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本文考察了近期阿根廷有关后独裁时期的电影中没有得到足够重视的倾向:由第二代电影人2000年后创作的虚构类电影回到了儿童或青少年视点和90年代以前的“过时的”形式。通过对一部能展现这一近来趋向的政治惊悚片——加斯东·比拉文的《禁锢》的关注,这些电影(笔者称其为“标志的虚构”)不应该被读解为当下第二代叙述的常规案例。相反,笔者认为他们恰恰证实了对近代史的表现上存在代内矛盾(尤其是关于20世纪70年代政治活动的表现)。在这些电影中,虚构(及儿童或青少年视角)的使用多考虑象似性(iconicity)而超过指称性(indexicality)——这一象似性的主导地位牵涉到对当代阿根廷来说很关键的意识形态内涵,而且也需要再次审视通过儿童或青少年的镜头来描绘历史这一做法的有效性。
This essay examines the recent tendency of Argentina’s dictatorship films not getting enough attention: the fictional films created by second-generation filmmakers back in 2000 returned to the perspective of children or adolescents and the “old-fashioned” form. These films, which I call “fictitious” signs, should not be read through a focus on the “imprisonment” of Gaston Billan, a political thriller that shows the recent tendency. For the current second generation narrative of the conventional case. On the contrary, the author believes that they have just confirmed the intra-generational contradictions in the performance of modern history (especially regarding the performance of political activities in the 1970s). In these films, the use of fiction (and the perspective of children or adolescents) more than iconicity over indexicality - the dominance of this iconicity involves crucial contemporary Argentina Ideological content, but also the need to re-examine the effectiveness of depicting history through the lens of children or adolescents.