The Postmodern waters, muddy lands: a study of resistance and memory in Central American documentary film
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| 作者: | |
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| 格式: | artículo original |
| 状态: | Versión publicada |
| Fecha de Publicación: | 2026 |
| 实物特征: | This article explores the relationship between postmodern temporality, memory and generations in recent Central American documentary cinema, analyzing water sequences in five films -Palabras mágicas (para un encantamiento), Invasión, Heredera del viento, La Asfixia and El silencio del topo. Water is proposed in operation as a postmodern allegory, revealing folds and resistances that challenge the political project of time extinction and institutional oblivion. Drawing on Jameson, Rodríguez, and Ginzburg's “free direct discourse” as testimony to the affectivity of the times, I argue that these films reject postmodern presentism while reflecting the experience of a generation inheriting a truncated revolutionary project. In contrast to the stability of the earth, water functions as an allegory of the unstable and the fluid, qualities that reflect postmodern temporality and the tensions of a memory caught between the modern and the postmodern. Finally, it is argued that this lack of projection into the future responds to the dissolution of the nation-state driven by neoliberalism, consequently eroding the revolutionary “social love” that once sustained the idea of a collective prospect in Central America. |
| País: | Portal de Revistas UCR |
| 机构: | Universidad de Costa Rica |
| Repositorio: | Portal de Revistas UCR |
| 语言: | Español |
| OAI Identifier: | oai:portal.revistas.ucr.ac.cr:article/10530 |
| 在线阅读: | https://revistas.ucr.ac.cr/index.php/restudios/article/view/10530 |
| Palabra clave: | temporality postmodernity collective memory documentary cinema future temporalidad posmodernidad memoria colectiva cine documental futuro |