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Nearly two decades into the new millennium, Latin American
documentary film is experiencing renewed vibrancy and visibility on
the global stage. While elements of the combative, politicized
cinema of the 1960s and 1970s remain, the region's production has
become increasingly subjective, reflexive, and experimental, though
perhaps no less political. At the same time, Latin American
filmmakers both respond to and shape global tendencies in the
genre. This book highlights the richness and heterogeneity of Latin
American documentary film, surveys a broad range of national
contexts, styles, and practices, and expands current debates on the
genre. Thematic sections address the "subjective turn" of the 1990s
and 2000s and the move beyond it; the ethics of the encounter
between the filmmaker and the subject/object of his or her gaze;
and the performance of truth and memory, a particularly urgent
topic as Latin American countries have transitioned from
dictatorship to democracy.
When Peruvian public intellectual Jose Carlos Aguero was a child,
the government imprisoned and executed his parents, who were
members of Shining Path. In The Surrendered-originally published in
Spanish in 2015 and appearing here in English for the first
time-Aguero reflects on his parents' militancy and the violence and
aftermath of Peru's internal armed conflict. He examines his
parents' radicalization, their lives as guerrillas, and his
tumultuous childhood, which was spent in fear of being captured or
killed, while grappling with the complexities of public memory,
ethics and responsibility, human rights, and reconciliation. Much
more than a memoir, The Surrendered is a disarming and moving
consideration of what forgiveness and justice might mean in the
face of hate. This edition includes an editors' introduction, a
timeline of the Peruvian conflict, and an extensive interview with
the author.
When Peruvian public intellectual Jose Carlos Aguero was a child,
the government imprisoned and executed his parents, who were
members of Shining Path. In The Surrendered-originally published in
Spanish in 2015 and appearing here in English for the first
time-Aguero reflects on his parents' militancy and the violence and
aftermath of Peru's internal armed conflict. He examines his
parents' radicalization, their lives as guerrillas, and his
tumultuous childhood, which was spent in fear of being captured or
killed, while grappling with the complexities of public memory,
ethics and responsibility, human rights, and reconciliation. Much
more than a memoir, The Surrendered is a disarming and moving
consideration of what forgiveness and justice might mean in the
face of hate. This edition includes an editors' introduction, a
timeline of the Peruvian conflict, and an extensive interview with
the author.
Lazzara examines the political, ethical, and aesthetic implications
of the diverse narrative forms Chilean artists have used to
represent the memory of political violence under the Pinochet
regime. By studying multiple "lenses of memory" through which
truths about the past have been constructed, he seeks to expose the
complex intersections among trauma, subjectivity, and literary
genres, and to question the nature of trauma's "artistic"
rendering. Drawing on current theorizations about memory, human
rights, and trauma, Lazzara analyzes a broad body of written,
visual, and oral texts produced during Chile's democratic
transition as representations of a set of poetics searching to
connect politics and memory, achieve personal reconciliation, or
depict the "unspeakable" personal and collective consequences of
torture and disappearance. In so doing, he sets the "politics of
consensus and reconciliation" against alternative narratives that
offer an ethical counterpoint to "forgetting and looking toward the
future" and argues that perhaps only those works that resist hasty
narrative resolution to the past can stand up to the ethical and
epistemological challenges facing postdictatorial societies still
struggling to come to terms with their history. Grounded in
Lazzara's firsthand knowledge of the post-Pinochet period and its
cultural production, "Chile in Transition" offers groundbreaking
connections and perspectives that set this period in the context of
other postauthoritarian societies dealing with contested memories
and conflicting memorializing practices, most notably with
Holocaust studies.
Este libro senala y examina el cambio de paradigma experimentado en
los ultimos anos por el campo de los estudios de memoria: un giro
interseccional y epistemologico que desplaza espacial, temporal e
ideologicamente la reflexion inmediata (testimonial) y mediata
(transgeneracional) de la simbolizacion retrospectiva de los
procesos represivos ocurridos durante las dictaduras
civico-militares latinoamericanas, proponiendo trabajar mas alla de
la ecuacion victima-victimario-testigo. El campo se revigoriza
gracias a la re significacion de la violencia no como un efecto
sino como una fundacion, un fenomeno de caracter estructural
asociado al colapso del estado democratico en la region, acompanado
en varios casos de la vuelta al poder de las derechas mediante
"golpes blandos" sostenidos por la narrativa del "sentido comun
capitalista". Esta segunda fase neoliberal se materializa en la
violencia sistemica sostenida en contra de comunidades y actores
(raciales, etnicos, sexuales, de genero y de clase) que son
desplazados, precarizados, perseguidos o diezmados por sus
resistencias comunitarias al regimen economico que los marginaliza.
Sus narrativas y practicas emancipadoras constituyen el foco de
este libro y la base del giro epistemologico e interseccional en
los estudios de memoria que el libro aborda.
Lazzara examines the political, ethical, and aesthetic implications
of the diverse narrative forms Chilean artists have used to
represent the memory of political violence under the Pinochet
regime. By studying multiple ""lenses of memory"" through which
truths about the past have been constructed, he seeks to expose the
complex intersections among trauma, subjectivity, and literary
genres, and to question the nature of trauma's ""artistic""
rendering. Drawing on current theorizations about memory, human
rights, and trauma, Lazzara analyzes a broad body of written,
visual, and oral texts produced during Chile's democratic
transition as representations of a set of poetics searching to
connect politics and memory, achieve personal reconciliation, or
depict the ""unspeakable"" personal and collective consequences of
torture and disappearance. In so doing, he sets the ""politics of
consensus and reconciliation"" against alternative narratives that
offer an ethical counterpoint to ""forgetting and looking toward
the future"" and argues that perhaps only those works that resist
hasty narrative resolution to the past can stand up to the ethical
and epistemological challenges facing postdictatorial societies
still struggling to come to terms with their history. Grounded in
Lazzara's firsthand knowledge of the post-Pinochet period and its
cultural production, ""Chile in Transition"" offers groundbreaking
connections and perspectives that set this period in the context of
other postauthoritarian societies dealing with contested memories
and conflicting memorializing practices, most notably with
Holocaust studies.
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