Abstract
This article confronts two films about the request for a European passport by a Latin American citizen:Um Passaporte Húngaro(A Hungarian Passport, 2001) andEl abrazo partido(Lost Embrace, 2003). Both films deal with memory of the Jewish-Latin American migration that took place within the context of the Holocaust, and both gear this problematic towards other, more contemporary, stories of displacement. It is argued that this multidirectional quality operates in two ways in relation to the concept of nationality: whereas one film puts it to work in order to critique and deconstruct the nation (centrifugal logic), the other uses it to opposite effect: to reaffirm and rebuild it (centripetal logic).
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 callDisclaimer: 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.
