Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The aim of this article is to analyse how collective memory is built around the Holocaust and the Nakba, and how they are represented in the context of the Palestinian-Israeli conflict, focusing on the cinematographic phenomenon and the political and identity conflict. Hence, the documentary Route 181, fragments d’un voyage en Palestine-Israël (Eyal Sivan and Michel Khleifi, 2003) and its intertextuality with the film Shoah (Claude Lanzmann, 1985) will be analysed, delineating the theoretical framework for the study of nations and the construction of narratives and collective memories, paying particular attention to the issue of cinematic production as a way of representing the past. It will delve into the conflict that emerged after the release of Route 181, addressing the critiques made by Alain Finfielkraut and the dispute brought to trial in 2006 by Sivan, as they were part of the battles for memory and the reification of the past in the context of the Israel-Palestine conflict. In this sense, the film’s readings respond to the national communities’ narrative frameworks, and they become key sources for understanding memory’s complexities and national struggles. In order to understand historically this problematic, it will be analysed the role of the Holocaust and the Nakba within collective memories and their importance in the articulation of arguments and discourses during the trial. Therefore, this conflict works as a specific case study over concrete dynamics within the Israeli-Palestinian conflict.

This article traces the metamorphosis of police surveillance’s strategies in the files of the Intelligence Bureau of the Buenos Aires’ Province Police department, where it can be observed how these surveillances changed their focus from the individual to the film content, thus censoring many films exhibited at the Mar del Plata International Film Festival. These files are inscribed within the Cold War political context, marked by Communist ideological repression. The comprehensive study of these archives led us to concentrate on the analysis of the manoeuvres, techniques and the specific language used in these files, which made us aware of the metamorphosis that has reorganised the space and the actors of the Argentine film industry

This paper is the result of a research process spanning several years at the German Federal Archives. It addresses the relationship established between Falange Española Tradicionalista y de las JONS through the Spanish American Cinematography (CEA) production company and the European film consortium Tobis-Klangfilm, which aimed to secure cinematographic propaganda for the military rebellion of July 18, 1936, against the Second Spanish Republic. The Falange’s strategy implemented with the German film industry to produce short films, documentaries and propaganda newsreels is of great importance for Spanish film history. Its description and analysis provide a basis from which to understand in greater depth the character and functioning of the official film agreements signed by Franco’s Spain and the Third Reich during the Spanish Civil War (1936-1939). Equally, it helps to study the development of their cinematographic relationship after the end of the Civil War. Accordingly, this paper sheds light on the production process of some Falange short films and tries to give answers to some open questions regarding the documentaries Arriba España! and Romancero marroquí.