Advertisement

Conversations about the Communication Media

  • Susana Kaiser
Part of the Palgrave Studies in Oral History book series

Abstract

I have shared what participants knew about the dictatorship and how this knowledge seemed to be shaping their opinions and actions. But how did they learn what they knew? How do we identify which sources transmitted the memories that shaped their representations of this past? How do we recognize the realms of memory that codify and symbolize it? Among fears and silences, and in a fragmented and decontextualized mode, the past had made it into the present. How this happened is the question that the following pages seek to answer.

Keywords

Young People Public Sphere Television Program Popular Music Talk Show 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes

  1. 1.
    John Downing’s work has been invaluable for my research on issues regarding alternative media, communication under totalitarian regimes, and media as a tool of resistance. See John Downing, Radical Media: Rebellious Communication and Social Movements (Thousand Oaks, CA: Sage Publications, 2001).Google Scholar
  2. 5.
    See Anderson, Imagined Communities; Daniel Dayan and Elihu Katz, “Defining Media Events: High Holidays of Mass Communication,” in Television: The Critical View, ed. Horace Newcomb (New York: Oxford University Press, 1994, 5th edition), 332–351.Google Scholar
  3. 6.
    See Juanjo Igartúa and Darío Páez, “Art and Remembering Traumatic Collective Events: The Case of the Spanish Civil War,” in Collective Memory of Political Events: Social Psychological Perspectives, ed. James W. Pennebaker, Darío Páez, and Bernard Rimé (New Jersey: Lawrence Erlbaum Associates, 1997), 79–101.Google Scholar
  4. 9.
    Yosefa Loshitsky, “Fantastic Realism: Schindlers List as Docudrama,” in Why Docudrama? Fact Fiction on Film and TV, ed. Alan Rosenthal (Carbondale: Southern Illinois University Press, 1999), 357–369;Google Scholar
  5. Miriam Bratu Hansen, “Schindlers List Is Not Shoah: The Second Commandment, Popular Modernism, and Public Memory,” in The Historical Film: History and Memory in Media, ed. Marcia Landy (New Brunswick, NJ: Rutgers University Press, 2000), 201–217. 10.Google Scholar
  6. For journalists’ collaboration with the dictatorship and reproductions from articles in magazines and newspapers during those years see Eduardo Cid Varela, Los Sofistas y la Prensa Canalla (Córdoba: El Cid Editor, 1984);Google Scholar
  7. Eduardo Cid Varela, La Lmbecilizacian de la Mujer (Córdoba: El Cid Editor, 1984).Google Scholar
  8. 16.
    See, among others, Mark C. Carnes, ed., Past Imperfect: History According to the Movies (New York: Henry Holt and Company, 1995);Google Scholar
  9. Marc Ferro and Jean Planchais, Les Médias et L’histoire: Le Poids du Passé Dans le Chaos de L’actualité (Paris: CFPJ, 1997);Google Scholar
  10. Marcia Landy, ed., The Historical Film: History and Memory in Media (New Brunswick, NJ: Rutgers University Press, 2000);Google Scholar
  11. Donald D. Stevens, ed., Based on a True Story: Latin American History at the Movies (Wilmington: Scholarly Resources, 1997).Google Scholar
  12. 17.
    Alan Rosenthal, ed., Why Docudrama? Fact Fiction on Film and TV (Carbondale: Southern Illinois University Press, 1999), xvii.Google Scholar
  13. 19.
    For a detailed account of the ordeal, see Maria Seoane and Hector Ruiz Nuñez, La Noche de los Lápices (Buenos Aires: Editorial Contrapunto, 1986).Google Scholar
  14. 20.
    See Mario Ranalletti, “La constructión del relato de la historia argentina en el cine, 1983–1989,” Film-Historia IX.1 (1999): 3–15, 14.Google Scholar
  15. 21.
    See Pablo Vila, “Rock nacional, crónicas de la resistencia juvenil,” in Los Nuevos Movimientos Sociales: Mujeres, Rock Nacional, ed. Elizabeth Jelin (Buenos Aires: Centro Editor de America Latina, 1985), 83–148;Google Scholar
  16. Susana Kaiser, “Singing, Dancing, and Remembering: The Links Between Music and Memory,” (paper presented at the International Communication Association Conference, San Diego, May 23–26, 2003).Google Scholar
  17. 22.
    See, e.g., Walescka Pino-Ojeda, “A Detour to the Past: Memory and Mourning in Chilean Post-Authoritarian Rock,” in Rockir’ Las Américas, ed. Deborah Pacini Hernandez, Héctor Fernández L’Hoeste, and Eric Zolov (Pittsburgh: University of Pittsburgh Press, 2004), 290–311;Google Scholar
  18. Oren Meyers and Eyal Zandberg, “The Sound-Track of Memory: Ashes and Dust and the Commemoration of the Holocaust in Israeli Popular Culture,” Media, Culture and Society, 24:3 (2002): 389–408.CrossRefGoogle Scholar

Copyright information

© Susana Kaiser 2005

Authors and Affiliations

  • Susana Kaiser

There are no affiliations available

Personalised recommendations