Affecting the Conflict: Mediations of the Colombian War in Contemporary Art and FilmThis book focuses on the art and films produced between the years 2002 and 2017 in relation to the Colombian armed conflict. It asks the following questions: How have contemporary art and film addressed the Colombian conflict? What are the contributions of these forms of visual culture to the memorialization of the armed conflict and the overcoming of its negative legacies? The main goal is to understand the ways in which contemporary art and film contribute to the historical and social transformations that Colombian society needs to undertake if it is to move beyond the violence and trauma of an internal war that has gone on for over fifty years and produced at least six million victims. The main claim is that the artworks and films in question mediate the conflict rather than represent it. In other words, they bridge the distance between their urban audiences and the predominantly rural conflict. Paying heed to the "affective turn" of the humanities and social sciences, the book also claims that this mediation consists, first and foremost, an affective engagement with the conflict's history, events, and victims. This affective engagement counters the apathy toward and removal from the conflict that has predominated in Colombian urban sectors. Thus, the singularity of this book lies in the fact that it studies a topic that has not been adequately addressed within English-speaking academia, as well as in its cross-media and interdisciplinary scope. Moreover, it is noteworthy for the originality of its approach and, especially, its attention to affect. |
Contents
Chapter | 1 |
Chapter | 35 |
Chapter Three | 67 |
Chapter Four | 99 |
Cinematic Powers | 133 |
Conclusion | 165 |
| 203 | |
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Common terms and phrases
aesthetic affective intensity affective tone agency Aliento armed conflict artists artworks and films assemblage aware body body’s Bogotá camera Carlos Gaviria Chapter character cinematic images Ciudad Bolívar Colombian armed conflict Colombian cinema Colombian society Colombian viewers concept contemporary context country’s critical Deleuze Deleuze’s desaparecidos discourse discursive frames displaced Doris Salcedo elements emerge engagement ethical ex-combatants exhibition experience feeling Ferrari Figure film’s filmmakers forces genre Gilles Deleuze González guerra guerrilla haptic Image courtesy indexicality installations Izquierdo Juan Manuel Echavarría Mañe mar de mentiras María José Arjona mass media mediation mediatory function modulate Morelos Morelos’s Muñoz narrative Noviembre objects Ondas Oscar Oscar Muñoz Palacio events paramilitary peasant performance photographic political cinema political violence Porfirio present produced prompted refers relation representation Retorno Retratos road movie sense sequence sirga social sombra space story sublime Tejedores de historias temporal tension thriller genre Tiempo medio tierra victims violence and suffering violencia work’s