Transnational Memories and Post-Dicatorship Cinema: Brazil, Chile and Argentina

Acknowledgements
Contents
1 Introduction: Cinemas of Memory
	The Meanings of Memory: A Brief Discussion
	How Are Memories Cultural, Mediated, Transnational and Transcultural?
	Aims, Theoretical Framework and Structure of This Book
	A Note on Trauma
	References
2 Memory Frameworks: Dictatorship and Transition in the Countries of the Southern Cone
	The Movement of Exiles Across National Borders
	Transnational Campaigns of State Repression
	Transnational Networks of Solidarity and Human Rights
	Transition to Democracy
	Argentina’s Ruptured Transition
	Chile’s Ambiguous Path to Democracy
	Brazil’s Unfinished Mourning
	Frameworks for Remembering the Dictatorial Past
	Salvation and Demons
	The Humanitarian Framework
	The Framework of Oblivion
	Unsatisfied Memory: New Questions, New Demands
	Concluding Remarks
	Notes
	References
3 The Rise of the Witness: The Informative Mode of Cinematic Remembering
	Cazadores de utopías: Confronting the ‘Two Demons’
	Hércules 56’s Shared Remembrance of the Armed Struggle
	Concluding Remarks
	Notes
	References
4 How We Remember: The Reflective Mode of Cinematic Remembering
	Guzmán’s Passion for Memory
	Evidence and Emotion in La ciudad de los fotógrafos
	Making the archive speak in Retratos de identificação
	Prisoner Mugshots, Biopolitics and Thanatopolitics
	Concluding Remarks
	Notes
	References
5 The Screened Self: The Diaristic Mode of Cinematic Remembering
	Filming Absence in El (im)posible olvido
	Reconfiguring Trauma in El color del camaleón9
	Inaccessible Pasts in Fico te devendo uma carta sobre o Brasil
	Concluding Remarks
	Notes
	References
6 Imagined Pasts, Possible Futures: The Playful Mode of Cinematic Remembering
	Autofiction and Sensory Memory in Deslembro
	Performing Trauma in Teatro de guerra
	Playing the Witness in Ana. Sem título
	Concluding Remarks
	Notes
	References
7 Conclusion
	References
Index