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.