Suchergebnisse

Israeli documentary films of the 1940s and 1950s that deal with the Holocaust and Holocaust survivors point to the existence of a personal repressed Holocaust narrative in an era when such a narrative was stifled by the collective narrative of Holocaust and heroism. In these repressed narratives, remembrance of the Holocaust erupts in the present and disrupts the Zionist narrative that leads from the obliteration of the Diaspora past to the formation of the Israeli present and future. This is the narrative of people who remained foreign and "other" in Israeli society, who did not exchange their identities as Zionism expected of them. The films attempt to integrate these people into the Israeli collective, but their individuality, illuminated by the subversive reading, makes this integration difficult to achieve. The article analyzes the early documentary cinema in order to show that the survivors' personal narrative sabotages the national narrative from within.

Este artigo trata das relações entre os três conceitos do título,sendo quea música é trabalhada como fonte histórica para resgatar um pouco dedois movimentos até certo ponto opostos: a ditadura militar no Brasile ofim da ditadura em Portugal. Também se procura examinar como amemória se constituiu num espaço de lutas no qual a MPB desempenhouum importante papel ao gravar músicas cujos temas a censura e arepressão tentaram jogar no esquecimento. ; This article concerns therelationship between the three concepts of the title, withthe objective ofevaluating music as an historical source in the analysis of two nearlyopposite historicalevents: the military dictatorship in Brazil and the end of thedictatorship in Portugal.The article also examines how memories of lyrics fromBrazilian Popular Music(MPB) became an important space of struggle when themilitary regime attemptedto suppress and thus relegate to the forgotten therecorded songs through censorship.