<?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>0122-8285</journal-id>
<journal-title><![CDATA[Palabra Clave]]></journal-title>
<abbrev-journal-title><![CDATA[Palabra Clave]]></abbrev-journal-title>
<issn>0122-8285</issn>
<publisher>
<publisher-name><![CDATA[Universidad de La Sabana]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0122-82852018000200410</article-id>
<article-id pub-id-type="doi">10.5294/pacla.2018.21.2.7</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[El silencio de la representación: la imagen de las víctimas en el cine afgano postalibán]]></article-title>
<article-title xml:lang="en"><![CDATA[The Silence of Representation: The Image of Victims in Post-Taliban Cinema in Afghanistan]]></article-title>
<article-title xml:lang="pt"><![CDATA[O silêncio da representação: a imagem das vítimas no cinema afegão pós-talibã]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Arias-Herrera]]></surname>
<given-names><![CDATA[Juan Carlos]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af2">
<institution><![CDATA[,Pontificia Universidad Javeriana  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Colombia</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2018</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2018</year>
</pub-date>
<volume>21</volume>
<numero>2</numero>
<fpage>410</fpage>
<lpage>444</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0122-82852018000200410&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0122-82852018000200410&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0122-82852018000200410&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El cine en Afganistán ha estado indefectiblemente ligado a los distintos conflictos que han marcado el contexto social del país y la región. La caída del régimen talibán, en 2001, permitió el resurgimiento del cine en el país y, por tanto, la oportunidad de narrar lo que la sociedad afgana había experimentado durante los años de más radical represión. Algunas obras del cine afgano han explorado modos de comprender la voz y el testimonio que se alejan de las fórmulas tradicionales repetidas por los medios masivos y por el cine más comercial, e introducen una reflexión sobre las posibilidades expresivas del silencio y la parálisis que muchas veces pasamos por alto en nuestro afán por privilegiar la palabra y la acción. Este artículo propone un análisis de algunas obras del cine afgano como un modo de conocer y analizar el modo como otros han enfrentado el problema siempre abierto de la reconstrucción de la memoria por medio de la voz de aquellos que sufrieron las consecuencias directas de un conflicto armado de varias décadas. No se trata de sugerir que el contexto de Afganistán debe usarse como modelo en Colombia a la hora de pensar el papel del cine en el llamado "posconflicto", sino de abrir la posibilidad de pensar el problema del "dar la voz" a través del análisis de lo que ha ocurrido en otros contextos, y del papel que en ellos se ha asignado a la imagen.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Afghan cinema has been inextricably linked to the different conflicts that have marked the social context of the country and the region. The fall of the Taliban regime in 2001 allowed the country's film industry to rise again and, as a result, it has also allowed the opportunity to tell what Afghan society experienced during the years of most radical repression. Some of the works of Afghan cinema have explored ways of understanding the voice and the testimony that move away from the traditional formulas repeated by the mass media and by the most commercial cinema, and introduce a reflection about the expressive possibilities of silence and paralysis that we often overlook in our desire to privilege word and action. This paper proposes an analysis of some Afghan films as a way of learning and analyzing the way others have faced the problem, always open to the reconstruction of memory through the voice of those who suffered the direct consequences of an armed conflict of several decades. This is not to suggest that the Afghan context should be used as a model in Colombia when considering the role of cinema in the so-called "post-conflict," but to open up the possibility of considering the problem of "giving voice" through the analysis of what has happened in other contexts, and the role assigned to image in those contexts.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O cinema em Afeganistão tem estado inevitavelmente ligado aos diferentes conflitos que marcaram o contexto social do país e da região. A queda do regime talibã em 2001 permitiu o ressurgimento do cinema no país e, por tanto, a oportunidade de narrar o que a sociedade afegã havia experimentado durante os anos de mais radical repressão. Algumas obras do cinema afegão tem explorado modos de compreender a voz e o testemunho que se distanciam das fórmulas tradicionais repetidas pelas mídias em massa e pelo cinema mais comercial, e introduzem uma reflexão sobre as possibilidades expressivas do silêncio e a paralisia que muitas vezes passamos por alto devido à nossa pressa em privilegiar a palavra e a ação. Este artigo propõe uma análise de algumas obras do cinema afegão como um modo de conhecer e analisar o modo como outros enfrentaram o problema sempre aberto da reconstrução da memória por meio da voz daqueles que sofreram as consequências diretas de um conflito armado de várias décadas. Não se trata de sugerir que o contexto de Afeganistão deve usar-se como modelo na Colômbia na hora de pensar sobre o papel do cinema no chamado "pós-conflito", mas sim de abrir a possibilidade de pensar no problema de "dar voz" através da análise do que tem ocorrido em outros contextos, e do papel que foi atribuído à imagem nesses contextos.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Cine en Afganistán]]></kwd>
<kwd lng="es"><![CDATA[víctimas]]></kwd>
<kwd lng="es"><![CDATA[representación]]></kwd>
<kwd lng="es"><![CDATA[posconflicto]]></kwd>
<kwd lng="es"><![CDATA[cine y política]]></kwd>
<kwd lng="en"><![CDATA[Afghan cinema]]></kwd>
<kwd lng="en"><![CDATA[victims]]></kwd>
<kwd lng="en"><![CDATA[representation]]></kwd>
<kwd lng="en"><![CDATA[post-conflict]]></kwd>
<kwd lng="en"><![CDATA[cinema and politics]]></kwd>
<kwd lng="pt"><![CDATA[Cinema em Afeganistão]]></kwd>
<kwd lng="pt"><![CDATA[vítimas]]></kwd>
<kwd lng="pt"><![CDATA[representação]]></kwd>
<kwd lng="pt"><![CDATA[pós-conflito]]></kwd>
<kwd lng="pt"><![CDATA[cinema e política]]></kwd>
</kwd-group>
</article-meta>
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<surname><![CDATA[Zelizer]]></surname>
<given-names><![CDATA[B.]]></given-names>
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<source><![CDATA[Remembering to forget: Holocaust memory through the camera's eye.]]></source>
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<person-group person-group-type="author">
<name>
<surname><![CDATA[Zelizer]]></surname>
<given-names><![CDATA[B.]]></given-names>
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<article-title xml:lang=""><![CDATA[Photography, journalism and trauma]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Zelizer]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
<name>
<surname><![CDATA[Allan]]></surname>
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<source><![CDATA[Journalism after September 11]]></source>
<year>2003</year>
<page-range>48-68</page-range><publisher-loc><![CDATA[Nueva York ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
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</article>
