Exhumar pasados, reinventar horizontes: las memorias anarquistas en el documental A cada noche sigue un alba (Cecilia Quiroga y THOA, 1986)

María Aimaretti

doi:10.5354/0719-4862.2019.52425

To exhume past, to reinvent horizons: the anarchist memories in the documentary Every night a dawn follows (Cecilia Quiroga and thoa, 1986)

Authors

María Aimaretti CONICET - Universidad de Buenos Aires

Abstract

Facing with the absence of studies on the La Paz audiovisual field of the eighties; and taking as an empirical case of analysis the video Every night follows a dawn (Cecilia Quiroga and thoa, 1986), this article proposes two correlated objectives: the first, in a historical key, is to reconstruct the motivations and material and discursive conditions that they made it possible; and, the second, in an aesthetic key, to examine the narrative and visual strategies put into play for the representation of the libertarian anarchist movement of the first half of the 20th century in Bolivia, which, prior to the 1952 Revolution, was later ignored in political history and of the bolivian workers The audiovisual emerges in a seismic situation for the workers' movement —in full implementation of the neoliberal model and dismantling of the mining nodes–, drawing on academic research and direct contact with trade union organizations. Made by women, it dares to trace and gather unattended testimonies and scattered experiences of struggle that could renew political and imaginary horizons, demarcating them from the hegemonic logic of the party (mnr), traditional union (cob) and/or patriarchal (world of work=men). The option of privileging those other memories of the revolt and the organization entails the audacity to rethink and represent "new pasts" libertarians whose strength and originality could be updated in the present of danger

Keywords:

Bolivia, Anarchist memory, Documentary Film, Video Makers, Testimony

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