The articulation of historical memory in Drawings for projection by William Kentridge

Authors

DOI:

https://doi.org/10.24310/Fotocinema.2020.v0i20.7593

Keywords:

Historical memory, Animation film, Drawings for Projection, William Kentridge, South Africa, Apartheid

Abstract

The consideration of the animation series Drawings for Projection (William Kentridge, 1989-2011) as an incisive reflection on the concept of historical memory is systematized in this article from various creative aspects. Artistic techniques, film language and the reflection of the author’s identity into the two main characters aim to explore the reminder of South African Apartheid and its termination, in parallel with the sessions of the Truth and Reconciliation Commission. Representative elements of historical, collective and individual memory in the series also allow to asses changes in the process, regarding that the series were originally composed by nine titles to which Kentridge added a tenth in 2011.

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Author Biography

Cristina Manzano Espinosa, Universidad Complutense de Madrid

Cristina Manzano Espinosa, PhD in Audiovisual Communication, is a full professor in the Department of Theories and Analysis of Communication. Her research work focuses on the relationship between Cinema and other arts such as Painting and Literature. Her latest publications include: Identity and identification through Film Essay: A Sinergy between Sociological Research and Film Theory. (2018); Social and Cultural Interests between Comic and Animation Films (2015); Dali, López, Barceló: Art Concept and Aesthetics through Writing and Filmmaking (2014). She is director of the Complutense Group of Cinematographic Studies.

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Published

2020-01-29

How to Cite

Manzano Espinosa, C. (2020). The articulation of historical memory in Drawings for projection by William Kentridge. Fotocinema. Revista científica De Cine Y fotografía, (20), 79–109. https://doi.org/10.24310/Fotocinema.2020.v0i20.7593

Issue

No. 20 (2020)

Section

Disputas por la memoria histórica: memorias hegemónicas, memorias contrahegemónicas y alternativas

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