Image Play Trauma Golpe de estado Memoria Imagen Juego Humphreys, Derek The battle of Chile: image, poetry, memory |
| topic_facet |
Trauma Coup Memory Image Play Trauma Golpe de estado Memoria Imagen Juego |
| author |
Humphreys, Derek |
| author_facet |
Humphreys, Derek |
| author_sort |
Humphreys, Derek |
| title |
The battle of Chile: image, poetry, memory |
| title_short |
The battle of Chile: image, poetry, memory |
| title_full |
The battle of Chile: image, poetry, memory |
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The battle of Chile: image, poetry, memory |
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The battle of Chile: image, poetry, memory |
| title_sort |
battle of chile: image, poetry, memory |
| description |
The trauma, by definition, leaves no traces in the psychic apparatus. This absence becomes even more complex when the trauma is linked to stateviolence, which leaves only shapeless, discontinuous and fragmented traces. When we are confronted with this type of experience, the constructionof a movement-image as the basis of a narrative allows us to integrate these experiences, even that of the trauma, by deploying an individual novel, amemory and a collective myth of horror. However, it is not the simple reference to the image that this access to a narrative makes possible, but rathera fantastic-fictionnal one, shifted from any « ordinary sense » and which the narrative organizes by the “figuration” which it deploys around anenigmatic void. It is from the films in which the South African artist William Kentridge questions the function of the “memorial” in sites, sometimesforgotten, having witnessed the violence of apartheid, that I propose an approach to the mutation of registers that can be seen in the work of thedocumentary filmmaker Patricio Guzman, between the pure inscription of the image in “La batalla de Chile”, up to the poetic montage of “Nostalgiade la luz”. In this analysis, I propose a parallel between the poetic function of the movement-image and the question of fantasy in Freud, to thenthink about the notion of creativity, defined as the possibility of accessing life from primary shapeless traces by DW Winnicott. |
| publisher |
Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| publishDate |
2020 |
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https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29210 |
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