Politicize from the invention (of the movement): documentary effects in the animation of Córdoba (Argentina)

The animation It is configured from a macro-operation that implies the illusion of movement in a frank way, appealing to different languages and putting significant matter in tension from an exercise that weakens the possible borders between the real & the fictional (its categories and genres) while combining technical-aesthetic exploration. The ubiquity of the phenomenon makes its exploration complex, however, in this work the interest lies in the interrogation about the modalities used to make visible (in general from the denunciation) socio-political situations of exclusion and vulnerability of rights.  

A cartography (never exhaustive) of the contemporary discursivities that used animation (from language and device) to thematize socio-political events expanded, stressing the realism with some recurrence. The review that is shared focuses its attention on the post 2010 production of Córdoba (Argentina) in which very diverse experiences were intermingled in terms of professional skills that were updated; constructions in which institutional or community enunciation was habitual; and that they dialogued with other images (live action, for example) to generate an effect of reality. 

A plural and complex agenda of questions about the social and evocations of the past burst into the animation of Cordoba, highlighting topics such as the denunciation of the policies and actions of the last military dictatorship in Animating memory(s), a vindication of the history of local unionism in La Falda The political program of the workers, the dramatic consequences of the 2015 floods in the Sierras Chicas in Unquillo emerges, and the implementation of the Foul Code in the capital city that promotes the exclusion of vulnerable groups in My cap shines, what is reality, what is fantasy, what is illusion?, among other. These animated works, which began to circulate from the second decade of the 21st century, have materialized various operations that put the imagined “real” in tension and where the effects of indexicality were not indifferent.

Author: Cristina Andrea Siragusa.