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• W2765791877 abstract "Archipelago of Memories: Affective Travelogue and Mourning in La forma exacta de las islas Irene Depetris Chauvin Ancient and early medieval authorities consistently placed islands at the confines of the Earth. Almost falling off the map, these tiny masses of floating land have been a constant source of fascination throughout history.1 Because of their literal isolation, or merely the sense of detachment from mainland society, islands are fabulous spaces in terms of both geography and the imagination. More than scenic locations, they also function as literary devices whose natural boundaries shape and contain narratives. As Gilles Deleuze proposes, the actual and virtual spaces of islands lend themselves to the exploration of the shifting relationship between the self and the other, between nature and culture: “The deserted island is the origin, but a second origin. From it everything begins anew. The deserted island is the necessary minimum for this re-beginning, the material that survives the first origin, the radiating seed or egg that must be sufficient to reproduce everything” (12). This idea of a second origin, a rebirth, suggests that the “deserted island” is a liminal and exceptional space that prompts us to imagine, question, and recreate social bonds. In Deleuze’s philosophical perspective, physical, human, and affective geography converge, but for Argentine people insular geography and subjectivity are also inextricably intertwined with history. The 1982 armed conflict in the Malvinas/Falkland Islands left an indelible mark on history and set a decisive tone in Argentine literature and cinema. The war between the Argentine junta and Margaret Thatcher’s Great Britain for sovereignty over the Malvinas/Falkland Islands ended with a British victory and led to the collapse of the regime that had ruled Argentina since 1976.2 As a haunting memory, the “Malvinas cause” repeatedly returns to trouble the national imaginary. A review of British and Argentine films that focus on the 1982 [End Page 125] war reveals the importance of the islands for identity politics, as most of the narratives propose representations of geographical, social, political, and symbolic proximity and distance between the archipelago and the center of the “imagined community” of Argentina that ultimately serve to “recycle national myths” (Tal).3 However, from another perspective, Julieta Vitullo finds that the discourse of the “just cause,” which became hegemonic after 1982, has been challenged by literary works that point to the impossibility of the heroic epic narrative that has marked national discourse.4 In this sense, parodic or melancholic narratives by authors such as Rodolfo Fogwill, Rodrigo Fresán, Juan Forn, Martín Kohan, and Carlos Gamerro dissemble the mega-narrative of the war, leaving behind only its fragments. Travelogue and Mourning This challenging of the heroic narrative and critical view of the Malvinas/Falkland war inspired the production of La forma exacta de las islas (2012), a documentary directed by Daniel Casabé and Edgardo Dieleke and based on a script written in collaboration with the protagonist, Julieta Vitullo.5 Unlike other films concerning the war, Dieleke and Casabé’s documentary eludes the discourse of the “just cause” and questions the validity of the epic narrative. Like many literary fictions about the aftermath of the war, this film is a narrative of return that explores the islands, utilizing two trips as the starting point of a personal quest. In the first, in 2006, Julieta travels to the Malvinas/Falkland Islands to finish her doctoral thesis on the literature of the war. Upon arrival, she meets two Argentine ex-combatants, Carlos Enriori and Dacio Agretti, who were eighteen at the time of the conflict and who have returned to the islands after twenty-five years. Drawn by their compelling stories, the young Argentine researcher changes her plans and decides to film the men for a week. This video footage, along with a subsequent intimate experience linked to the trip, are two of the story lines in La forma exacta de las islas, a meta-documentary that intertwines the images shot in 2006 with images captured in 2010 by the directors accompanying Julieta in her return to the islands, a place that has also a personal meaning for her. Rather than a historical documentary or a war film, La..." @default.
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• W2765791877 date "2017-01-01" @default.
• W2765791877 modified "2023-10-17" @default.
• W2765791877 title "Archipelago of Memories: Affective Travelogue and Mourning in La forma exacta de las islas" @default.
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• W2765791877 doi "https://doi.org/10.1353/ltr.2017.0007" @default.
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