Suchergebnisse

This dissertation considers theory from the field of Memory Studies to compare the relationships between transitional justice, cultural production, and discourses on state terror and human rights. The most recent civic-military dictatorships in Brazil (1964-1985), Uruguay (1973-1985), and Argentina (1976-1983) remain unresolved histories in the collective imaginaries of each country. The fields of literary and media studies often point to the cultural production that represents this period as contributing to the construction of memory, and, therefore, against impending oblivion. My dissertation moves beyond the binary logic of remembrance and oblivion to analyze the ways in which cultural production shapes our understanding of the dictatorships and their aftermath. Chapter 1, "The Survivor on Screen: Film in Post-dictatorship Brazil," focuses on the films Que bom te ver viva (L�cia Murat, 1989), A��o entre amigos (Beto Brant, 1998), and Hoje (Tata Amaral, 2011) to understand the extent to which they reinforce or reject the notion that the only people affected by the dictatorship were the militants who took up arms against the regime. Chapter 2, "Unfinished Stories: Film in Post-Dictatorship Uruguay," analyzes the films Zanahoria (Enrique Buchichio, 2014), Matar a todos (Esteban Schroeder, 2007), and Secretos de lucha (Maiana Bidegain, 2007), which all depict the past as unresolved. Each of these films has an inconclusive ending, implying that Uruguayan transitional justice is yet to come. Chapter 3, "Towards Inclusive Victimhood and Memory: Post-dictatorship Film in Argentina," analyzes Cautiva (Gast�n Biraben, 2003), Los Rubios (Albertina Carri, 2003), and Buenos Aires Viceversa (Alejandro Agresti, 1996) as examples of works that challenge the canonized memories of the dictatorship as well as the widely accepted notions of victimhood, pushing for the consideration of traditionally excluded subjectivities. This chapter addresses the intergenerational struggle over memory and the victims of economic crises in the post-dictatorship. This dissertation investigates the impact that political and legal frameworks have on filmmaking, on storytelling, and on how the past is remembered, contributing to research on the intersection between memory studies, transitional justice, and the cultural field.

Acknowledgements -- Contents -- Abbreviations -- List of Figures -- Chapter 1: Introduction -- Notes -- Chapter 2: The Autofictional Turn, Playful Memories of Trauma and the Post-Dictatorship Generations -- Testimonies and the Preservation of Historical Memory -- Representation, Fiction and Allegory -- Anachronism and Autofiction -- Argentine Autofictions, Affect and the Subjective Turn -- Playing with Trauma -- Notes -- Chapter 3: Toying with History in Albertina Carri's Los rubios -- Play as Topsy-Turvy Sacred -- Albertina Carri's Kampf -- Toy (Hi)stories and Playbacks -- Notes -- Chapter 4: Self-Fictionalization, Parody and Testimony in Diario de una princesa montonera-110 % Verdad and Montonerísima -- Huachos: From Postmemory to Post-orphanhood -- A (Cyber) Damsel in Distress -- A New Lexicon of Terror -- Notes -- Chapter 5: Happily Ever After? Guerrilla Fables and Fairy Tales of Disappearance -- Si Alice viviera sería Montonera -- Los niños del Proceso in Never (Again) Land -- The Enchanted Generation -- Notes -- Chapter 6: Lucila Quieto's Ludic Gaze -- Indexicality and Victimhood -- Prosthetic Memories of Absence -- Crafting History -- Photographing the Invisible -- (Generational) Ways of Seeing -- Outside the Lines -- Notes -- Chapter 7: The Defamiliarized Past in Félix Bruzzone's Comical Autofictions -- Las chanchas: Stranger than Reality -- The Hamlet Generation and a Multidirectional Memory of Disappearance -- Becoming Animals -- Notes -- Chapter 8: Monstrous Memories -- The Copyright of Memory -- The Unwelcome Legacy -- Autofiction as a Monstrosity -- Notes -- Chapter 9: Conclusion -- Notes -- Bibliography -- Index

Marketing Democracy: Power and Social Movements in Post‐Dictatorship Chile Julia Paley (Berkeley: University of California Press, 2001)

Marketing Democracy: Power and Social Movements in Post‐Dictatorship Chile. Julia Paley. Berkeley: University of California Press, 2001. 255 pp.

"This book reconsiders a variety of material remainders from the past, in an effort to reveal the interpretive power that memory work in the present can gain from them: the everyday object of the detention center, the prison craftwork made as an important form of survival and resistance in the Chilean and Uruguayan detention centers, the personal items that belonged to the victim prior to his/her becoming victim, the bodies that emerge from mass graves, the bodies of the second generation that carry the material copies of the DNA of their disappeared parents, and the object that was once present at the scene of torture or detention and currently occupies the role of witness in the space of the museum"--

"Bell argues that the dialogue that emanate from the aesthetic realm cannot be understood through a solely art-historical approach; instead, they must be understood as part of a collective endeavour. In this sense, the 'art' of post-dictatorship is not something that belongs to art or the artists themselves, but is about how the subjectivities and imaginations of new generations engage with questions of response, ethics and justice; and, in so doing, re-align themselves in relation to the past and to the future. This book provides a valuable resource for those interested in the law, politics, art and sociology of contemporary Argentina. It will be of immense use to those studying in these areas and to those concerned more widely with transitional justice and memory politics"--