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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| Formato: | Artículo revista |
| Lenguaje: | Español |
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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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| Sumario: | 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. |
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