Representations of the Uruguayan Dictatorship from the Perspective of Filmmakers Born in Democracy
This article explores how new generations of filmmakers represent the last Uruguayan dictatorship (1973–1985) through a comparative analysis of two documentaries directed by filmmakers born in democracy: Ópera Prima (Banina, 2018) and Delia (Pena, 2022). Framed within debates on memory, postmemory,...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2025 |
| País: | Uruguay |
| Institución: | Universidad Católica del Uruguay |
| Repositorio: | LIBERI |
| Idioma: | español |
| OAI Identifier: | oai:liberi.ucu.edu.uy:10895/6148 |
| Acceso en línea: | https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/4761 https://hdl.handle.net/10895/6148 |
| Access Level: | acceso abierto |
| Palabra clave: | Uruguay cinema documentary postmemory dictatorship cine documental posmemoria dictadura Uruguai documentário pós-memória ditadura |
| Sumario: | This article explores how new generations of filmmakers represent the last Uruguayan dictatorship (1973–1985) through a comparative analysis of two documentaries directed by filmmakers born in democracy: Ópera Prima (Banina, 2018) and Delia (Pena, 2022). Framed within debates on memory, postmemory, and intergenerational transmission, the study identifies a shift from the cinematographic discourses of earlier generations, which were generally characterized by the direct depiction of historical events and explicit political advocacy. In contrast, recent productions adopt first-person narratives that examine the consequences of the past from an intimate, domestic, and affective perspective. |
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