KANTOR, Débora Galia. Precarious inscriptions: Israel, Patagonia and the extended present in Ivo Aichenbaum´s La parte automática. []. , 5, 2, pp.205-223. ISSN 2588-0934.  https://doi.org/10.37785/nw.v5n2.a12.

In the argentine cinema of the last decade, and specifically in what we may consider variations of the film-essay, a noteworthy corpus of film, expressive of a variety of aesthetic forms and critical perspectives, has been devoted to the portrayal of Israel as a compelling territory, the territory of a particular encounter between subject, experience and “image”. What binds me to this foreign and remote community? This, León Rozitchner´s query, an interrogation that marked previous generations of argentine Jews, returns in each film and opens up new aesthetic and political dimensions. The film that we will explore in this article, La parte automática (2012) by Ivo Aichenbaum, founder of this still open series, rehearses a first-person response that, embodying the contradictions and vicissitudes of his own generation, takes up the question and returns us a abyss.

: Argentine cinema; essay film; Israel; Diaspora; Subject; Precarity; Politics; Left-wing melancholia..

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