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For roughly two decades after the collapse of the military regime in 1983, testimonial narrative was viewed and received as a privileged genre in Argentina. Today, however, academics and public intellectuals are experiencing "memory fatigue," a backlash against the concepts of memory and trauma, just as memory and testimonial films have reached the center of Argentinian public discourse. In Rethinking Testimonial Cinema in Postdictatorship Argentina, Verónica Garibotto looks at the causes for this reticence and argues that, rather than discarding memory texts for their repetitive excess, it is necessary to acknowledge them and their exhaustion as discourses of the present.By critically examining how trauma theory and subaltern studies have previously been applied to testimonial cinema, Garibotto rereads Argentinian films produced since 1983 and calls for an alternate interpretive framework at the intersection of semiotics, theories of affect, scholarship on hegemony, and the ideological uses of documentary and fiction. She argues that recurrent concepts-such as trauma, mourning, memory, and subalternity-miss how testimonial films have changed over time, shifting from subaltern narratives to official, hegemonic, and iconic accounts. Her work highlights the urgent need to continue to study these types of narratives, particularly at a time when military dictatorships have become entrenched in Latin America and memory narratives proliferate worldwide. Although Argentina is Garibotto's focus, her theory can be adapted to other contexts in which narratives about recent political conflicts have shifted from alternative versions of history to official, hegemonic accounts-such as in Spanish, Chilean, Uruguayan, Brazilian, South African, and Holocaust testimonies. Garibotto's study of testimonial cinema moves us to pursue a broader ideological analysis of the links between film and historical representation.

Motion pictures --- Political violence in mass media. --- Cinéma --- Violence politique --- History. --- Histoire. --- dans le cinéma.

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This book explores the ways films made by Latin American directors and/ or co-produced in Latin American countries have employed the road movie genre to address the reconfiguration of the geographical, sociopolitical, economic, and cultural landscape of the region. With a corpus of more than two hundred films, Latin American road movies have achieved a high profile in the last two decades at major film festivals and profitable results at the box office. The Latin American Road Movie’s twelve essays traverse diverse cinematic routes and cover extensive geographical landscapes from a common point of departure: The traveling narrative of the road movie and its focus on crossing borders—physical, metaphorical, theoretical—make the genre ideal for reexamining the ideological grounds of national and regional discourses. .

Sociology of culture --- Didactics of the arts --- Ethnology. Cultural anthropology --- Mass communications --- Film --- History --- filmgeschiedenis --- etnologie --- communicatie --- cultuur --- film --- geschiedenis --- culturele antropologie --- Amerikaanse cultuur --- United States of America --- America --- Latin America