"Los rubios" and the limits of the notion of postmemory
DOI:
https://doi.org/10.11606/issn.2316-7114.sig.2015.103652Keywords:
postmemory, children, documentary, dictatorship, The blondsAbstract
Marianne Hirsch’s postmemory is a recurrent notion in the analysis of documentaries directed by children of victims of the Southern Cone dictatorships. Articulating the affective charge of remembrance, the family ties and the photographic indexicality, the notion gives concreteness to the intergenerational transmission of traumatic memories. In turn, Los rubios (The blonds, 2003), directed by Albertina Carri, daughter of desaparecidos of the Argentina’s last dictatorship, is radically reflexive. The film refuses to inherit an epic view of the resistance, questioning the very possibility of recollection. This paper aims to discuss the notion of postmemory with an analysis of Los rubios. The hypothesis is that, rather than a natural legacy, between the generations there is a space full of crossed heritages and appropriations, memory transmission and cultural transfers.Downloads
References
AGUILAR, G. Otros mundos: un ensayo sobre el nuevo cine argentino. 2. ed., Buenos Aires: Santiago Arcos editor, 2010.
AMADO, A. La imagen justa: cine argentino y política (1980-2007). Buenos Aires: Colihue, 2009.
BARRIL, C. Las imágenes que no me olvidan: cine documental autobiográfico y (pos)memorias de la dictadura militar chilena. Santiago: Editorial Cuarto Propio, 2013.
BECEYRO, R. et al. Cine documental: la objetividad en cuestión. Punto de vista. Buenos Aires, ano XXVIII, n. 81, p. 14-23, abr. 2005a.
______ et al. Cine documental: la primera persona. Punto de vista. Buenos Aires, ano XXVIII, n. 82, p. 27-36, ago. 2005b.
BERNADES, H. El hombre que veía demasiado. Página/12. Buenos Aires, 25 maio 2003. Disponível em: < http://www.pagina12.com.ar/diario/suplementos/radar/9-757-2003-05-25.html>. Acesso em: 03 jan. 2014.
CARRI, A. Los rubios: cartografía de una película. Buenos Aires: Buenos Aires Festival Internacional de Cine Independiente (Bafici), 2007.
DIDI-HUBERMAN, G. Imagens apesar de tudo. Lisboa: KKYM, 2012.
ESPAGNE, M. La notion de transfert culturel. Revue Sciences/Lettres, n. 1, 2013. Disponível em: <http://rsl.revues.org/219>. Acesso em: 06 fev. 2015.
HIRSCH, M. Family frames: photography, narrative, and postmemory. Cambridge: Harvard University Press, 1997.
______. The generation of postmemory. Poetics Today, Durham: Duke University Press, 29:1, 2008. p. 103-128.
______. The generation of postmemory: writing and visual culture after the Holocaust. New York: Columbia University Press, 2012.
KOHAN, M. La apariencia celebrada. Punto de vista. Buenos Aires, ano XXVII, n. 78, p. 24-30, abr. 2004a.
______. Una crítica en general y una película en particular. Punto de Vista. Buenos Aires, ano XXVII, n. 80, p. 47-48, dez. 2004b.
MACÓN, C. Los rubios o del trauma como presencia. Punto de vista. Buenos Aires, ano XXVII, n. 80, p. 44-47, dez. 2004.
MORENO, M. Esa rubia debilidad. Página/12, Buenos Aires, 19 out. 2003. Radar.
NORIEGA, G. Estudio crítico sobre Los Rubios: entrevista a Albertina Carri. Buenos Aires: Picnic Editorial, 2009.
OUBIÑA, D. (org.). Jean-Luc Godard: El pensamiento del cine. Cuatro miradas sobre Histoire(s) du cinéma. 1ª ed. 1ª reimp. Buenos Aires: Paidós, 2005.
QUÍLEZ, L. La representación de la dictadura militar en el cine documental argentino de segunda generación. 2009. 538 f. Tese (Doutorado em Estudos de Comunicação) – Departamento de Estudios de Comunicación, Universitat Rovira i Vigili, Tarragona, 2009.
______. Sutiles pretéritos: (post)memoria(s) y (auto)biografía(s) en el cine documental contemporáneo. In: GUTIÉRREZ, Gregorio Martín (org.). Cineastas frente al espejo. Madrid: T&B Editores, 2008. p. 83-99.
RICŒUR, P. A memória, a história, o esquecimento. Campinas: Editora da Unicamp, 2007.
RIERA, E. L.. Albertina Carri: el cine de la furia. Valencia: Ediciones de la Filmoteca, 2009.
SARLO, B. Tempo passado: cultura da memória e guinada subjetiva. São Paulo: Cia. das Letras; Belo Horizonte: Editora UFMG, 2007.
SCHANTON, P. Una propuesta sin golpes bajos. Clarín, Buenos Aires, 18 out. 2003. Revista Ñ, n. 32.
STAM, R. Reflexivity in film and literature: from Dom Quixote to Jean-Luc Godard. New York: Columbia University Press, 1992.
TERÁN, O. Pensar la memoria. In: CONGRESO INTERNACIONAL DE FILOSOFÍA DE LA HISTORIA, 1., 2000, Buenos Aires. Anais… Buenos Aires: OEI, 2000. Não paginado. Disponível em: <http://www.oei.org.ar/edumedia/pdfs/T09_Docu1_Pensarlamemoria_Teran.pdf>. Acesso em: 06 set. 2015.
Downloads
Published
Issue
Section
License
Copyright (c) 2015 Fernando Seliprandy
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish in this journal must agree with the following terms:
- Authors keep their copyrights and grant the journal first time publication rights, having their articles simultaneously licensed under the Creative Commons Attribution License, which allows sharing texts with authorship recognition and first publication on this journal for non-commercial purposes.
- Authors are allowed to make additional contracts, for a non-exclusive distribution of the article’s version published on this journal (e.g.: publishing in institutional repositories of articles or as a book chapter), with authorship recognition and first publication on this journal.
