In the interview she gave to the electronic site devoted to film La Pochoclera, Carri herself acknowledges other disapproving reactions to her film.Ħ About the different modes of the documentary genre, see Nichols (2001: 32–75).ħ In fact, the openness endorsed by the movie has its limits. Although, to my knowledge, this is the only published evidence of unease elicited by the documentary, it was not an isolated case. , who criticizes Kohan's prescriptive reading of the movie, and praises Carri for underscoring the conflictive nature of memory. Los rubios o del trauma como presencia Punto de vista, XXVII(80): 206– 9. The journal published a response by Cecilia Macón Macón, Cecilia. The article praised the formal sophistication of Carri's documentary but had many harsh words for the young director, whom Kohan accuses of narcissistic excess, of disrespect toward her parents and of holding a post-political, superficial view of Argentina's social and political past (and present). Punto de Vista, XXVII(78), entitled ‘La apariencia celeda’, appeared in the Argentine journal Punto de Vista in 2003. ) offer a detailed analysis of how memory is produced and reconstructed in Argentina 20 years after the end of the dictatorship.ĥ A long article by writer and cultural critic Martín Kohan Kohan, Martín. In Politics of War Memory, Edited by: Dawson, Graham. “ Layers of memories: Twenty years after in Argentina”.
Jelin and Kaufman ( 2000 Jelin, Elizabeth and Sussana G, Kaufman. One could also include in this group the fiction short film In absentia (2003), by Lucía Cedrón, daughter of film director Jorge Cedrón, assassinated in 1980.Ĥ Textual examples of Montonero memory are El presidente que no fue (1997) and Diario de un clandestino (2000) by Miguel Bonasso, and the three volumes of La voluntad (1997, 1998) by Eduardo Anguita and Martín Caparrós. ).Ģ Besides Los rubios, Carri has directed No quiero volver a casa (2000), Barbie también puede estar triste (2001), and Géminis (2005).ģ Historias cotidianas (2000) by Andrés Habegger and Papá Iván (2000) by María Inés Roqué are two documentaries by young directors whose parents are also missing. Pasado y presente: Guerra, dictadura y sociedad en Argentina, Buenos Aires: Siglo XXI. Pensar entre épocas: Memoria, sujetos y crítica cultural, Buenos Aires: Norma. For a critical reading of the limitations of the Holocaust model, see Casullo ( 2004 Casullo, Nicolás. 1 Idelber Avelar, Alberto Moreiras and Nelly Richard have made important and insightful contributions to the exploration of memory in dialogue with such approaches.
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