Using dialogism and second-order observation, I interrogate how art is mobilized through the lenses of specific film codes and how this encounter frames the interpretation of past violence in two films: Carne de tu carne (Mayolo 1983) and Memoria (Weerasethakul 2020). At the same time, I examine how this encounter disrupts the systemic identity of the two medias, exposed to a complex exchange of meanings. I conclude that both films interrogate the communication of violence through an appropriation of art references. But, while Carne de tu carne develops a political horror genre marked by tremendismo, Memoria explores slow cinema and an imperceptible indexicality language relied to the context of a Global South memorial discourse.
通过对话和二阶观察，我探讨了艺术如何通过特定电影代码的镜头被调动起来，以及这种相遇如何在两部电影中对过去的暴力进行诠释：Carne de tu carne》（Mayolo，1983 年）和《Memoria》（Weerasethakul，2020 年）。同时，我还研究了这种相遇如何扰乱了两种媒介的系统身份，使其暴露于复杂的意义交流之中。我的结论是，这两部电影都通过对艺术参考资料的挪用来拷问暴力的传播。但是，《Carne de tu carne》发展了一种以 "巨大主义 "为标志的政治恐怖类型，而《Memoria》则探索了慢镜头电影和一种难以察觉的索引性语言，这种语言依赖于全球南部纪念话语的背景。
{"title":"Second-order observation of art in two films about Colombian violence: Carne de tu carne and Memoria","authors":"David Jurado","doi":"10.1386/ncin_00039_1","DOIUrl":"https://doi.org/10.1386/ncin_00039_1","url":null,"abstract":"Using dialogism and second-order observation, I interrogate how art is mobilized through the lenses of specific film codes and how this encounter frames the interpretation of past violence in two films: Carne de tu carne (Mayolo 1983) and Memoria (Weerasethakul 2020). At the same time, I examine how this encounter disrupts the systemic identity of the two medias, exposed to a complex exchange of meanings. I conclude that both films interrogate the communication of violence through an appropriation of art references. But, while Carne de tu carne develops a political horror genre marked by tremendismo, Memoria explores slow cinema and an imperceptible indexicality language relied to the context of a Global South memorial discourse.","PeriodicalId":514842,"journal":{"name":"New Cinemas: Journal of Contemporary Film","volume":" 24","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141000528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Prison literature from Latin America has been a topic of growing interest for literary scholars of and from the region in recent years. This reflects wider attention in cultural studies dedicated to ‘heterotopias’ or ‘other spaces’, while building on the work of sociologists who have studied prisons and prison reform in countries there. Less has been written, however, about films set in penitentiaries. Building on recent work (Podalksy) that examines the depiction of feelings and emotions in cinema, as well as writing on depictions of the Latin American jail on page and screen (Whitfield, Aguilar) this article addresses the cinematic portrayal of a perhaps unlikely feeling, tenderness, in two prison films from the Southern Cone, one fictional, El Príncipe (Sebastián Muñoz, Chile, 2019), and one documentary, Rancho (Pedro Speroni, Argentina, 2021). In both films, feelings traverse the body–mind divide and cross between people, while portrayed with what we shall argue is a form of filmic tenderness.
{"title":"Hard yards, vulnerable bodies: Tenderness in two recent prison films from Argentina and Chile","authors":"Ben Bollig","doi":"10.1386/ncin_00038_1","DOIUrl":"https://doi.org/10.1386/ncin_00038_1","url":null,"abstract":"Prison literature from Latin America has been a topic of growing interest for literary scholars of and from the region in recent years. This reflects wider attention in cultural studies dedicated to ‘heterotopias’ or ‘other spaces’, while building on the work of sociologists who have studied prisons and prison reform in countries there. Less has been written, however, about films set in penitentiaries. Building on recent work (Podalksy) that examines the depiction of feelings and emotions in cinema, as well as writing on depictions of the Latin American jail on page and screen (Whitfield, Aguilar) this article addresses the cinematic portrayal of a perhaps unlikely feeling, tenderness, in two prison films from the Southern Cone, one fictional, El Príncipe (Sebastián Muñoz, Chile, 2019), and one documentary, Rancho (Pedro Speroni, Argentina, 2021). In both films, feelings traverse the body–mind divide and cross between people, while portrayed with what we shall argue is a form of filmic tenderness.","PeriodicalId":514842,"journal":{"name":"New Cinemas: Journal of Contemporary Film","volume":"7 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141016838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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