Abstract
This article seeks to analyse how two recent Portuguese films, 48 (2009) by Susana Sousa Dias and A Toca do lobo (2015) by Catarina Mourao, address the challenge of the absent image and the « non-inscription » of the memory of dictatorship in Portuguese society. The esthetical and political scope of the cinematographic strategies used to represent repressed memories is grasped with the help of two key concepts: the archive of the sensible and transmemory. On the one hand, through its subjective and interval-based logic, the archive of the sensible allows us to understand forms of cinematographic memory making which do not replace an “absence” with a “presence, avoiding the effects of overdetermined identification or a patrimonialisation of memories. On the other hand, by opening memorial transmission beyond postmemory to non-linear temporal and spatial relations, transmemory accounts for the fictional dimension at work in the subjective appropriation of the past in the present. In both cases, truly canonical documentary form is displaced.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: HAL (Le Centre pour la Communication Scientifique Directe)
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
