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Sonorous memory in Jonathan Perel’s El predio (2010) and Los murales (2011)

Citation: Geraghty, Niall HD (2018) Sonorous memory in Jonathan Perel’s El predio (2010) and Los murales (2011). Memory Studies . ISSN 17506999

1750698018790120.pdf

Creative Commons: Attribution-Noncommercial 4.0

Throughout his filmic production, Argentine director Jonathan Perel has demonstrated strict adherence to a unique aesthetic programme in which human agents appear to have only a minimal role. Each film contains only diegetic sounds and consists of fixed shots of architectural spaces and objects closely associated with the most recent Argentine military dictatorship (1976–1983) and recent attempts to memorialise the atrocities they committed. Through the close analysis of Perel’s first two films – El predio (2010) and Los murales (2011) – this article focusses on Perel’s highly distinctive use of environmental sound and argues that they are, in fact, uniquely musical works. Drawing on the work of John Cage, Michel Chion, Deleuze and Guattari, and Doreen Massey, the article proposes that Perel manipulates sound in order to situate debates over the memorialisation of recent atrocities in a perpetual present and thus critique contemporary abuses of power in Argentina.

Creators: Geraghty, Niall HD (0000-0003-4144-8672) and
DOI: https://doi.org/10.1177/1750698018790120
Official URL: https://journals.sagepub.com/doi/10.1177/175069801...
Subjects: Culture, Language & Literature
Keywords: Argentina, Jonathan Perel, memorialisation, memory and politics, military dictatorship, sound in cinema
Divisions: Institute of Latin American Studies
Dates:
  • 2 February 2018 (accepted)
  • 19 August 2018 (published)

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