6533b86dfe1ef96bd12c963e

RESEARCH PRODUCT

Imagen-momia e imagen-ruina: La mise-en-film de las fotografías de los desaparecidos en el documental subjetivo de la posdictadura argentina / Image-mummy and image-ruin. Mise-en-film of missing people photographies in the subjetive documentary

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En este articulo se analizan los diversos vinculos entre imagen fotografica e imagen cinematografica en los documentales subjetivos de la posdictadura argentina: Papa Ivan (Roque, 2000), Los rubios (Carri 2003), Encontrando a Victor (Bruschtein, 2004), y M (Prividera, 2007). Se pone particular atencion en las recurrentes escenas en las que los directores y entrevistados observan, comentan a interactuan con fotografias de los desaparecidos de la ultima dictadura militar (1976-1983). ?En que medida las filmaciones de las fotos ligadas al pasado argentino reciente modifican y construyen sus sentidos? ?Refuerzan estas peliculas el valor de verdad de las fotografias al insertar un documento en otro y tratarlas en su caracter de prueba referencial o, por el contrario, multiplican las mediaciones y alejan aun mas el referente de su signo? En suma, ?que ganan y que pierden estas imagenes, en su mayoria extraidas del album familiar de los ausentes, al ser expuestas publicamente frente a la camara de cine? This article analyzes the links between the photographic image and the cinematographic image in the subjective documentaries of the post-dictatorship period in Argentina: Papa Ivan (Roque, 2000), Los rubios (Carri 2003), Encontrando a Victor (Bruschtein, 2004), and M (Prividera, 2007). The article focuses particularly on the numerous scenes in which the directors and the interviewees observe, comment, and interact with the photographs of the disappeared during the 1976-1983 dictatorship. To what extent does the filming of these photographs related to the Argentine past modify and construct the meanings of such images? Do these films reinforce the ‘value of truth’ of the photographs by inserting one document into another one and by treating them as referential proof of what has happened in the past? Or, on the contrary, do these films multiply the mediations and make the distance between the images and their referent even greater? In sum, what do these photographs, mostly taken from family albums, gain and what do they lose when they are put on public display in film?