Sepulchral Intermediality in Paula Markovitch’s "Armando y Genoveva" (2013)

This article explores Paula Markovitch’s intermedial reconstruction of her parents’ public (in)visibility in Armando y Genoveva (2013). Markovitch’s intermedial choices—particularly those moments in the documentary when recorded voices are superimposed on the scenes that brim with her parents’ artwo...

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Main Author: Inela Selimović
Format: Article
Language:English
Published: University of Groningen Press 2023-09-01
Series:Mistral
Subjects:
Online Access:https://ugp.rug.nl/Mistral/article/view/41203
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author Inela Selimović
author_facet Inela Selimović
author_sort Inela Selimović
collection DOAJ
description This article explores Paula Markovitch’s intermedial reconstruction of her parents’ public (in)visibility in Armando y Genoveva (2013). Markovitch’s intermedial choices—particularly those moments in the documentary when recorded voices are superimposed on the scenes that brim with her parents’ artwork—contain a focused political significance related to her parents’ artistic conviviality and existential fragility. As the recorded audio footage and the filmed artwork further intersect with the filmmaker’s provocative touch and retrospective voice-over, the parents’ key identity traits as well as their uncertain sense of social belonging take center stage. Such intermedial interactions also begin a process of immortalizing the parents’ unbroken commitment to artistic expression despite their life-long isolation in response to Argentina’s political violence (1976–1983).
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spelling doaj.art-ba11113447dc43168e6806c62b85f10c2023-09-29T07:45:23ZengUniversity of Groningen PressMistral2772-49132023-09-013110011410.21827/mistral.3.4120330868Sepulchral Intermediality in Paula Markovitch’s "Armando y Genoveva" (2013)Inela Selimović0Wellesley CollegeThis article explores Paula Markovitch’s intermedial reconstruction of her parents’ public (in)visibility in Armando y Genoveva (2013). Markovitch’s intermedial choices—particularly those moments in the documentary when recorded voices are superimposed on the scenes that brim with her parents’ artwork—contain a focused political significance related to her parents’ artistic conviviality and existential fragility. As the recorded audio footage and the filmed artwork further intersect with the filmmaker’s provocative touch and retrospective voice-over, the parents’ key identity traits as well as their uncertain sense of social belonging take center stage. Such intermedial interactions also begin a process of immortalizing the parents’ unbroken commitment to artistic expression despite their life-long isolation in response to Argentina’s political violence (1976–1983).https://ugp.rug.nl/Mistral/article/view/41203paula markovitchlatin american cinemaintermedialityarmando y genoveva
spellingShingle Inela Selimović
Sepulchral Intermediality in Paula Markovitch’s "Armando y Genoveva" (2013)
Mistral
paula markovitch
latin american cinema
intermediality
armando y genoveva
title Sepulchral Intermediality in Paula Markovitch’s "Armando y Genoveva" (2013)
title_full Sepulchral Intermediality in Paula Markovitch’s "Armando y Genoveva" (2013)
title_fullStr Sepulchral Intermediality in Paula Markovitch’s "Armando y Genoveva" (2013)
title_full_unstemmed Sepulchral Intermediality in Paula Markovitch’s "Armando y Genoveva" (2013)
title_short Sepulchral Intermediality in Paula Markovitch’s "Armando y Genoveva" (2013)
title_sort sepulchral intermediality in paula markovitch s armando y genoveva 2013
topic paula markovitch
latin american cinema
intermediality
armando y genoveva
url https://ugp.rug.nl/Mistral/article/view/41203
work_keys_str_mv AT inelaselimovic sepulchralintermedialityinpaulamarkovitchsarmandoygenoveva2013