Audífonos de la memoria: música, canciones y archivos en Trelew. La fuga que fue masacre (Mariana Arruti, 2004)

Abstract

Articulating cultural history, popular music studies and film studies, this work addresses the documentary Trelew. La fuga que fue masacre, by argentine director Mariana Arruti, released in 2004, problematizing the semantic and mnemic production that emanates from the crossing of music, songs and archives. Interested in the analysis of its expressive and narrative uses, and its discursive and affective relationship with the political past –controversy, melancholy, mourning, nostalgia, enthusiasm, anger, indignation, sadness–, our reading hypothesis is that in Trelew ... this triangulation it works as an acoustic and intertextual procedure capable of mediating the horizon of meaning, the climate of yesterday and bringing it to the present. The film combines and fuses barricade songs, a cultured piece and another popular: from the interpellation of the referential background –reformulated from the sound and montage work–, music and songs –in dialogue with the archives– function as an acoustic condensation of time and history that makes us sensitive to a certain past. Even more, it makes us sensitive to a fragment of the life of peoples –to something of their vitality and memory.