Who is going to film History? Artifice and heterochrony in Benjamin Naishtat's El movimiento
¿Quién va a filmar la Historia? Artificio y heterocronía en El movimiento de Benjamín Naishtat
Quem vai filmar a história? Artifício e heterocronia em El Movimiento de Benjamín Naishtat
| 2022 | |
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argentine cinema latin american cinema artifice heterochrony spaciality cine argentino cine latinoamericano artificio heterocronía espacialidad cinema argentino cinema latino-americano artifício heterocronia espacialidade |
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| Español | |
| Universidad Católica del Uruguay | |
| LIBERI | |
| https://revistas.ucu.edu.uy/index.php/revistadixit/article/view/2790 | |
| Acceso abierto |
| Sumario: | El movimiento (2015) by Benjamín Naishtat is part of a constellation of recent Argentine and Latin American films that deal with the historical past, but far from being based on a plausible representation of the period, it puts the illusionist nature of the classical narrative in crisis. With the aim of thinking about the communicating vessels that El movimiento establishes with the history and present of Argentina, this article not only contemplates the discursive constructions, but especially the material surface of its images and sounds. Naishtat's film, through a series of formal operations that exacerbate artifice, composes an abstract space and a broken temporality made of anachronisms. It is a procedure of estrangement: it attempts to trace another path, another territory, and other rhythms of time. It confronts a narrative’s form: the celebrations of the Bicentennial and the objectivist visions of certain period cinema to crystallize Argentine history. |
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