Plots between the documentary series La misma tierra. Bolivianos en Argentina (1986) and politics at the beginning of democracy: memory, representations and borders
The advent of democracy in Argentina forged new relationships between documentary and politics, creating a space for filmmakers to build, through their critical gaze, social and political awareness. From these “fragments of history”, embodied through the voice-over, testimonies, authorized...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Editorial de la Facultad de Artes, Universidad Nacional de Córdoba
2023
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/toma1/article/view/42819 |
| Aporte de: |
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I10-R367-article-42819 |
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Universidad Nacional de Córdoba |
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I-10 |
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R-367 |
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TOMA UNO |
| language |
Español |
| format |
Artículo revista |
| topic |
Documentaries Democracy Bolivians Representations Memory Borders Documentales Democracia Bolivianos Representaciones Memoria Frontera |
| spellingShingle |
Documentaries Democracy Bolivians Representations Memory Borders Documentales Democracia Bolivianos Representaciones Memoria Frontera Echenique, Ana Inés Vargas Camargo, Paola Marcela Plots between the documentary series La misma tierra. Bolivianos en Argentina (1986) and politics at the beginning of democracy: memory, representations and borders |
| topic_facet |
Documentaries Democracy Bolivians Representations Memory Borders Documentales Democracia Bolivianos Representaciones Memoria Frontera |
| author |
Echenique, Ana Inés Vargas Camargo, Paola Marcela |
| author_facet |
Echenique, Ana Inés Vargas Camargo, Paola Marcela |
| author_sort |
Echenique, Ana Inés |
| title |
Plots between the documentary series La misma tierra. Bolivianos en Argentina (1986) and politics at the beginning of democracy: memory, representations and borders |
| title_short |
Plots between the documentary series La misma tierra. Bolivianos en Argentina (1986) and politics at the beginning of democracy: memory, representations and borders |
| title_full |
Plots between the documentary series La misma tierra. Bolivianos en Argentina (1986) and politics at the beginning of democracy: memory, representations and borders |
| title_fullStr |
Plots between the documentary series La misma tierra. Bolivianos en Argentina (1986) and politics at the beginning of democracy: memory, representations and borders |
| title_full_unstemmed |
Plots between the documentary series La misma tierra. Bolivianos en Argentina (1986) and politics at the beginning of democracy: memory, representations and borders |
| title_sort |
plots between the documentary series la misma tierra. bolivianos en argentina (1986) and politics at the beginning of democracy: memory, representations and borders |
| description |
The advent of democracy in Argentina forged new relationships between documentary and politics, creating a space for filmmakers to build, through their critical gaze, social and political awareness. From these “fragments of history”, embodied through the voice-over, testimonies, authorized voices, film materials, archives, etc., there is an underground memory (Halbwachs in Pollak, 1998) that from the present allows deconstructing representations that emerge as a symptom of another era. In this polarity of inclusion/expulsion and documentary/political relationship, it is worth asking if the memories produced by documentary series La otra tierra, in the chapter La misma tierra, Bolivianos en Argentina (1986) operate (Durkheimian model) in the duration, continuity and stability of certain representations or seek to reinforce social cohesion through the affective community (Halbwachs in Pollak, 1998). What happens at cultural borders (Cebrelli, 2018) when these representations and memories emerge in the present?
This article will seek to investigate the representations of Bolivians in Argentina in the national memory, built during the Videla Law as the figure of the “expellable foreigner/external enemy”. Therefore analyze whether in the manipulation of the interpretation of the past (Pollak, 1988) that documentalists project onto the present, codes continue to circulate underground whose marks of origin become chameleonic, for which reason they would not be recognizable or identifiable to contemporaries.
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| publisher |
Editorial de la Facultad de Artes, Universidad Nacional de Córdoba |
| publishDate |
2023 |
| url |
https://revistas.unc.edu.ar/index.php/toma1/article/view/42819 |
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2024-09-03T22:57:21Z |
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2025-02-05T22:22:16Z |
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I10-R367-article-428192024-11-24T18:51:36Z Plots between the documentary series La misma tierra. Bolivianos en Argentina (1986) and politics at the beginning of democracy: memory, representations and borders Tramas entre la serie documental La misma tierra. Bolivianos en Argentina (1986) y la política en el inicio de la democracia: memoria, representaciones y fronteras Echenique, Ana Inés Vargas Camargo, Paola Marcela Documentaries Democracy Bolivians Representations Memory Borders Documentales Democracia Bolivianos Representaciones Memoria Frontera The advent of democracy in Argentina forged new relationships between documentary and politics, creating a space for filmmakers to build, through their critical gaze, social and political awareness. From these “fragments of history”, embodied through the voice-over, testimonies, authorized voices, film materials, archives, etc., there is an underground memory (Halbwachs in Pollak, 1998) that from the present allows deconstructing representations that emerge as a symptom of another era. In this polarity of inclusion/expulsion and documentary/political relationship, it is worth asking if the memories produced by documentary series La otra tierra, in the chapter La misma tierra, Bolivianos en Argentina (1986) operate (Durkheimian model) in the duration, continuity and stability of certain representations or seek to reinforce social cohesion through the affective community (Halbwachs in Pollak, 1998). What happens at cultural borders (Cebrelli, 2018) when these representations and memories emerge in the present? This article will seek to investigate the representations of Bolivians in Argentina in the national memory, built during the Videla Law as the figure of the “expellable foreigner/external enemy”. Therefore analyze whether in the manipulation of the interpretation of the past (Pollak, 1988) that documentalists project onto the present, codes continue to circulate underground whose marks of origin become chameleonic, for which reason they would not be recognizable or identifiable to contemporaries. El advenimiento de la democracia en Argentina forjó nuevas relaciones entre el documental y la política creando un espacio para que los cineastas pudieran construir, a través de su mirada crítica y reflexiva, una conciencia social y política. A partir de esos “fragmentos de historia”, plasmados a través de la voz en off, testimonios, voces autorizadas, materiales fílmicos, archivos, etc., se encuentra una memoria subterránea (Halbwachs en Pollak, 1988) que desde el presente permite deconstruir representaciones que emergen como un síntoma de otra época. En el marco de esta polaridad de inclusión/expulsión y la relación documental/política, cabe preguntarse si las memorias producidas por la serie documental La otra tierra, en el capítulo: La misma tierra, Bolivianos en Argentina (1986), operan (modelo durkheimiano) en la duración, la continuidad y la estabilidad de ciertas representaciones o buscan reforzar la cohesión social a través de la comunidad afectiva (Halbwachs en Pollak, 1988). ¿Qué sucede en las fronteras culturales (Cebrelli, 2018) cuando estas representaciones y memorias emergen en el presente? Este artículo buscará indagar sobre las representaciones en la memoria nacional de los bolivianos en Argentina, construidas durante la Ley Videla a partir de la figura del “extranjero expulsable/enemigo externo”. Así como también analizar si en la manipulación de la interpretación del pasado (Pollak, 1988) que proyectan sobre el presente los documentalistas, continúan circulando subterráneamente códigos cuyas marcas de origen se vuelven camaleónicas, por lo cual no serían reconocibles ni identificables para los contemporáneos. Editorial de la Facultad de Artes, Universidad Nacional de Córdoba 2023-11-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/toma1/article/view/42819 10.55442/tomauno.n11.2023.42819 Toma Uno; No. 11 (2023): 40 años de democracia: imaginarios y narrativas en cine y artes audiovisuales; 33-46 TOMA UNO; Núm. 11 (2023): 40 años de democracia: imaginarios y narrativas en cine y artes audiovisuales; 33-46 2250-4524 2313-9692 10.55442/tomauno.n11.2023 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/42819/42948 https://revistas.unc.edu.ar/index.php/toma1/article/view/42819/42949 https://revistas.unc.edu.ar/index.php/toma1/article/view/42819/42951 Derechos de autor 2023 Ana Inés Echenique, Paola Marcela Vargas Camargo http://creativecommons.org/licenses/by-nc-nd/2.5/ar/ |