{"id":18404,"date":"2023-10-09T09:29:43","date_gmt":"2023-10-09T09:29:43","guid":{"rendered":"https:\/\/www.arovite.com\/mota-zurdo-david-canas-diez-sergio-y-moreno-bibiloni-irene-2022\/"},"modified":"2023-10-09T09:30:32","modified_gmt":"2023-10-09T09:30:32","slug":"mota-zurdo-david-canas-diez-sergio-y-moreno-bibiloni-irene-2022","status":"publish","type":"page","link":"https:\/\/www.arovite.com\/eu\/mota-zurdo-david-canas-diez-sergio-y-moreno-bibiloni-irene-2022\/","title":{"rendered":"MOTA ZURDO, David, CA\u00d1AS D\u00cdEZ, Sergio y MORENO BIBILONI, Irene (2022)"},"content":{"rendered":"

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\n Referencia bibliogr\u00e1fica<\/strong>
\nMOTA ZURDO, David, CA\u00d1AS D\u00cdEZ, Sergio y MORENO BIBILONI, Irene (2022): \u00abUna memoria audiovisual. La historia de ETA y sus v\u00edctimas ante la pantalla (2018-2022)\u00bb, Filmhistoria online<\/em>, vol. 32, n\u00ba 2, pp. 133-161.<\/p>\n

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\nResumen<\/strong>
\nTras la disoluci\u00f3n de ETA en 2018 se ha producido un auge de producciones audiovisuales que han incidido en su historia desde distintas perspectivas con notables resultados tanto en t\u00e9rminos cuantitativos como cualitativos. En cerca de cinco a\u00f1os se ha asistido a un verdadero boom en el tratamiento del terrorismo, que ha tenido su reflejo en producciones documentales y de ficci\u00f3n. Esto se ha debido a m\u00faltiples factores, entre otros, el \u00e9xito de obras literarias como Patria, que han sido llevadas al mundo audiovisual, o la propia actitud de la sociedad civil, que ha demandado productos de este tipo para conocer el pasado reciente y traum\u00e1tico de la violencia. En consecuencia, se ha producido un notable aumento del n\u00famero pel\u00edculas y de series documentales y de ficci\u00f3n: una circunstancia que invita a realizar un an\u00e1lisis del tratamiento de la historia de ETA en el mundo audiovisual y comprobar si esa perspectiva es reparadora con las v\u00edctimas. Por eso, en este trabajo se examinan las producciones de este tipo entre 2018 y 2022 desde una hermen\u00e9utica semiol\u00f3gica y cr\u00edtica, comprobando si persisten mitos y lecturas sesgadas o ha habido avances interpretativos situando las v\u00edctimas de ETA en el eje del relato. [vc_empty_space height=”10″]
\nAbstract<\/strong>
\nAfter the dissolution of ETA in 2018, there has been a growth in audiovisual productions that have influenced its history from different perspectives with significant results in both quantitative and qualitative terms. In the last five years there has been a real boom in the treatment of terrorism, which has been reflected in documentary and fiction productions. This has been due to multiple factors, among others, the success of literary works such as Patria, which have been taken to the audiovisual world, or the attitude of civil society, which has demanded products of this type to learn about the traumatic past of political violence. Consequently, there has been a notable increase in the number of films and documentary and fiction series: a circumstance that invites us to carry out an analysis of the treatment of the history of ETA in the audiovisual world and check whether this perspective is restorative with the victims. For this reason, in this work the productions of this type between 2018 and 2022 are examined from a semiological and critical hermeneutics, checking if myths and biased readings persist or if there have been interpretative advances placing the victims in the axis of the story. [vc_empty_space height=”10″]
\nAutor<\/strong>
\nDavid Mota Zurdo. P\u00e1gina del autor en Dialnet.<\/a>
\nSergio Ca\u00f1as D\u00edez. P\u00e1gina del autor en Dialnet.<\/a>
\nIrene Moreno Bibiloni. P\u00e1gina del autor en Dialnet.<\/a>
\n [vc_empty_space height=”10″]
\nTipo de documento<\/strong>
\nArt\u00edculo
\n[vc_empty_space height=”10″]
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[vc_row][vc_column width=”1\/1″][vc_column_text][vc_empty_space height=”20″] Referencia bibliogr\u00e1fica MOTA ZURDO, David, CA\u00d1AS D\u00cdEZ, Sergio y MORENO BIBILONI, Irene (2022): \u00abUna memoria audiovisual. La historia de ETA y sus v\u00edctimas ante la pantalla (2018-2022)\u00bb,…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"_vp_format_video_url":"","_vp_image_focal_point":[],"_vp_custom_popup_image":0,"_vp_format_audio_url":"","_vp_custom_thumbnail":0,"_vp_custom_thumbnail_focal_point":[],"_vp_hover_thumbnail":0,"_vp_hover_thumbnail_focal_point":[],"footnotes":""},"class_list":["post-18404","page","type-page","status-publish","hentry"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.arovite.com\/eu\/wp-json\/wp\/v2\/pages\/18404","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.arovite.com\/eu\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.arovite.com\/eu\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.arovite.com\/eu\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.arovite.com\/eu\/wp-json\/wp\/v2\/comments?post=18404"}],"version-history":[{"count":1,"href":"https:\/\/www.arovite.com\/eu\/wp-json\/wp\/v2\/pages\/18404\/revisions"}],"predecessor-version":[{"id":18407,"href":"https:\/\/www.arovite.com\/eu\/wp-json\/wp\/v2\/pages\/18404\/revisions\/18407"}],"wp:attachment":[{"href":"https:\/\/www.arovite.com\/eu\/wp-json\/wp\/v2\/media?parent=18404"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}