So enter, because you keep seeing: ambiguity and melancholy of resistance in La ciudad de los fotografos
DOI:
https://doi.org/10.11606/issn.2316-7114.sig.2015.103713Keywords:
documentary, photography, memory, Latin American dictatorships, resistance.Abstract
By understanding the power of images in the reconstruction of memory, activists and leftists took advantage, quite often, of the photo camera as an essential "weapon" to keep barbarism from being forgotten and buried along with the latest military dictatorships in Latin America. Those powerful images, in its strong iconic symbolism, testify to a reality that, framed by the camera's lens, did happen. This is the case in Sebastián Moreno's documentary La ciudad de los photographers (The City of Photographers, 2006), which tries to rescue the essential role that the photographic record had in the director's life and also in the resistance to Pinochet's dictatorship. Nevertheless, there is something in it that slowly configures and breaks the formation of an already defined memory, digging for ambiguities that also pervades the survivors' territory.
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Copyright (c) 2015 Denise Tavares da Silva
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