On Replacement pp 147-158 | Cite as

Remembering the disappeared in Lita Stantic’s Un muro de silencio

  • Alison Ribeiro de Menezes


This chapter explores the representation of Argentina’s disappeared in Lita Stantic’s 1993 film, Un muro de silencio [A Wall of Silence]. In contrast to the reliance upon affect in contemporary cultural explorations of memory, Stantic adopts a distanced approach based on character pairings and substitutions, metafilmic references and a focus on recursive techniques in the mise-en-scène. Together, these strategies evoke the notion of replacement as a means of both signalling the absence of the disappeared and conjuring up their spectres as a challenge to present and the future generations.


  1. Benjamin, Walter, 1977 [1928], The Origin of German Tragic Drama, tr. John Osborne (London: New Left Books)Google Scholar
  2. Bennett, Jill, 2005, Empathic Vision: Affect, Trauma, and Contemporary Art (Stanford: Stanford University Press)Google Scholar
  3. Burucúa, Constanza, 2009, Confronting the ‘Dirty War’ in Argentine Cinema (Woodbridge: Boydell & Brewer)Google Scholar
  4. Burucúa, Constanza, 2016, ‘Lita Stantic: Auteur Producer/Producer of Auteurs’, in Beyond the Bottom Line: The Producer in Film and Television Studies, ed. Andrew Spicer, Anthony McKenna and Christopher Meir (London: Bloomsbury), 215–227Google Scholar
  5. Burucúa, José Emilio, and Nicolás Kwiatkowski, 2014, ‘Cómo sucedieron estas cosas’: Representar masacres y genocidios (Buenos Aires: Katz)Google Scholar
  6. Gatti, Gabriel, 2011, ‘The Detained-Disappeared: Civilizational Catastrophe, the Collapse of Identity and Language’, tr. Sheena Caldwell, in RCCS Annual Review, 3, n. p.Google Scholar
  7. Longoni, Ana and Gustavo Bruzzone, eds, 2008, El siluetazo (Buenos Aires: Adriana Hidalgo)Google Scholar
  8. King, John, 1995, ‘Breaching the Walls of Silence: Lita Stantic’s Un muro de silencio’, Revista Canadiense de Estudios Hispánicos, 20/1, 43–53Google Scholar
  9. Masoletti Costa, Laura, 2014, ‘Memory Work in Argentina 1976–2006’, in Concentrationary Memories: Totalitarian Resistance and Cultural Memories, ed. Griselda Pollock and Max Silverman (London: I. B. Tauris), 223–240Google Scholar
  10. Purdy, Daniel, 2011, On The Ruins of Babel: Architectural Metaphor in German Thought (Ithaca and London: Cornell University Press)Google Scholar
  11. Ribeiro de Menezes, Alison, 2014, Embodying Memory in Contemporary Spain (New York: Palgrave Macmillan)Google Scholar
  12. Ribeiro de Menezes, Alison, 2015, ‘The Enchantment and Disenchantment of the Archival Image: Politics and Affect in Portuguese Cultural Memories of the Salazar Dictatorship and Carnation Revolution’, in Film, History and Memory, ed. Jennie M. Carlsten and Fearghal McGarry, (Houndmills: Palgrave Macmillan), 65–82Google Scholar
  13. Roach, Joseph R., 1996, Cities of the Dead: Circum-Atlantic Performance (New York: Colombia University Press)Google Scholar
  14. Schneider, Rebecca, 2011, Performing Remains: Art and War in Times of Theatrical Reenactment (London and New York: Routledge)Google Scholar
  15. Webber, Andrew J., 1996, The Doppelgänger: Double Visions in German Literature (Oxford: Oxford University Press)Google Scholar
  16. Wertsch, James V., 2008, ‘Collective Memory and Narrative Templates’, in Social Research, 75/1, 133–156Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Alison Ribeiro de Menezes
    • 1
  1. 1.University of WarwickCoventryUK

Personalised recommendations