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1981
Volume 21, Issue 1
  • ISSN: 1474-2756
  • E-ISSN: 2040-0578

Abstract

Using dialogism and second-order observation, I interrogate how art is mobilized through the lenses of specific film codes and how this encounter frames the interpretation of past violence in two films: (Mayolo 1983) and (Weerasethakul 2020). At the same time, I examine how this encounter disrupts the systemic identity of the two medias, exposed to a complex exchange of meanings. I conclude that both films interrogate the communication of violence through an appropriation of art references. But, while develops a political horror genre marked by explores slow cinema and an imperceptible indexicality language relied to the context of a Global South memorial discourse.

Funding
This study was supported by the:
  • The Instituto Distrital para las Artes de Bogotá
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2024-05-08
2026-04-11

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