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A favor y en contra de la Historia. El cine moderno y el pueblo que falta o el derrumbe de los esencialismos

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Abstract 

The freshness of the new waves actually began as a breath of memory and History. For a generation of filmmakers in the sixties, the irruption of Modernity should not mean forgetfulness, the cult of the ephemeral or the delocalised. On the contrary, working with the remains of the IIGM and in a climate of strong geopolitical tension and major social changes, especially in Europe, such filmmakers, distrusting, did not want to forget past or present wounds, they re-opened reopened them against the amnesic consensus inherent of the days of “progress”. They set out to criticize the great ideals that began to wither on the horizon of the great social transformations of the post-war period and pleaded for the creation of new ones through the use of images.

Key words 

New Waves, memory, sixties, Jean-Luc Godard, Pier Paolo Pasolini.

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