Pain in memory: memory, politics and aesthetics in the feature film Hannah Arendt (2012), by Margarethe von Trotta

Hannah Arendt’s influence on twentieth and twenty-first century thought is beyond doubt. Her ability to interrelate politics and the ways in which a given society establishes relations between individuals within the public space with the relations of power and domination that also develop within a g...

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Autor principal: García Martín, Francisco David
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2024
Materias:
Hannah Arendt
Margarethe von Trotta
Otherness
Holocaust
Memory studies
Otredad
Holocausto
Estudios de la memoria
Acceso en línea:https://revistas.unc.edu.ar/index.php/eticaycine/article/view/44631
Aporte de:
Ética y Cine Journal de Universidad Nacional de Córdoba
id I10-R324-article-44631
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spelling I10-R324-article-446312024-04-01T13:19:46Z Pain in memory: memory, politics and aesthetics in the feature film Hannah Arendt (2012), by Margarethe von Trotta El dolor en el recuerdo: memoria, política y estética en el largometraje Hannah Arendt (2012), de Margarethe von Trotta García Martín, Francisco David Hannah Arendt Margarethe von Trotta Otherness Holocaust Memory studies Hannah Arendt Margarethe von Trotta Otredad Holocausto Estudios de la memoria Hannah Arendt’s influence on twentieth and twenty-first century thought is beyond doubt. Her ability to interrelate politics and the ways in which a given society establishes relations between individuals within the public space with the relations of power and domination that also develop within a given community has been of great relevance in order to approach, from reflection and the need to recognize ourselves in the past, some of the most dramatic events that have occurred in the history of mankind. Her courage to study the Jewish Holocaust in a straight way, and to try to understand how the death of so many millions of people could be undertake in a mechanical and organized way reflects the capacity of this thinker not only to approach the other, the different, but to try to maintain a memory of the past that serves as a framework of understanding to replace, facing the present, the confrontation between enemies by a dialectic between adversaries. In this paper, we will try to present how Arendt’s work interrelates with her aesthetics, through the analysis of memory and otherness. To do so, we will analyze how these aspects are presented to the viewer in Margarethe von Trotta’s feature film Hannah Arendt (2012). La influencia de Hannah Arendt en el pensamiento del siglo XX y del siglo XXI está fuera de toda duda. Su capacidad para interrelacionar la política y los modos mediante los que una determinada sociedad establece las relaciones entre los individuos dentro del espacio público con las relaciones de poder y de dominación que también se desarrollan en el seno de una comunidad determinada ha sido de gran relevancia para poder acercarse, desde la reflexión y la necesidad de reconocernos en el pasado, a algunos de los eventos más dramáticos que se han producido en la historia de la humanidad. Su valentía para estudiar el Holocausto judío de manera directa, e intentar comprender cómo se pudo llegar a producir la muerte de tantos millones de personas de manera mecánica y organizada refleja la capacidad de esta pensadora no solo para acercarse al otro, al diferente, sino para intentar mantener un recuerdo del pasado que sirva de marco de entendimiento para sustituir, de cara al presente, el enfrentamiento entre enemigos por una dialéctica entre adversarios. En este trabajo, procuraremos presentar cómo se interrelaciona la obra de Arendt con su estética, a través del análisis de la memoria y de la otredad. Para ello, analizaremos cómo estos aspectos se presentan ante el espectador en el largometraje Hannah Arendt (2012), de Margarethe von Trotta. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2024-04-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/44631 10.31056/2250.5415.v14.n1.44631 Ética y Cine Journal; Vol. 14 Núm. 1 (2024): Libertad y memoria. La libertad como fantasma; 25-37 2250-5415 2250-5660 10.31056/2250.5415.v14.n1 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/44631/44820 Derechos de autor 2024 Ética y Cine Journal https://creativecommons.org/licenses/by-sa/4.0/
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-324
container_title_str Ética y Cine Journal
language Español
format Artículo revista
topic Hannah Arendt
Margarethe von Trotta
Otherness
Holocaust
Memory studies
Hannah Arendt
Margarethe von Trotta
Otredad
Holocausto
Estudios de la memoria
spellingShingle Hannah Arendt
Margarethe von Trotta
Otherness
Holocaust
Memory studies
Hannah Arendt
Margarethe von Trotta
Otredad
Holocausto
Estudios de la memoria
García Martín, Francisco David
Pain in memory: memory, politics and aesthetics in the feature film Hannah Arendt (2012), by Margarethe von Trotta
topic_facet Hannah Arendt
Margarethe von Trotta
Otherness
Holocaust
Memory studies
Hannah Arendt
Margarethe von Trotta
Otredad
Holocausto
Estudios de la memoria
author García Martín, Francisco David
author_facet García Martín, Francisco David
author_sort García Martín, Francisco David
title Pain in memory: memory, politics and aesthetics in the feature film Hannah Arendt (2012), by Margarethe von Trotta
title_short Pain in memory: memory, politics and aesthetics in the feature film Hannah Arendt (2012), by Margarethe von Trotta
title_full Pain in memory: memory, politics and aesthetics in the feature film Hannah Arendt (2012), by Margarethe von Trotta
title_fullStr Pain in memory: memory, politics and aesthetics in the feature film Hannah Arendt (2012), by Margarethe von Trotta
title_full_unstemmed Pain in memory: memory, politics and aesthetics in the feature film Hannah Arendt (2012), by Margarethe von Trotta
title_sort pain in memory: memory, politics and aesthetics in the feature film hannah arendt (2012), by margarethe von trotta
description Hannah Arendt’s influence on twentieth and twenty-first century thought is beyond doubt. Her ability to interrelate politics and the ways in which a given society establishes relations between individuals within the public space with the relations of power and domination that also develop within a given community has been of great relevance in order to approach, from reflection and the need to recognize ourselves in the past, some of the most dramatic events that have occurred in the history of mankind. Her courage to study the Jewish Holocaust in a straight way, and to try to understand how the death of so many millions of people could be undertake in a mechanical and organized way reflects the capacity of this thinker not only to approach the other, the different, but to try to maintain a memory of the past that serves as a framework of understanding to replace, facing the present, the confrontation between enemies by a dialectic between adversaries. In this paper, we will try to present how Arendt’s work interrelates with her aesthetics, through the analysis of memory and otherness. To do so, we will analyze how these aspects are presented to the viewer in Margarethe von Trotta’s feature film Hannah Arendt (2012).
publisher Centro de Investigaciones y Estudios sobre Cultura y Sociedad
publishDate 2024
url https://revistas.unc.edu.ar/index.php/eticaycine/article/view/44631
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first_indexed 2024-09-03T20:51:35Z
last_indexed 2024-09-03T20:51:35Z
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