The documentary comic as an aesthetic-political resource to address institutional violence
The purpose of this article is to recover two lines of work in the field of human rights activism.Firstly, we aim at describing the aesthetic-political practice that the Editorial Group Aguará carries out through the production of comics that narrate real stories of human rights violations and their...
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| Autores principales: | , , |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Universidad Nacional de Rosario
2022
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| Acceso en línea: | https://perspectivasrcs.unr.edu.ar/index.php/PRCS/article/view/532 |
| Aporte de: |
| Sumario: | The purpose of this article is to recover two lines of work in the field of human rights activism.Firstly, we aim at describing the aesthetic-political practice that the Editorial Group Aguará carries out through the production of comics that narrate real stories of human rights violations and their collective struggles (all of which took place in the Litoral region of our country), having previously made a brief but rich tour through the history of the documentary comic in Argentina. Secondly, an analysis of the research process done for the production of the comic We all knew is provided. This production reconstructs, by means of interviews and documentary research, the web of institutional violence which made the kidnapping, disappearance and murder of Franco Casco possible. Lastly, conclusions are presented, focusing on the ethical and political value of the proposal, as it constitutes a contribution in the construction of “popular paradigms of justice’’. |
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