Post-dictatorship memories: some official, threatened, and preserved audiovisual records
Recent statements and calls to think about and account for the 40 years of uninterrupted democracy are different. This is logical given the traumatic nature of the civil-military dictatorship in Argentina and its toll of 30,000 disappeared detainees. Post-dictatorial and democratic Argentina has bee...
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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/42860 |
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I10-R367-article-428602024-11-24T18:51:36Z Post-dictatorship memories: some official, threatened, and preserved audiovisual records Memorias de la postdictadura: algunos registros audiovisuales oficiales, amenazados y preservados de la Puente, Maximiliano Ignacio Scheinig , Matías Cinema Memories Dictatorship Democracy Transition Cine Memorias Dictadura Democracia Transición Recent statements and calls to think about and account for the 40 years of uninterrupted democracy are different. This is logical given the traumatic nature of the civil-military dictatorship in Argentina and its toll of 30,000 disappeared detainees. Post-dictatorial and democratic Argentina has been able to construct a network of social discourses with a strong interpellation of memory dynamics. Cinema has made a substantive contribution to these processes. We argue here the importance of film and video concerning history as a way of approaching the testimonies about the crimes of the dictatorship and the procedures of memory during these 40 years of democracy. In this paper we will develop the analysis of three audiovisuals –the fiction La Historia Oficial; the documentary Juan, como si nada hubiera sucedido; and ATC's recordings of the Trial of the Juntas and its derivations– from the democratic stage, as a great arc of 40 years, where the evocation of the post-dictatorial transition provokes some meanings that deserve to continue to be thought from three axes: representation, document, and political action. Diferentes son las enunciaciones y convocatorias recientes a pensar y dar cuenta de los cuarenta años de democracia ininterrumpida. Es lógico por el carácter traumático que tuvo en Argentina la dictadura cívico-militar y su saldo de treinta mil personas detenidas desaparecidas. La Argentina postdictatorial y democrática ha podido construir un entramado de discursos sociales con una fuerte interpelación a dinámicas de memorias. El cine ha hecho una contribución sustantiva en estos procesos. Sostenemos aquí la importancia del cine y el video en relación a la historia como vía para abordar los testimonios sobre los crímenes de la dictadura y a los procedimientos de memorias durante estos cuarenta años de democracia. En el presente trabajo desarrollaremos el análisis de tres audiovisuales –la ficción La historia oficial; el documental Juan, como si nada hubiera sucedido; y los registros de ATC del Juicio a las Juntas y sus derivaciones– de la etapa democrática, como un gran arco de cuarenta años, donde la evocación a la transición postdictatorial provoca algunos sentidos que merecen seguir siendo pensados desde tres ejes: la representación, el documento y la acción política. 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/42860 10.55442/tomauno.n11.2023.42860 Toma Uno; No. 11 (2023): 40 años de democracia: imaginarios y narrativas en cine y artes audiovisuales; 15-30 TOMA UNO; Núm. 11 (2023): 40 años de democracia: imaginarios y narrativas en cine y artes audiovisuales; 15-30 2250-4524 2313-9692 10.55442/tomauno.n11.2023 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/42860/42945 https://revistas.unc.edu.ar/index.php/toma1/article/view/42860/42946 https://revistas.unc.edu.ar/index.php/toma1/article/view/42860/42947 Derechos de autor 2023 Maximiliano Ignacio de la Puente, Matías Scheinig http://creativecommons.org/licenses/by-nc-nd/2.5/ar/ |
| institution |
Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-367 |
| container_title_str |
TOMA UNO |
| language |
Español |
| format |
Artículo revista |
| topic |
Cinema Memories Dictatorship Democracy Transition Cine Memorias Dictadura Democracia Transición |
| spellingShingle |
Cinema Memories Dictatorship Democracy Transition Cine Memorias Dictadura Democracia Transición de la Puente, Maximiliano Ignacio Scheinig , Matías Post-dictatorship memories: some official, threatened, and preserved audiovisual records |
| topic_facet |
Cinema Memories Dictatorship Democracy Transition Cine Memorias Dictadura Democracia Transición |
| author |
de la Puente, Maximiliano Ignacio Scheinig , Matías |
| author_facet |
de la Puente, Maximiliano Ignacio Scheinig , Matías |
| author_sort |
de la Puente, Maximiliano Ignacio |
| title |
Post-dictatorship memories: some official, threatened, and preserved audiovisual records |
| title_short |
Post-dictatorship memories: some official, threatened, and preserved audiovisual records |
| title_full |
Post-dictatorship memories: some official, threatened, and preserved audiovisual records |
| title_fullStr |
Post-dictatorship memories: some official, threatened, and preserved audiovisual records |
| title_full_unstemmed |
Post-dictatorship memories: some official, threatened, and preserved audiovisual records |
| title_sort |
post-dictatorship memories: some official, threatened, and preserved audiovisual records |
| description |
Recent statements and calls to think about and account for the 40 years of uninterrupted democracy are different. This is logical given the traumatic nature of the civil-military dictatorship in Argentina and its toll of 30,000 disappeared detainees. Post-dictatorial and democratic Argentina has been able to construct a network of social discourses with a strong interpellation of memory dynamics. Cinema has made a substantive contribution to these processes. We argue here the importance of film and video concerning history as a way of approaching the testimonies about the crimes of the dictatorship and the procedures of memory during these 40 years of democracy. In this paper we will develop the analysis of three audiovisuals –the fiction La Historia Oficial; the documentary Juan, como si nada hubiera sucedido; and ATC's recordings of the Trial of the Juntas and its derivations– from the democratic stage, as a great arc of 40 years, where the evocation of the post-dictatorial transition provokes some meanings that deserve to continue to be thought from three axes: representation, document, and political action. |
| publisher |
Editorial de la Facultad de Artes, Universidad Nacional de Córdoba |
| publishDate |
2023 |
| url |
https://revistas.unc.edu.ar/index.php/toma1/article/view/42860 |
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2024-09-03T22:57:22Z |
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