la historia oficial analysis
Of the films I have taught several times, perhaps Luis Puenzo’s La historia oficial (The Official Story. Not only does the truth behind her origin drive Alicia throughout the film, pushing the protagonist to actively attempt to reestablish order and virtue amid difficult circumstances, but Gaby’s innocence operates as a moral ground zero. Since Gaby is now five years old and Alicia has no idea where she We may still teach Spanish (as well as several other languages, depending on the department), but our upper-division courses look little like those of the past, even those of my own increasingly less recent undergraduate experience in the late-1990s and early-2000s. mother serves no solid purpose yet Alicia must do this, for peace of mind. Última dictadura militar: el torturador y el tortu... "Las Islas", obra de Carlos Gamerro, dirigida por ... Análisis del cuento “Geografías”, de Mario Benedetti. situation which she knows will be destructive. A thoroughly humanistic tale, which only tangentially makes political points, Here, it is also useful to point out that Clara Kriger notes in her “La historia oficial/The Official Story” that the film was a hit at the domestic box office, but not quite at the level of Ghostbusters (dir. Remote interviews: How to make an impression in a remote setting records, contesting that history is written by assassins (such as the military)  And by melodrama I mean to appeal to the mode, broadly speaking, as well as the specific ways in which it was practiced in the early-1980s, especially in Argentina. solved), leaving us desperate for further information (see Las Madres de la Aleandro is superb as a typical middle-class woman who finds that It is rather the criminal who has the problem here. It is a mundane scene in which Alicia and the maid Rosa (Laura Palmucci) hurriedly prepare the young girl for bed, as her father has yet to return from work.  The tremors of social and political change are felt in the film by its emblematic family, the Ibáñez. His work has appeared in several edited volumes, as well as journals like Arizona Journal of Hispanic Cultural Studies, Cinema Journal, and Journal of Latin American Cultural Studies. The cumulative impact of small details and incidents is devastating, slowly Her birth parents, brutally murdered by the military dictatorship, will never return. Gaby is a motivating melodramatic device in La historia oficial. Her adoptive parents, active (Roberto) and passive (Alicia) supporters of that sanguinary regime, are accomplices. Detached not only from the lived experience of the dictatorship, but also from deep historical contextualization, my students have had apolitical reactions to a decidedly political situation. Her innocence is lost, never to be recovered. The ways in which melodrama and history function in La historia oficial have made the film particularly difficult for me to teach in the context of both language and film classes. Having been taken by Alicia from the home to her grandparents’, Gaby is oblivious to the brutality inflicted upon her mother by her father. Misunderstanding the This is a study guide on the film La Historia Oficial by Luis Puenzo. dir. This opens the film to critique. In The Cinema of Latin America, eds. children, after they were grabbed by the military. Only one example of a resurgent discourse of impunity, the editorial has stoked fears that Macri will block further investigation into the atrocities of the Guerra Sucia. It is not, as both a colleague and a student separately commented to me, a “serious” film like those of the New Argentine Cinema. Torturas, Exiliados, Desaparecidos. Drawing on my own interdisciplinary intellectual formation, I teach a wide range of texts of cultural production in my courses. In a certain sense, these separate but connected aspects of La historia oficial are illustrative of the difficulties of teaching any kind of industrial representation of a historical tragedy like the Guerra Sucia. down scraps of hospital records and witnesses to Gaby's birth. Thomas J. Blommers. dir. In either instance, melodrama is seen as somehow inappropriate. Esta investigación se ve interrumpida por su marido, Roberto, que con su carácter y posición dominantes, niega la posibilidad de que su hija sea robada y dificulta la búsqueda. She may not yet know that everything has irreparably changed, but the viewer does. In the United Kingdom, it was released as The Official Version. Sumado a que sus alumnos aportan información sobre los desaparecidos, que era el problema social de más importancia en esa época, ella siente la necesidad de buscar el verdadero origen de su hija, ya que la invade la culpa y el dolor. Roberto, un empresario vinculado con el poder militar, y Alicia, profesora de historia, son los padres adoptivos de Gabriela, una nena que a lo largo del relato se descubrirá que es hija de desaparecidos y, que en realidad le fue quitada por la fuerza a sus verdaderos padres y no legítimamente como lo aseguraba. melodrama. This is, of course, a naïve understanding of the possibilities of melodrama, particularly regarding political and social critique. And what are the implications of both? It is ideal for teaching this film as one of the prescribed cultural topics for the Edexcel A Level qualification. The students are routinely disbelieving of written Quien descubre esta verdad fue Alicia, ya que al encontrase con una amiga que, durante el período represivo, fue secuestrada y torturada por los militares, le ayuda a abrir los ojos y ella comienza a sospechar. The acting is generally excellent, illustrating the fluidity of the Andermann states that this cinema “us[es] a rather conventional formal language in order to forge an equally nebulous social consciousness around core values associated with democracy and human rights, but without identifying or discussing the political identities and logics of either victims or perpetrators of state terror.” Students—who are conditioned to hear “both sides” of an issue (e.g., making more than two sides an impossibility) no matter its complexity or the legitimacy of a position (i.e., not every side is worth paying attention to)—appreciate the nebulous social consciousness of La historia oficial in a similar manner to Goodman, who states in his review “Beside ‘The Official Story,’ most of the political movies of recent years seem tub thumpers and point pounders. Repudiated publicly by scores of its own staff, the editorial argues, “A day after the citizenry voted for a new government, the thirst for revenge should be buried forever at last.” As well as calling for the cessation of investigation into perpetrators of state terrorism, it also revives the so-called teoría de los dos demonios or “two-demons theory” in which the violence of leftist “subversives” is equated with that committed by the State, which is justified as a result.
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