Looking back for ways ahead
Repare bem (Maria de Medeiros, 2013) and Luz obscura (Susana de Sousa Dias) are illustrative examples of women documentary filmmaker's approach to post-dictatorship memory in Brazil and in Portugal. Their attempt to counterpose affective and personal memories with the official records of the st...
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| Format: | Article |
| Language: | English |
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Centro de Estudos Humanísticos da Universidade do Minho
2020-07-01
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| Series: | Diacrítica |
| Subjects: | |
| Online Access: | http://diacritica.ilch.uminho.pt/index.php/dia/article/view/567 |
| _version_ | 1827365151206014976 |
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| author | Rui Gonçalves Miranda |
| author_facet | Rui Gonçalves Miranda |
| author_sort | Rui Gonçalves Miranda |
| collection | DOAJ |
| description | Repare bem (Maria de Medeiros, 2013) and Luz obscura (Susana de Sousa Dias) are illustrative examples of women documentary filmmaker's approach to post-dictatorship memory in Brazil and in Portugal. Their attempt to counterpose affective and personal memories with the official records of the state, through the use of mugshots and prison photos of members of a family nucleus taken by the oppressive apparatus of the respective regimes framed in a ‘family narrative’, is inextricable from a recovery of the memory of women’s efforts as both witnesses as and social and political agents. This article will build upon works combining a feminist approach with memory studies (Marianne Hirsch, Annette Kuhn) which provide an insight into the particularities of family photographs as a means to explore the intersection between the personal and the official, the intimate and the public, family and nation, memory and history. Both documentaries raise the stakes by questioning as well as collapsing the said binaries when they structure and order the historical source material within a ‘family frame’: mugshots and prison photos are inscribed in lieu of a speculative family album, thus performatively upsetting the ideological framework of authoritarian regimes as well as their historical legacies, currently the object of contestation and political manipulation. |
| first_indexed | 2024-03-08T08:23:04Z |
| format | Article |
| id | doaj.art-f64cdb6b50dd469db9310f5a019695eb |
| institution | Directory Open Access Journal |
| issn | 0870-8967 2183-9174 |
| language | English |
| last_indexed | 2024-03-08T08:23:04Z |
| publishDate | 2020-07-01 |
| publisher | Centro de Estudos Humanísticos da Universidade do Minho |
| record_format | Article |
| series | Diacrítica |
| spelling | doaj.art-f64cdb6b50dd469db9310f5a019695eb2024-02-02T05:21:37ZengCentro de Estudos Humanísticos da Universidade do MinhoDiacrítica0870-89672183-91742020-07-0134210.21814/diacritica.567Looking back for ways aheadRui Gonçalves Miranda0Departamento de Línguas e Culturas Modernas/ Universidade de Nottingham, Nottingham, Reino Unido. ORCID: https://orcid.org/0000-0001-5132-3131Repare bem (Maria de Medeiros, 2013) and Luz obscura (Susana de Sousa Dias) are illustrative examples of women documentary filmmaker's approach to post-dictatorship memory in Brazil and in Portugal. Their attempt to counterpose affective and personal memories with the official records of the state, through the use of mugshots and prison photos of members of a family nucleus taken by the oppressive apparatus of the respective regimes framed in a ‘family narrative’, is inextricable from a recovery of the memory of women’s efforts as both witnesses as and social and political agents. This article will build upon works combining a feminist approach with memory studies (Marianne Hirsch, Annette Kuhn) which provide an insight into the particularities of family photographs as a means to explore the intersection between the personal and the official, the intimate and the public, family and nation, memory and history. Both documentaries raise the stakes by questioning as well as collapsing the said binaries when they structure and order the historical source material within a ‘family frame’: mugshots and prison photos are inscribed in lieu of a speculative family album, thus performatively upsetting the ideological framework of authoritarian regimes as well as their historical legacies, currently the object of contestation and political manipulation.http://diacritica.ilch.uminho.pt/index.php/dia/article/view/567Post-Dictatorship MemoryDocumentariesWomen FilmmakersPrison photographsBrazilian Military DictatorshipPortuguese Estado Novo |
| spellingShingle | Rui Gonçalves Miranda Looking back for ways ahead Diacrítica Post-Dictatorship Memory Documentaries Women Filmmakers Prison photographs Brazilian Military Dictatorship Portuguese Estado Novo |
| title | Looking back for ways ahead |
| title_full | Looking back for ways ahead |
| title_fullStr | Looking back for ways ahead |
| title_full_unstemmed | Looking back for ways ahead |
| title_short | Looking back for ways ahead |
| title_sort | looking back for ways ahead |
| topic | Post-Dictatorship Memory Documentaries Women Filmmakers Prison photographs Brazilian Military Dictatorship Portuguese Estado Novo |
| url | http://diacritica.ilch.uminho.pt/index.php/dia/article/view/567 |
| work_keys_str_mv | AT ruigoncalvesmiranda lookingbackforwaysahead |