Titlebook: New Documentaries in Latin America; Vinicius Navarro (assistant professor of Cinema an Book 2014 Palgrave Macmillan, a division of Nature

FAWN

A Poetics of the Tracene documental es como una familia sin álbum de fotografías” (A country without documentaries is like a family without a photo album), which succinctly articulates the work of the documentary in contemporary Latin America. Without questioning the documentary mission, Guzmán also asserts its affective

grounded

First-Person Documentary and the New Political Subject: Enunciation, Recent History, and the Presentnce of a new subjectivity in documentary productions of the 1980s and 1990s as the construction of “a self, typically a deeply social self” (2004, 178). What is new about this subjectivity, he explains, is that it does not reject the collective: “current documentary self-inscription enacts identitie

污點(diǎn)

degradation

爭(zhēng)吵

正常

Residual Images and Political Time: Memory and History in , and , and of their relatives who struggle against the disappearance of the body, always having incessantly to produce the social appearance of the memory of its disappearance” (2004, 25). Is there an image, a filmic image, for the kind of irruption Nelly Richard describes—the appearance of a disappearanc

意見一致

Reenact, Reimagine: Performative Indigenous Documentaries of Bolivia and Brazilary, and post-colonial video practices that have been generated by and within its indigenous communities in recent decades. Their production and circulation processes have been of more interest to visual anthropologists under the rubric “indigenous media,” which I will refer to as specific forms of

雜色

祖?zhèn)?/a>

膠水