التفاصيل البيبلوغرافية
| العنوان: |
Memory and subjectivities in the Colombian documentary of the 21st century ; Memoria y subjetividades en el documental colombiano del siglo XXI ; Mémoire et subjectivités dans les films documentaires colombiens du 21e siècle ; Memoria e soggettività nel cinema documentario colombiano del XXI secolo ; Memória e subjetividades nos filmes documentários colombianos do século XXI |
| المؤلفون: |
Beltrán Zerda, María Catalina |
| المصدر: |
ACTIO Journal of Technology in Design, Film Arts and Visual Communication; Vol. 8 No. 1 (2024); 77-96 ; ACTIO Journal of Technology in Design, Film Arts and Visual Communication; Vol. 8 Núm. 1 (2024); 77-96 ; 2665-1890 |
| بيانات النشر: |
Universidad Nacional de Colombia |
| سنة النشر: |
2024 |
| المجموعة: |
Universidad Nacional de Colombia: Portal de Revistas UN |
| مصطلحات موضوعية: |
cine documental, subjetividad, memoria individual, memoria colectiva, documental colombiano, siglo xxi, documentary cinema, subjectivity, individual memory, collective memory, Colombian documentary, filme documentário, subjetividade, memória individual, memória coletiva, documentário colombiano, século XXI, film documentaire, subjectivité, mémoire individuelle, mémoire collective, documentaire colombien, 21ème siècle, film documentario, soggettività, memoria individuale, memoria collettiva, documentario colombiano, XXI secolo |
| Time: |
21st century |
| الوصف: |
The history of Colombian documentaries has been strongly linked to processes of memory recovery and analysis of the country's reality and history. In the 20th century, the genre had mainly two approaches: one institutional and propagandistic and the other one of social denunciation and political commitment, both with the pretension of achieving objective narratives, based on the principle of cinematographic reality. The first one characterized the national documentary from its beginnings, in the productions of the pioneers who followed an eminently informative and advertising line, and predominated during the first half of the century. During the sixties and seventies, the Colombian documentary found a new way of exposing social and political conflicts, in accordance with the postulates of the new Latin American cinema. In the following two decades, with the rebirth of Colombian cinematography, documentary filmmakers tried to embrace more universal stories, while seeking new models of independent production. In the first decades of the 21st century, Colombian documentary filmmakers have become interested in subjective and intersubjective narratives and aesthetics, seeking the recovery of memory through individual gazes and voices, and trying to reconstruct a country's story through the personal points of view of the filmmakers and their protagonists. In this article we will understand this shift as a transgressive response to the attempts of objectivity in film language and homogenization of cultural identity and memory of the nation, which characterized the genre during the twentieth century and is currently manifested in intimate and polyphonic documentaries. ; La historia del documental colombiano ha estado fuertemente ligada a procesos de recuperación de memoria y análisis de la realidad y de la historia del país. En el siglo xx, el género tuvo principalmente dos enfoques: uno institucional y propagandístico y otro de denuncia social y compromiso político, ambos con la pretensión de lograr narraciones ... |
| نوع الوثيقة: |
article in journal/newspaper |
| وصف الملف: |
text/html; application/pdf |
| اللغة: |
Spanish; Castilian |
| Relation: |
https://revistas.unal.edu.co/index.php/actio/article/view/115428/92512; https://revistas.unal.edu.co/index.php/actio/article/view/115428/92513; https://revistas.unal.edu.co/index.php/actio/article/view/115428 |
| الاتاحة: |
https://revistas.unal.edu.co/index.php/actio/article/view/115428 |
| Rights: |
Derechos de autor 2024 ACTIO Journal of Technology in Design, Film Arts and Visual Communication |
| رقم الانضمام: |
edsbas.E590ED9F |
| قاعدة البيانات: |
BASE |