Violencia y Memoria. Sentido(s) del espacio en algunos cortometrajes de hijos de desaparecidos. En ausencia, (Lucía Cedrón, 2003); Veo veo (Benjamín Ávila, 2003); Encontrando a Víctor, (Natalia Bruchstein, 2004) y La Matanza (María Giuffra, 2006)

• Arreche, Araceli Mariel ^[1]
  1. [1] Universidad Nacional de San Martín

     Universidad Nacional de San Martín

     Tarapoto, Perú

     
• Localización: Toma Uno, ISSN-e 2250-4524, ISSN 2313-9692, Nº. 4 (Cine e Historia: encuentros, nudos, intersecciones), 2015, págs. 191-198
• Idioma: español
• Títulos paralelos:
  • Violence and memory.Implication(s) of space in short films produced by sons and daughters of the “disappeared”. En ausencia, (Lucía Cedrón, 2003); Veo veo (Benjamín Ávila, 2003); Encontrando a Víctor, (Natalia Bruchstein, 2004) y La Matanza (María Giuffra, 2006)
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• Resumen
  • español

    El presente artículo trabaja con cuatro cortometrajes dirigidos por hijos de desaparecidos durante la dictadura militar (1976-1983). Como entramado de lo subjetivo y la memoria, cada uno de ellos, nos acercan a otros modos de abordar las cuestiones identitarias.  Desde la organización espacial que diseñan, se trata aquí, de interrogar el entramado de elecciones estéticas que subyace en la textura de las imágenes  para caracterizar  sus  “dinámicas mnémicas”. ¿Qué formas adopta el pasado? ¿De qué manera el relato configura la experiencia?  Y  ¿cómo dichas formas devienen claves interpretativas de una subjetividad situada tanto en términos estéticos como éticos y políticos?Si componer es elegir y comprometerse, de qué modo estos cortos desde el tratamiento del espacio fílmico - de lo que presentan y de lo que excluyen - da cuenta de la elección de sus realizadores, y como dicha composición se relaciona no solo con el contenido de la obra sino con la ideología del creador.Cedrón, Ávila, Bruchstein, y Giuffra forman parte dentro del cine contemporáneo del  fenómeno de reconfiguración de la subjetividad y  ampliación de los límites del “espacio biográfico. Ahora bien, ¿cómo se traducen esas subjetividades?, ¿cuáles son las imágenes que las caracterizarían?______________________ This article works with four short films directed by sons from the people who disappeared during the military dictatorship (1976-1983). Between the subjective thinking and memory, each of them bring us closer to differents ways of dealing with identity issues. From the spatial organization that they design, it make us interrogate the network of the esthetic choices underlying texture images to characterize their "dynamic mnemonic". In wich ways does the past shows ? How the story changes the experience? And how these factors become interpretative keys from the subjectivity located both in esthetic terms, as in ethical and political terms?If composing is to choose and commit, in which ways these short films ,  from the treatment of filmic space – what they have and what they exclude – realices the choises from the film makers and how this composition is related, not only, to the content of the work but with the ideology of the creator.Cedrón, Ávila, Bruchstein, and Giuffra are part of  the contemporary cinema phenomenon that develop subjectivity reconfiguration and expansion of the boundaries from the  biographical space. However, how these subjectivities translate?, which are the images that characterize them?Key Words: Dynamic memory- Biographical Space -  Critical expression - Identity - Violence   

  • English

    This article considers four short films directed by sons and daughters of people who disappeared during the last military dictatorship in Argentina (1976‐1983). In between subjectivity and memory, each of them bring us closer to different ways of dealing with identity issues. The spatial organization designed in the films, leads us to interrogate the network of aesthetic choices underlying images to characterize their "mnemonic dynamic". In which ways does the past appear? How does narration modify the experience? And how do these factors become interpretative keys to analyze subjectivity, both in aesthetic and in ethical and political terms? If composing a scene implies choosing and commitment, in which ways do these short films, from the treatment of filmic space -that is, what they show and what they exclude– exposes the filmmakers´ choices and how does this composition relate, not only, to the content of the work but also to the ideology of the filmmakers.