{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/manifest.json","@type":"sc:Manifest","label":"Remembering the Remote:  Family, Memory, and Television in Post-Pinochet Chilean Culture","metadata":[{"label":"dc.description.sponsorship","value":"This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree."},{"label":"dc.format","value":"Monograph"},{"label":"dc.format.medium","value":"Electronic Resource"},{"label":"dc.identifier.uri","value":"http://hdl.handle.net/11401/77703"},{"label":"dc.language.iso","value":"en_US"},{"label":"dc.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.abstract","value":"This dissertation explores how television, its programs, its status as a domestic material object, its technologies, and its presence as a motif in literature, TV series and film, contribute to theorizations and representations of memory of the dictatorship in post-Pinochet Chile. At the same time, individual and collective memories affect television\u00e2\u20ac\u2122s representations of the past. Specifically, I look at intersections between familial, generational and medial memory practices of addressing trauma in essays, feature film, television, novels, and documentary films. I identify a range of self-referential and performative techniques of (post)memory particular to the Chilean \u00e2\u20ac\u0153children of the dictatorship.\u00e2\u20ac  Although the texts\u00e2\u20ac\u2122 meta-textual practices range from self-promotional to self-reflexive, all point to art and imagination as therapeutic processes that work through layers of trauma.  The first chapter analyzes Diamela Eltit\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Las dos caras de la Moneda\u00e2\u20ac  through Dori Laub\u00e2\u20ac\u2122s work on witnessing to propose that television serves as a potential witness. Next, I look at the multifaceted role of television in the TV series Los 80 as a porter of restorative and reflective nostalgia (Svetlana Boym). Finally, I apply Allison Landsberg\u00e2\u20ac\u2122s \u00e2\u20ac\u0153prosthetic memory\u00e2\u20ac  to No to discuss the film\u00e2\u20ac\u2122s potential for empathic viewership. Chapter 2 examines practices of collecting in the novels Formas de volver a casa (Alejandro Zambra) and Fuenzalida (Nona Fern\u00c3\u00a1ndez) through Walter Benjamin\u00e2\u20ac\u2122s ideas on collection. The novels\u00e2\u20ac\u2122 meta-textual impulses are examples of the performative index and role of imagination in (post)memory (Marianne Hirsch). These novels consciously highlight the fictionalization of memory and vindicate the perspectives of indirect victims. The third chapter studies (post)memory in the documentaries Mi vida con Carlos (Germ\u00c3\u00a1n Berger-Hertz) and El eco de las canciones (Antonia Rossi) through Jos\u00c3\u00a9 van Djick\u00e2\u20ac\u2122s \u00e2\u20ac\u0153mediated memories\u00e2\u20ac  and Stella Bruzzi\u00e2\u20ac\u2122s \u00e2\u20ac\u0153performative documentary.\u00e2\u20ac  An audiovisual letter, Mi vida performs (post)memory associated with the disappeared through a mixture of documents and media. El eco, an audiovisual diary, employs performative collage aesthetics to process traumas of exile by juxtaposing materials and technologies. In these narratives, TV becomes a tool of memory and healing, as a family companion, a generational marker, and a source of aesthetic material."},{"label":"dcterms.available","value":"2017-09-20T16:53:23Z"},{"label":"dcterms.contributor","value":"P\u00c3\u00a9rez-Melgosa, Adri\u00c3\u00a1n"},{"label":"dcterms.creator","value":"Osborne, Elizabeth"},{"label":"dcterms.dateAccepted","value":"2017-09-20T16:53:23Z"},{"label":"dcterms.dateSubmitted","value":"2017-09-20T16:53:23Z"},{"label":"dcterms.description","value":"Department of Hispanic Languages and Literature."},{"label":"dcterms.extent","value":"286 pg."},{"label":"dcterms.format","value":"Application/PDF"},{"label":"dcterms.identifier","value":"http://hdl.handle.net/11401/77703"},{"label":"dcterms.issued","value":"2015-12-01"},{"label":"dcterms.language","value":"en_US"},{"label":"dcterms.provenance","value":"Made available in DSpace on 2017-09-20T16:53:23Z (GMT). No. of bitstreams: 1\nOsborne_grad.sunysb_0771E_12607.pdf: 137745862 bytes, checksum: 919b482a8c9e9e8fca846ef2011d65cb (MD5)\n  Previous issue date:    1"},{"label":"dcterms.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.subject","value":"Chile, family, hijos de la dictadura, memory, post-dictatorship, television"},{"label":"dcterms.title","value":"Remembering the Remote:  Family, Memory, and Television in Post-Pinochet Chilean Culture"},{"label":"dcterms.type","value":"Dissertation"},{"label":"dc.type","value":"Dissertation"}],"description":"This manifest was generated dynamically","viewingDirection":"left-to-right","sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json","@type":"sc:Canvas","label":"Page 1","height":1650,"width":1275,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/12%2F16%2F86%2F121686961823131147244135085823653615989/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","height":1650,"width":1275,"service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/12%2F16%2F86%2F121686961823131147244135085823653615989","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json"}]}]}]}