With this paper I aim to explore the contingencies and contradictories ways in which contemporary artistic practicesproduce political affections (affects) in visual narratives that answered in a critical perspective to the official topicsof Postapartheid South Africa speech. Understanding affections (affects) as a kind of dispositive which allowsdiscussions in relation with experiences, traces, traumas, archives, memories and identities, taking into considerationthe complexities and specificities of the cinematography language.
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