You Will Recognize Them by Their Fruits. Perpetrator documents and victim voices in Portraits of Identification (Anita Leandro, 2014)
##plugins.themes.bootstrap3.article.main##
##plugins.themes.bootstrap3.article.sidebar##
http://orcid.org/0000-0002-4053-4440
Abstract
In recent years, the study of perpetrators of mass violence has grown substantially in academic publications, museums, memoirs, and the media. This has been done beyond the dependence on the influential and highly developed Holocaust Studies. In addition, the horizons of this research field have broadened from the analysis of singular personalities and the destruction machinery to the closer study of the documents, objects and the gaze of the perpetrators. It is in this domain that a film such as Portraits of Identification by Anita Leandro (2014) is inscribed. The documentary, born of its author’s historical research, rewrites the visual and material documents of the perpetrators of the first publicly reported case of torture in Brazil in 1969 through the use of editing and montage. By bringing together present testimonies, militant films from the 1970s, police photographs and the autopsy of a prisoner who died under torture, Anita Leandro joins this trend of film documentary that, in the wake of Harun Farocki and Chris Marker, consists in interrogating and analyzing the images by means of other images.
How to Cite
##plugins.themes.bootstrap3.article.details##
torture, perpetrator images, documentary, brazilian dictatorship
Améry, J. (1995[1966]). Par-delà le crime et le châtiment. Essai pour surmonter l’insurmontable. Arles: Actes Sud.
Bastos, M.T.F. (2009). Fotografia e Comunismo: imagens da Polícia Política no Arquivo Público do Estado do Rio de Janeiro, ANPUH – XXV Simpósio nacional de história. Fortaleza.
Bastos, M.T.F. (2010). Imagens secretas: fotografias da Polícia Política no acervo do Arquivo Público do Estado do Rio de Janeiro. Revista do arquivo geral da cidade do Rio de Janeiro,4, 31-49.
Costa Pereira, L.L. (2014). Nos arquivos da polícia política. Reflexiões sobre uma experiencia de pesquisa no DOPS do Rio de Janeiro. Acervo, Rio de Janeiro, 27(1), 254-267.
Hirsch, M. (2001). Surviving Images: Holocaust Photographs and the Work of Postmemory. The Yale Journal of Criticism, 14(1), 5-37.
Leandro, A. (2015a). Montagem e História: una arqueologia das imagens da repressão. En A. Brandão y R.L. De Sousa (Eds.), A sobrevivência das imagens (pp. 103-119). Campinas: Papirus.
Leandro, A. (2015b). Cinema do exílio. Entrevista com Luiz Alberto Sanz e Lars Säfström. Aniki, 2(2), 349-359.
Leandro, A. (2016). Os acervos da ditadura na mesa de montagem. Logos 45, 23(2), 103-116.
Lessa Filho, R. (2019). Retratos de identificação: a imagem-arquivo como morada da memória. Significação, 46(52), 101-125.
Machado, P. (2013). Imagens que faltam, imagens que restam: a tortura em Cabra marcado para morrer. Significação, 42(44), 271-293.
Machado, P. (2016). Imagens que restam: a tomada, a busca dos arquivos, o documentário e a elaboração de memórias da ditadura militar brasileira (Tesis Doctoral inédita). Universidade Federal do Rio de Janeiro, Rio de Janeiro.
Machado, P.M. (2017). Trânsito de memórias: tomada e retomada de imagens do exílio durante a ditadura militar brasileira. Significação, 44(48), 202-222.
Motta, R.P.S. (2011). Repressão e resistência no Brasil. Diálogos, 15(2), 331-336.
Nercesian, I. (2006). Organizaciones armadas y dictadura institucional. Fermentum, 16(46), 446-480.
Passerini, L. (2018). Conversations on Visual Memory. Florencia: European University Institute.
Ramos Monteiro, L. (2017). A estética da “fotografia animada” na criação contemporânea: desarquivamento, colocação em movimento, escrutínio analítico, montagem, escuta e projeção de imagens de arquivo. Significação, 44(47), 239-257.
Risso Sales, C., y Martins Filho, J.R. (2018). The Economist and Human Rights Violations in Brazil During the Military Dictatorship. Contexto Internacional, 40(2), 203-227.
Sánchez-Biosca, V. (2021). La muerte en los ojos. Qué perpetran las imágenes de perpetrador. Madrid: Alianza.
Sekula, A. (1986). The Body and the Archive. October, 39, 3-64.
Zelizer, B. (2010). About to Die. How Images Move the Public. Nueva York: Oxford University Press.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
The contents of Papeles de Identidad are distributed, since 2024, under the license Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0)
You are free to:
- copy, distribute and publicly communicate the work
Under the following conditions:
- Attribution — You must give appropriate credit , provide a link to the license, and indicate if changes were made . You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
- NonCommercial — You may not use the material for commercial purposes.
- NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material.
Understanding that:
- Waiver — Some of these conditions may not apply if permission is obtained from the copyright holder.
- Public Domain — Where the work or any element of the work is in the public domain under applicable law, this is not affected by the license.
- Other rights — The following rights are not affected by the license in any way:
- Rights arising from lawful uses or other limitations recognized by law are not affected by the foregoing.
- The moral rights of the author;
- Rights that may be held by others in the work itself or its use, such as image or privacy rights.
- Notice — When reusing or distributing the work, you must make clear the terms of the license of this work.
The author may make free use of his/her article, always indicating that the text has been published in Papeles de Identidad since the University of the Basque Country retains the copyright. Any re-publication of the article must be, as well, authorized by the journal.