Aporías resultantes de la remediación en Ejercicios de memoria (Paz Encina, 2016)

This article analyses the aporias resulting from the documentary Ejercicios de memoria (2016) by the Paraguayan filmmaker Paz Encina, insofar as the initial panning shot of the home, which appears to anchor the family geographically suggesting slow temporal flows, occludes the fact that these were constantly moving. Moreover, aporia arises from the slippage between the focus on Dr. Goiburú - who symbolizes resistance to Stroessner's dictatorship - and the many other insurgents, as illustrated by the initial series of police mugshots, which portrayed detained members of agrarian federations. Similarly, aporia arises from intermediality as the audience realizes that the apparent monologues and dialogues are in fact loose phrases taken from earlier taped interviews. Finally, the article examines the double movement of suture and deconstruction resulting from remediation, that is, from the inclusion of archival and family pictures in a digital documentary.