Psychoanalytic notes on memory in first-person documentary cinema
This paper seeks to make some remarks on the theoretical impressions that psychoanalysis has developed on memory, insofar as it has an affinity with the unconscious. This with the purpose of expanding the referential framework in which first-person documentary filmmakers work, since a large number o...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2024
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/44633 |
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I10-R324-article-446332024-04-01T13:19:45Z Psychoanalytic notes on memory in first-person documentary cinema Apuntes psicoanalíticos sobre la memoria en el cine documental en primera persona Hernández Arreygue, Juan Carlos Jacobo Jacobo, Martín psychoanalysis first-person documentary film documentary film memory unconscious psicoanálisis cine documental en primera persona cine documental memoria inconsciente This paper seeks to make some remarks on the theoretical impressions that psychoanalysis has developed on memory, insofar as it has an affinity with the unconscious. This with the purpose of expanding the referential framework in which first-person documentary filmmakers work, since a large number of these works have focused on creating personal audiovisual narratives where their memories are the launching point to talk about events that have become traumatic. This results in works loaded with affection, questions and meanings that, in our opinion, are channeled by unconscious determinations. For this we will briefly develop the classical conception of what has been catalogued as documentary cinema and then what is documentary cinema in the first person. We will also use some examples of first-person documentaries that can give us some clues that when working with the intimate, we can find unconscious activity. Este trabajo busca hacer algunas puntualizaciones sobre las impresiones teóricas que el psicoanálisis ha desarrollado sobre la memoria, en tanto que ésta tiene afinidad con el inconsciente. Esto con el propósito de ampliar el marco referencial en el que trabajan las y los realizadores de documentales en primera persona, ya que gran cantidad de estos trabajos se han focalizado en crear narrativas audiovisuales personales donde sus memorias son el punto de lanza para hablar de eventos que han llegado a ser traumáticos. Lo cual desemboca en trabajos cargados de afectos, preguntas y significaciones que a nuestro parecer están encausadas por determinaciones inconscientes. Para esto desarrollaremos brevemente la concepción clásica de lo que se ha catalogado como cine documental y posteriormente lo que es el cine documental en primera persona. Utilizando además algunos ejemplos de documentales en primera persona que nos puedan dar algunas pistas de que al trabajar con lo íntimo, podemos encontrar actividad inconsciente. 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/44633 10.31056/2250.5415.v14.n1.44633 Ética y Cine Journal; Vol. 14 Núm. 1 (2024): Libertad y memoria. La libertad como fantasma; 55-65 2250-5415 2250-5660 10.31056/2250.5415.v14.n1 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/44633/44822 Derechos de autor 2024 Ética 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 |
psychoanalysis first-person documentary film documentary film memory unconscious psicoanálisis cine documental en primera persona cine documental memoria inconsciente |
| spellingShingle |
psychoanalysis first-person documentary film documentary film memory unconscious psicoanálisis cine documental en primera persona cine documental memoria inconsciente Hernández Arreygue, Juan Carlos Jacobo Jacobo, Martín Psychoanalytic notes on memory in first-person documentary cinema |
| topic_facet |
psychoanalysis first-person documentary film documentary film memory unconscious psicoanálisis cine documental en primera persona cine documental memoria inconsciente |
| author |
Hernández Arreygue, Juan Carlos Jacobo Jacobo, Martín |
| author_facet |
Hernández Arreygue, Juan Carlos Jacobo Jacobo, Martín |
| author_sort |
Hernández Arreygue, Juan Carlos |
| title |
Psychoanalytic notes on memory in first-person documentary cinema |
| title_short |
Psychoanalytic notes on memory in first-person documentary cinema |
| title_full |
Psychoanalytic notes on memory in first-person documentary cinema |
| title_fullStr |
Psychoanalytic notes on memory in first-person documentary cinema |
| title_full_unstemmed |
Psychoanalytic notes on memory in first-person documentary cinema |
| title_sort |
psychoanalytic notes on memory in first-person documentary cinema |
| description |
This paper seeks to make some remarks on the theoretical impressions that psychoanalysis has developed on memory, insofar as it has an affinity with the unconscious. This with the purpose of expanding the referential framework in which first-person documentary filmmakers work, since a large number of these works have focused on creating personal audiovisual narratives where their memories are the launching point to talk about events that have become traumatic. This results in works loaded with affection, questions and meanings that, in our opinion, are channeled by unconscious determinations. For this we will briefly develop the classical conception of what has been catalogued as documentary cinema and then what is documentary cinema in the first person. We will also use some examples of first-person documentaries that can give us some clues that when working with the intimate, we can find unconscious activity. |
| publisher |
Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| publishDate |
2024 |
| url |
https://revistas.unc.edu.ar/index.php/eticaycine/article/view/44633 |
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