From the early days of the moving image and its recordings of facts and events considered to be historical, followed by the consolidation of the classic narrative cinema grammar in the 1910s reaffirmed until today by ...From the early days of the moving image and its recordings of facts and events considered to be historical, followed by the consolidation of the classic narrative cinema grammar in the 1910s reaffirmed until today by a large part of the television production that turns to the past, without disregarding authorial aesthetic experiences produced especially since the 1920s, history has been present for over more than a century in several types of media. Movie theaters, people＇s homes and, nowadays, thanks to new media technology, any and every place are spaces for projecting historical narratives. They are both entertainment--by deploying strategies for constructing a ＂truth＂ about the past--and critical reflection, going against a belief in that possibility, in rendering explicit their nature as a language. Since all of these narratives presuppose an audience, a public, within different genres, styles and formats, with more realist overtones, more to the general public＇s taste, or anti-naturalist, in experiences for smaller audiences, it seems pertinent to discuss these issues considering that audiovisual narratives are powerful agents in constructing a memory of the past. Particularly in this text, we will examine how the most powerful communication enterprise in Brazil - Global Group - had construct a memory of the Brazilian military dictatorship （1964-1985） until 2016.展开更多
The French novelist Sylvie Germain spent 6 years in Czechoslovakia before, during, and after the Velvet Revolution of 1989 that ended four decades of oppressive totalitarian rule in that country. As a result of her st...The French novelist Sylvie Germain spent 6 years in Czechoslovakia before, during, and after the Velvet Revolution of 1989 that ended four decades of oppressive totalitarian rule in that country. As a result of her stay, Germain produced four texts that are imbued with painful Czech stories and memories of both the Holocaust and the Communist era. This study examines the inscription of Germain＇ s encounter with the （Czech） other into her writing through tropes of exile and dispossession, of the suffering or wounded body, and of illness. Although Germain did not experience either the Holocaust or totalitarianism at first hand, and has moreover no claim to a Czech heritage, I posit that her work can nonetheless be interpreted as a transnational witness to the suffering of the （Czech） other. Using theories of the self and other, as well as theories of exile and of the narration of illness, I discuss how Germain＇s work negotiates the fine line between an appropriation of the stories of the other and an ethical responsibility to respond to other stories of pain.展开更多
文摘From the early days of the moving image and its recordings of facts and events considered to be historical, followed by the consolidation of the classic narrative cinema grammar in the 1910s reaffirmed until today by a large part of the television production that turns to the past, without disregarding authorial aesthetic experiences produced especially since the 1920s, history has been present for over more than a century in several types of media. Movie theaters, people＇s homes and, nowadays, thanks to new media technology, any and every place are spaces for projecting historical narratives. They are both entertainment--by deploying strategies for constructing a ＂truth＂ about the past--and critical reflection, going against a belief in that possibility, in rendering explicit their nature as a language. Since all of these narratives presuppose an audience, a public, within different genres, styles and formats, with more realist overtones, more to the general public＇s taste, or anti-naturalist, in experiences for smaller audiences, it seems pertinent to discuss these issues considering that audiovisual narratives are powerful agents in constructing a memory of the past. Particularly in this text, we will examine how the most powerful communication enterprise in Brazil - Global Group - had construct a memory of the Brazilian military dictatorship （1964-1985） until 2016.
文摘The French novelist Sylvie Germain spent 6 years in Czechoslovakia before, during, and after the Velvet Revolution of 1989 that ended four decades of oppressive totalitarian rule in that country. As a result of her stay, Germain produced four texts that are imbued with painful Czech stories and memories of both the Holocaust and the Communist era. This study examines the inscription of Germain＇ s encounter with the （Czech） other into her writing through tropes of exile and dispossession, of the suffering or wounded body, and of illness. Although Germain did not experience either the Holocaust or totalitarianism at first hand, and has moreover no claim to a Czech heritage, I posit that her work can nonetheless be interpreted as a transnational witness to the suffering of the （Czech） other. Using theories of the self and other, as well as theories of exile and of the narration of illness, I discuss how Germain＇s work negotiates the fine line between an appropriation of the stories of the other and an ethical responsibility to respond to other stories of pain.
