Atlante - Revue d'études romanes

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	<title>Atlante - Revue d&#039;études romanes - Tag memoire</title>
	<link>https://atlante.univ-lille.fr/tag/memoire</link>
	<language>fr</language>
	<description></description>
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	<lastBuildDate>Fri, 01 Nov 2019 15:58:00 +0100</lastBuildDate>
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		<title>14.&lt;em&gt;Historietas por la identidad – HxI&lt;/em&gt; : la bande dessinée documentaire, écriture visuelle des histoires et de l’Histoire</title> 
		<link>https://atlante.univ-lille.fr/114-emhistorietas-por-la-identidad-hxi-em-la-bande-dessinee-documentaire-ecriture-visuelle-des-histoires-et-de-lhistoire.html</link>
		<guid>https://atlante.univ-lille.fr/114-emhistorietas-por-la-identidad-hxi-em-la-bande-dessinee-documentaire-ecriture-visuelle-des-histoires-et-de-lhistoire.html</guid>
		<description>&lt;p&gt;Camille Pouzol&lt;br /&gt;Sorbonne Universit&amp;eacute;&lt;br /&gt;CRIMIC EA 2561&lt;br /&gt;p.239-262.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Camille POUZOL, &lt;em&gt;Historietas por la identidad&lt;/em&gt; &amp;ndash; &lt;em&gt;HxI&amp;nbsp;&lt;/em&gt;: la bande dessin&amp;eacute;e documentaire, &amp;eacute;criture visuelle des histoires et de l&amp;rsquo;Histoire. &lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;. &lt;/strong&gt;L&amp;rsquo;ouvrage collectif &lt;em&gt;Historietas por la identidad, &lt;/em&gt;publi&amp;eacute; en 2015 par la Biblioteca Nacional de Buenos Aires, est le fruit d&amp;rsquo;un travail men&amp;eacute; par l&amp;rsquo;association Abuela de la Plaza de Mayo qui s&amp;rsquo;est associ&amp;eacute;e &amp;agrave; plusieurs auteurs (sc&amp;eacute;naristes et dessinateurs) de bandes dessin&amp;eacute;es. &amp;Aacute; travers l&amp;rsquo;analyse de deux histoires courtes, nous pourrons voir que cette &lt;em&gt;historieta documental&lt;/em&gt; rejoint la litt&amp;eacute;rature non-fictionnelle et la &lt;em&gt;creative nonfiction&lt;/em&gt; en int&amp;eacute;grant au sein m&amp;ecirc;me du r&amp;eacute;cit des faits av&amp;eacute;r&amp;eacute;s, des &amp;eacute;l&amp;eacute;ments fictifs et r&amp;eacute;els ainsi que le reflet du regard de l&amp;rsquo;auteur sur cette histoire singuli&amp;egrave;re. L&amp;rsquo;hybridit&amp;eacute; narrative propre au Neuvi&amp;egrave;me art, associ&amp;eacute;e &amp;agrave; la potentialit&amp;eacute; graphique du m&amp;eacute;dia, produit un savoir historique dans la mesure o&amp;ugrave; ces bandes dessin&amp;eacute;es deviennent &amp;agrave; la fois repr&amp;eacute;sentation des histoires et de l&amp;rsquo;Histoire. La m&amp;eacute;diation artistique permet de raconter et montrer les horreurs de la dictature argentine (1976-1983), mais aussi de raconter l&amp;rsquo;histoire des pers&amp;eacute;cut&amp;eacute;s. L&amp;rsquo;emploi du &amp;laquo;&amp;nbsp;tu&amp;nbsp;&amp;raquo; et du &amp;laquo;&amp;nbsp;nous&amp;nbsp;&amp;raquo; nous interroge &amp;eacute;galement sur la place du lecteur/r&amp;eacute;cepteur qui devient t&amp;eacute;moin d&amp;rsquo;une Histoire, mais qui peut aussi devenir acteur de sa propre histoire.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots cl&amp;eacute;s. &lt;/strong&gt;Bande dessin&amp;eacute;e documentaire, dictature argentine, Abuelas de Plaza de Mayo, disparus, histoire, m&amp;eacute;moire&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Camille POUZOL, &lt;em&gt;Historietas por la identidad&lt;/em&gt; &amp;ndash; &lt;em&gt;HxI&amp;nbsp;&lt;/em&gt;: la historieta documental, escritura visual de las historias y de la Historia. &lt;/strong&gt;&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;&lt;strong&gt;Resumen. &lt;/strong&gt;El libro colectivo &lt;em&gt;Historietas por la identidad, &lt;/em&gt;publicado en 2015 por la Biblioteca Nacional de Buenos Aires, es el fruto de un trabajo llevado a cabo por la asociaci&amp;oacute;n Abuela de la Plaza de Mayo que se asoci&amp;oacute; con varios autores (guionistas y dibujantes) de historietas. A trav&amp;eacute;s del analisis de dos historias cortas, podremos ver que esta &lt;em&gt;historieta documental&lt;/em&gt; se une con la literatura no ficcionaly la &lt;em&gt;creative nonfiction&lt;/em&gt; al integrar dentro del propio relato hechos comprobados, elementos ficticios y reales as&amp;iacute; como el reflejo de la mirada del autor sobre esta singular historia. El hibridismo narrativo, propio del Noveno arte, asociado con la potencialidad gr&amp;aacute;fica del medio, produce un saber hist&amp;oacute;rico en la medida en que estas historietas se vuelven, a la vez, representaci&amp;oacute;n de historias y de la Historia. La medicaci&amp;oacute;n art&amp;iacute;stica permite contar y mostrar los horrores de la dictadura argentina (1976-1983), pero tambi&amp;eacute;n contar la historia de los perseguidos. El uso del &amp;laquo;&amp;nbsp;t&amp;uacute;&amp;nbsp;&amp;raquo; y del &amp;laquo;&amp;nbsp;nosotros&amp;nbsp;&amp;raquo; nos interroga tambi&amp;eacute;n sobre el lugar del lector/receptor que se vuelve testigo de una Historia, pero que puede tambi&amp;eacute;n hacerse actor de su propia historia.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Palabras clave. &lt;/strong&gt;Historieta documental, dictadura argentina, Abuelas de Plaza de Mayo, desaparecidos, historia, memoria&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Camille POUZOL, &lt;em&gt;Historietas por la identidad - Hxl: documentary comics, visual writing of stories and of History. &lt;/em&gt; &lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Abstract. &lt;/strong&gt;The collective work &lt;em&gt;Historietas por la identidad&lt;/em&gt;, published in 2015 by the Biblioteca Nacional de Buenos Aires, is the work lead by the organization of Abuelas de Plaza de Mayo with various authors (scriptwriters and artists) of comics book.&lt;/p&gt;
&lt;p style=&quot;text-align: justify;&quot;&gt;Through the analysis of two short stories, we can see that this &amp;laquo;&amp;nbsp;comics documentary&amp;nbsp;&amp;raquo; meets the &amp;laquo;&amp;nbsp;nonfiction literature&amp;nbsp;&amp;raquo; and the &amp;laquo;&amp;nbsp;creative nonfiction&amp;nbsp;&amp;raquo; by incorporating inside the story itself hard facts, elements from fictional and real stories as well as the reflection of the author&amp;rsquo;s point of view on this singular story. The narrative hybridity specific to the Ninth art, combined with the graphic potential of the media, produces an historical knowledge insofar as these comics books become at the same time the representation of stories and History. The artistic mediation not only enables to tell and show the horrors of the Argentinian dictatorship (1976-1983), but also to tell the story of the persecuted people. The use of the &amp;laquo;&amp;nbsp;you&amp;nbsp;&amp;raquo; and the &amp;laquo;&amp;nbsp;we&amp;nbsp;&amp;raquo; also questions us about the position of the reader /receptor who becomes a witness of a story, but who can also become actor of his own story.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords. &lt;/strong&gt;Comics documentary, Argentinian dictatorship. Abuelas de Plaza de Mayo, missing persons, history, memory&lt;/p&gt;
&lt;p&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/atlante-10-2/239-262-c.-pouzol.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (Pdf, 3Mb)&lt;/a&gt;&lt;/p&gt;</description>
		<pubDate>Fri, 01 Nov 2019 15:58:00 +0100</pubDate>
		<dc:creator>marianne.bloch-robin</dc:creator>
	</item>
	<item>
		<title>14. Un combat, des images: &lt;em&gt;Hijos de las nubes&lt;/em&gt;, la question du Sahara occidental en 2012 et l’attention des Espagnols</title> 
		<link>https://atlante.univ-lille.fr/14-un-combat-des-images-hijos-de-las-nubes-la-question-du-sahara-occidental-en-2012-et-lattention-des-espagnols.html</link>
		<guid>https://atlante.univ-lille.fr/14-un-combat-des-images-hijos-de-las-nubes-la-question-du-sahara-occidental-en-2012-et-lattention-des-espagnols.html</guid>
		<description>&lt;div class=&quot;page&quot; title=&quot;Page 1&quot;&gt;
&lt;div class=&quot;layoutArea&quot;&gt;
&lt;div class=&quot;column&quot;&gt;
&lt;p&gt;Fran&amp;ccedil;ois Malveille&lt;br /&gt; Universit&amp;eacute; Paris Nanterre&amp;nbsp;&lt;br /&gt;&amp;Eacute;tudes romanes &amp;ndash; CRIIA EA 369&amp;nbsp;&lt;br /&gt;p. 276-301.&amp;nbsp;&lt;/p&gt;
&lt;/div&gt;
&lt;/div&gt;
&lt;/div&gt;&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;FR&quot;&gt;Fran&amp;ccedil;ois MALVEILLE, &amp;laquo;&amp;nbsp;Un combat, des images&amp;nbsp;: &lt;em&gt;Hijos de las nubes&lt;/em&gt;, la question du Sahara occidental en 2012 et l&amp;rsquo;attention des Espagnols&amp;nbsp;&amp;raquo;.&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;FR&quot;&gt;R&amp;eacute;sum&amp;eacute;&lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;FR&quot;&gt;. Le Sahara occidental est un territoire qui n&amp;rsquo;a pas pu exercer son droit &amp;agrave; l&amp;rsquo;autod&amp;eacute;termination affirm&amp;eacute; par l&amp;rsquo;ONU en 1965. L&amp;rsquo;Espagne s&amp;rsquo;en est retir&amp;eacute;e en 1976 et le Maroc a pris sa place. Cette situation est &amp;agrave; l&amp;rsquo;origine d&amp;rsquo;un mouvement de mobilisation en Espagne, particuli&amp;egrave;rement dans le milieu du cin&amp;eacute;ma, autour de l&amp;rsquo;acteur Javier Bardem. Celui-ci produit un film documentaire militant qui montre la situation du territoire en 2012 et les actions men&amp;eacute;es pour faire respecter les r&amp;eacute;solutions de l&amp;rsquo;ONU. Ce film utilise le syst&amp;egrave;me d&amp;rsquo;attention du d&amp;eacute;but du XXI&lt;sup&gt;e&lt;/sup&gt; si&amp;egrave;cle (cin&amp;eacute;ma, t&amp;eacute;l&amp;eacute;vision, Internet, r&amp;eacute;seaux sociaux&amp;hellip;) pour diffuser son message politique et peser sur les d&amp;eacute;cisions concernant ce territoire. Comme pourrait le faire une p&amp;eacute;tition, la diffusion du film, et de son message, est une action qui cherche &amp;agrave; mobiliser et &amp;agrave; obliger les acteurs politiques &amp;agrave; sortir de la &lt;em&gt;realpolitik&lt;/em&gt;. Le message du film est amplifi&amp;eacute; par la notori&amp;eacute;t&amp;eacute; de Javier Bardem et l&amp;rsquo;effet boule de neige des m&amp;eacute;dias.&lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;FR&quot;&gt;Mots-cl&amp;eacute;s.&lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;FR&quot;&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;Espagne, Maroc, Sahara, Polisario, Bardem, Documentaire, Attention, M&amp;eacute;moire, Engagement, D&amp;eacute;colonisation.&lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;span lang=&quot;FR&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;ES-TRAD&quot;&gt;Fran&amp;ccedil;ois MALVEILLE, &amp;ldquo;Un combate, unas im&amp;aacute;genes: &lt;em&gt;Hijos de las nubes&lt;/em&gt;, la cuesti&amp;oacute;n del Sahara occidental en 2012 y la atenci&amp;oacute;n de los espa&amp;ntilde;oles&amp;rdquo;.&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;ES-TRAD&quot;&gt;Resumen&lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;ES-TRAD&quot;&gt;. El S&amp;aacute;hara occidental es un territorio que no ha podido ejercer el derecho a la autodeterminaci&amp;oacute;n que le reconoci&amp;oacute; la ONU en 1965. Espa&amp;ntilde;a se retir&amp;oacute; en 1976 y desde entonces Marruecos ocupa dicho territorio. A consecuencia de esta situaci&amp;oacute;n existe un movimiento de movilizaci&amp;oacute;n en Espa&amp;ntilde;a, especialmente en el mundo del cine, en torno al actor Javier Bardem. &amp;Eacute;l es el productor de un documental militante que muestra la situaci&amp;oacute;n del territorio en 2012 y las acciones llevadas para obtener la aplicaci&amp;oacute;n de las resoluciones de la ONU. Esta pel&amp;iacute;cula utiliza el sistema de atenci&amp;oacute;n del siglo XXI (cine, televisi&amp;oacute;n, Internet, redes sociales&amp;hellip;) para difundir su mensaje pol&amp;iacute;tico e influir en las decisiones relacionadas con este territorio. Tal y como podr&amp;iacute;a hacerlo una campa&amp;ntilde;a de recogida de firmas, la difusi&amp;oacute;n de la pel&amp;iacute;cula y de su mensaje, es una acci&amp;oacute;n que pretende movilizar y obligar a los actores pol&amp;iacute;ticos a salir de la &lt;em&gt;realpolitik&lt;/em&gt;. La notoriedad de Javier Bardem y el efecto bola de nieve de los medios de comunicaci&amp;oacute;n amplifican el mensaje de la pel&amp;iacute;cula.&lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;ES-TRAD&quot;&gt;Palabras claves.&amp;nbsp;&lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;ES-TRAD&quot;&gt;Espa&amp;ntilde;a, Marruecos, Sahara, Polisario, Bardem, Documental, Atenci&amp;oacute;n, Memoria, Descolonizaci&amp;oacute;n.&lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;FR&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;EN-US&quot;&gt;Fran&amp;ccedil;ois MALVEILLE, &amp;ldquo;One Struggle, Some Pictures: &lt;em&gt;Hijos de las nubes&lt;/em&gt;, the Issue of Western Sahara in 2012 and the Spaniards&amp;rsquo; Attention&amp;rdquo;.&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;EN-US&quot;&gt;Abstract&lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;EN-US&quot;&gt;. Western Sahara is a territory that has not been able to exercise its right to self-determination confirmed by the UN in 1965. In 1976 Spain withdrew and Morocco took its place. This situation is at the origin of a political mobilization in Spain, specially notorious in the world of cinema and with performer Javier Bardem at its center. He was the producer of a militant documentary film intended to show the territory&amp;rsquo;s situation in 2012 and what has been done to enforce the UN resolutions. The film took advantage of all available communication systems at the time (Cinema, television, Internet, social networks...) to spread its political message and to influence in the decisions concerning Western Sahara. Just like a petition, the diffusion of the film and its message was an action intended to force the political actors out from &lt;em&gt;realpolitik&lt;/em&gt;. Javier Bardem&amp;rsquo;s public notoriety and the snow-ball effect of the medias were instrumental in the film&amp;rsquo;s message amplification.&amp;nbsp; &lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;strong&gt;&lt;span lang=&quot;EN-US&quot;&gt;Keywords.&lt;/span&gt;&lt;/strong&gt;&lt;span lang=&quot;EN-US&quot;&gt; Spain, Morocco, Sahara, Polisario, Bardem, documentary, attention, memory, commitment, decolonization.&lt;/span&gt;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&amp;nbsp;&lt;/p&gt;
&lt;p class=&quot;WW-Standard&quot; style=&quot;text-align: left;&quot;&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_1_14.pdf&quot; target=&quot;_blank&quot;&gt;&lt;strong&gt;T&amp;eacute;l&amp;eacute;charger le num&amp;eacute;ro complet (pdf, 334 Kb)&lt;/strong&gt;&lt;/a&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 21 Jun 2018 13:50:00 +0200</pubDate>
		<dc:creator>marianne.bloch-robin</dc:creator>
	</item>
	<item>
		<title>19. El silencio de la infancia en el cine de Albertina Carri</title> 
		<link>https://atlante.univ-lille.fr/19-el-silencio-de-la-infancia-en-el-cine-de-albertina-carri.html</link>
		<guid>https://atlante.univ-lille.fr/19-el-silencio-de-la-infancia-en-el-cine-de-albertina-carri.html</guid>
		<description>&lt;p&gt;Carlos Vallina y L&amp;iacute;a G&amp;oacute;mez&lt;br /&gt;Universidad Nacional de La Plata&lt;br /&gt;Universidad Nacional de Quilmes&lt;br /&gt;Argentina&lt;br /&gt; p. 380-394.&lt;/p&gt;&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Carlos VALLINA, L&amp;iacute;a G&amp;Oacute;MEZ, &quot;El silencio de la infancia en el cine de Albertina Carri&quot;.&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Resumen&lt;/strong&gt;. El art&amp;iacute;culo se propone abordar el cine de Albertina Carri, cineasta,&amp;nbsp; hija de secuestrados - desaparecidos por la &amp;uacute;ltima dictadura c&amp;iacute;vico militar en la Argentina de 1976.&lt;/p&gt;
&lt;p&gt;A partir del an&amp;aacute;lisis cr&amp;iacute;tico narrativo del cortometraje &lt;em&gt;Restos&lt;/em&gt; (2010) y el film &lt;em&gt;Los Rubios&lt;/em&gt; (2003) se problematiza el concepto de memoria en la construcci&amp;oacute;n est&amp;eacute;tica del cine.&lt;/p&gt;
&lt;p&gt;Se propone como hip&amp;oacute;tesis principal que el lenguaje del cine constituye la voz del silencio de la infancia de los hijos, ni&amp;ntilde;os que han sido v&amp;iacute;ctimas del terrorismo de Estado y que problematizan en sus propios modos narrativos la construcci&amp;oacute;n del presente y el pasado.&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Palabras clave.&amp;nbsp;&lt;/strong&gt;Cine, representaci&amp;oacute;n, memoria.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Carlos VALLINA, L&amp;iacute;a G&amp;Oacute;MEZ, &amp;laquo; Le silence de l&#039;enfance dans le cin&amp;eacute;ma d&#039;Albertina Carri&amp;nbsp;&amp;raquo;.&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;R&amp;eacute;sum&amp;eacute;.&lt;/strong&gt; Cet article propose d&amp;rsquo;aborder le cin&amp;eacute;ma d&amp;rsquo;Albertina Carri, cin&amp;eacute;aste, fille de disparus par la derni&amp;egrave;re dictature civico-militaire de l&amp;rsquo;Argentine de 1976. A partir de l&amp;rsquo;analyse critique narratif du court-m&amp;eacute;trage &lt;em&gt;Restos &lt;/em&gt;(2010) et du film &lt;em&gt;Los Rubios &lt;/em&gt;(2003), il s&amp;rsquo;agit de probl&amp;eacute;matiser le concept de m&amp;eacute;moire dans la construction esth&amp;eacute;tique du cin&amp;eacute;ma.&lt;/p&gt;
&lt;p&gt;L&amp;rsquo;hypoth&amp;egrave;se principale propos&amp;eacute;e est que le langage du cin&amp;eacute;ma constitue la voix du silence de l&amp;rsquo;enfance des enfants de disparus, victimes &amp;agrave; leur tour du terrorisme d&amp;rsquo;Etat et qui probl&amp;eacute;matisent, dans leurs modes narratifs propres, la construction du pr&amp;eacute;sent et du pass&amp;eacute;.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Mots cl&amp;eacute;s. &lt;/strong&gt;Cin&amp;eacute;ma, repr&amp;eacute;sentation, m&amp;eacute;moire.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&lt;strong&gt;Carlos VALLINA, L&amp;iacute;a G&amp;Oacute;MEZ, &quot;&lt;/strong&gt;The silence of childhood in Albertina Carri&#039;s cinema&lt;strong&gt;&quot;.&lt;/strong&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Abstract&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;The article aims at putting up for discussion Albertina Carri&amp;rsquo;s films. Albertina Carri is a film-maker whose parents were kidnapped and disappeared during the last civic-military dictatorship (1976).&lt;/p&gt;
&lt;p&gt;The concept of memory in the aesthetic construction of films is the main axis of this study, which begins with the critical narrative analysis of her short &lt;em&gt;Restos&lt;/em&gt; (2010) and her film &lt;em&gt;Los Rubios&lt;/em&gt; (2003).&lt;/p&gt;
&lt;p&gt;The main hypothesis is that cinema language is the representation of the silent voice of children who have been victims of state terrorism, and whose present and past is discussed in their own narrative styles.&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;Keywords.&amp;nbsp;&lt;/strong&gt;Cinema, representation, memory.&lt;/p&gt;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;
&lt;p&gt;&lt;strong&gt;&lt;a href=&quot;https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_4_20.pdf&quot;&gt;T&amp;eacute;l&amp;eacute;charger l&#039;article complet (pdf, 187 Kb)&lt;/a&gt;&lt;/strong&gt;&lt;/p&gt;</description>
		<pubDate>Thu, 21 Jun 2018 09:38:00 +0200</pubDate>
		<dc:creator>admin</dc:creator>
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