<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0120-159X</journal-id>
<journal-title><![CDATA[Revista Colombiana de Sociología]]></journal-title>
<abbrev-journal-title><![CDATA[Rev. colomb. soc.]]></abbrev-journal-title>
<issn>0120-159X</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional de ColombiaFacultad de Ciencias HumanasDepartamento de Sociología]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0120-159X2017000300083</article-id>
<article-id pub-id-type="doi">10.15446/rcs.v40n1Supl.65908</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[La memoria como búsqueda activa: la transmisión intergeneracional de la experiencia militante en el filme documental Seré millones]]></article-title>
<article-title xml:lang="en"><![CDATA[Memory as active search: the intergenerational transmission of the militant experience in the documentary Seré millones]]></article-title>
<article-title xml:lang="pt"><![CDATA[A memória como busca ativa: a transmissão intergeracional da experiência militante no filme documentário Seré millones]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Paganini]]></surname>
<given-names><![CDATA[Mariana]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Buenos Aires  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Argentina</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2017</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2017</year>
</pub-date>
<volume>40</volume>
<fpage>83</fpage>
<lpage>101</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0120-159X2017000300083&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0120-159X2017000300083&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0120-159X2017000300083&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El presente trabajo se propone analizar el filme documental Seré millones (Neri, Krichmar y Simoncini, 2014) como dispositivo de transmisión de memoria. En él, se recupera la historia de Oscar Serrano y Ángel Abus, militantes del Ejército Revolucionario del Pueblo (ERP), que llevaron a cabo el asalto más grande de la historia argentina al ex Banco Nacional de Desarrollo (BANADE), durante la dictadura del general Alejandro Agustín Lanusse (1971-1973). En primer lugar, se estudia el vínculo entre realidad y representación en el cine documental, a partir de los aportes de Bill Nichols y Jacques Rancière. Luego, se hace un somero recorrido por los distintos momentos del cine documental argentino en las últimas décadas, con el objetivo de dar luz sobre las particularidades del contexto sociocultural en el cual se produjo la película, signado por la estatización de las políticas de memoria y por el fortalecimiento del cine documental en el país. Finalmente, se indaga por la representación del pasado que la memoria propone como obra de arte militante: qué memoria(S) recupera, a través de qué recursos estéticos lo hace y con qué objetivos. Se observa cómo el filme no pretende evaluar críticamente la experiencia revolucionaria setentista, sino transmitir dicha experiencia a las jóvenes generaciones que se están cuestionando el pasado reciente desde su posición presente. En este sentido, se argumenta que el documental puede ser pensado como un trabajo de anamnésis en los términos de Paul Ricoeur, porque el recuerdo es el resultado de una reconstrucción laboriosa que produce una movilización tanto intelectual como afectiva en los sujetos y, a la vez, crea un lazo entre generaciones. Por último, se examina la relación de la película con el cine militante argentino de las décadas de los sesenta y setenta, al problematizar el vínculo entre la intencionalidad de los realizadores y la recepción por parte de los espectadores.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The objective of this paper is to analyze the documentary Seré millones (Omar Neri, Fernando Krichmar and Mónica Simoncini, 2014) as a mechanism for the transmission of memory. The film retells the story of Oscar Serrano and Ángel Abus, militants in the People's Revolutionary Army (ERP), who carried out the largest bank robbery in the history of Argentina against the former National Development Bank (BANADE), during the dictatorship of General Alejandro Agustín Lanusse (1971-1973). In the first place, the article examines the connection between reality and representation in documentary films, on the basis of ideas set forth by Bill Nichols and Jacques Rancière. It then goes on to provide a brief overview of Argentinean documentary filmmaking in the last decades, in order to shed light on the peculiarities of the socio-cultural context in which the movie was made, a period characterized by the transformation of the politics of memory into a question of State and the strengthening of documentary filmmaking in the country. Finally, the article inquiries into the representation of the past provided by memory in the form of a militant work of art: what memory or memories is/are recovered; what aesthetic techniques are employed to do so; and with what objectives. It is possible to conclude that the film's purpose is not to critically evaluate the revolutionary experience of the 1970s, but to convey that experience to younger generations who are inquiring into the recent past from their present. In this sense, it could be argued that the documentary can be seen as a work of anamnesis in Paul Ricoeur's terms, because the memory is the result of a conscientious reconstruction that moves subjects both intellectually and affectively, while creating a bond between generations. To conclude, the article examines the relationship between the movie and Argentinean militant cinema of the 1960s and 70s, through the critical discussion of the link between the intentions of the filmmakers and the reception of the movies by the audience.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Este trabalho se propõe analisar o filme documentário Seré millones (Omar Neri, Fernando Krichmar e Mónica Simoncini, 2014) como dispositivo de transmissão de memória. Nele, recupera-se a história de Oscar Serrano e Ángel Abus, militantes do Exército Revolucionário do Povo (ERP), que realizaram o maior assalto da história argentina ao ex-Banco Nacional de Desenvolvimento (BANADE), durante a ditadura do general Alejandro Agustín Lanusse (1971-1973). Em primeiro lugar, estuda-se o vínculo entre realidade e representação no cinema documentário a partir das contribuições de Bill Nichols e Jacques Rancière. Em seguida, faz-se um breve percorrido pelos diferentes momentos do cinema documentário argentino nas últimas décadas, com o objetivo de esclarecer as particularidades do contexto sociocultural no qual o filme foi produzido, marcado pela estatização das políticas de memória e pelo fortalecimento do cinema documentário no país. Finalmente, questiona-se pela representação do passado que a memória propõe como obra de arte militante: que memória(s) recupera(m), por meio de quais recursos estéticos faz isso e com quais objetivos. Observa-se como o filme não pretende avaliar criticamente a experiência revolucionária setentista, mas sim transmitir essa experiência às jovens gerações que estão questionando o passado recente a partir de sua posição presente. Nesse sentido, argumenta-se que o documentário pode ser pensado como um trabalho de anamnese nos termos de Paul Ricoeur, porque a recordação é o resultado de uma árdua reconstrução que produz uma mobilização tanto intelectual quanto afetiva nos sujeitos e, por sua vez, cria um laço entre gerações. Por último, examina-se a relação do filme com o cinema militante argentino das décadas de sessenta e setenta ao problematizar o vínculo entre a intencionalidade dos realizadores e a recepção por parte dos espectadores.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[arte militante]]></kwd>
<kwd lng="es"><![CDATA[cine documental]]></kwd>
<kwd lng="es"><![CDATA[construcciones identitarias]]></kwd>
<kwd lng="es"><![CDATA[memorias colectivas]]></kwd>
<kwd lng="es"><![CDATA[representaciones]]></kwd>
<kwd lng="es"><![CDATA[transmisión]]></kwd>
<kwd lng="en"><![CDATA[militant art]]></kwd>
<kwd lng="en"><![CDATA[documentary films]]></kwd>
<kwd lng="en"><![CDATA[identity constructions]]></kwd>
<kwd lng="en"><![CDATA[collective memories]]></kwd>
<kwd lng="en"><![CDATA[representations]]></kwd>
<kwd lng="en"><![CDATA[transmission]]></kwd>
<kwd lng="pt"><![CDATA[arte militante]]></kwd>
<kwd lng="pt"><![CDATA[cinema documentário]]></kwd>
<kwd lng="pt"><![CDATA[construções identitárias]]></kwd>
<kwd lng="pt"><![CDATA[memórias coletivas]]></kwd>
<kwd lng="pt"><![CDATA[representações]]></kwd>
<kwd lng="pt"><![CDATA[transmissão]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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