Abstract
Using dialogism and second-order observation, I interrogate how art is mobilized through the lenses of specific film codes and how this encounter frames the interpretation of past violence in two films: Carne de tu carne (Mayolo 1983) and Memoria (Weerasethakul 2020). At the same time, I examine how this encounter disrupts the systemic identity of the two medias, exposed to a complex exchange of meanings. I conclude that both films interrogate the communication of violence through an appropriation of art references. But, while Carne de tu carne develops a political horror genre marked by tremendismo, Memoria explores slow cinema and an imperceptible indexicality language relied to the context of a Global South memorial discourse.
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