El uso de fotografía en el cine de los hijos de desaparecidos
The purpose of this article is to study the use of photographs in documentaries made by the children of people who disappeared during the last military dictatorship in Argentina (1976-1983). The insertion of photographs in these films is not just illustrative, they are part of a strategy to represen...
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| Format: | article |
| Langue: | EN FR PT |
| Publié: |
Centre de Recherches sur les Mondes Américains
2012
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| Accès en ligne: | https://doaj.org/article/cbd261ccb84a46d9be08a07e0186686f |
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| Résumé: | The purpose of this article is to study the use of photographs in documentaries made by the children of people who disappeared during the last military dictatorship in Argentina (1976-1983). The insertion of photographs in these films is not just illustrative, they are part of a strategy to represent or remember the absent persons and reconstruct the past. The first part of the article highlights the relationship between photography and memory, the struggle for human rights in Argentina, and death. Photography shows something that existed; therefore, it is an excellent archive to built memory upon. Nevertheless, this document can change of meaning throughout history, depending on the intentions of use. The second part analyses the strategies of inserting photographs in four documentaries made by the second generation: Papá Iván (María Inés Roqué, 2000), Los Rubios (Albertina Carri, 2003), Encontrando a Víctor (Natalia Bruschtein, 2004) y M (Nicolás Prividera, 2007). |
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