<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1390-1249</journal-id>
<journal-title><![CDATA[Íconos. Revista de Ciencias Sociales]]></journal-title>
<abbrev-journal-title><![CDATA[Íconos]]></abbrev-journal-title>
<issn>1390-1249</issn>
<publisher>
<publisher-name><![CDATA[FLACSO Ecuador]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1390-12492017000200079</article-id>
<article-id pub-id-type="doi">10.17141/iconos.59.2017.2678</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Representación claroscura: una exploración audiovisual y teórica de la representación del pasado en el cine documental]]></article-title>
<article-title xml:lang="en"><![CDATA[Claroscura Representation: An Audio-visual and Theoretical Exploration of the Representation of the Past Through Documentary Filmmaking]]></article-title>
<article-title xml:lang="pt"><![CDATA[Representação chiarooscura: uma exploração audiovisual e teórica da representação do passado no cinema documentário]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Stollbrock Trujillo]]></surname>
<given-names><![CDATA[Gerrit]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Externado de Colombia  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Colombia</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>09</month>
<year>2017</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>09</month>
<year>2017</year>
</pub-date>
<numero>59</numero>
<fpage>79</fpage>
<lpage>102</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_arttext&amp;pid=S1390-12492017000200079&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_abstract&amp;pid=S1390-12492017000200079&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_pdf&amp;pid=S1390-12492017000200079&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen  Desde la imbricación entre producción audiovisual e investigación teórica, este artículo parte de la experiencia de realización de un documental sobre el pasado de una planta de cemento en Colombia: La Siberia. Las tensiones entre la construcción narrativa del documental y la inmensidad del archivo desechado conducen a una búsqueda teórica para responder a la iconoclasia propia de la crítica postestructuralista de la historia. Ello conlleva la formulación del concepto de representación claroscura, definida como una representación capaz de hacer visible sus propios límites. Tras poner a prueba su aplicación en el lenguaje del cine documental, en específico en La Siberia, y sugerir su pertinencia para otros contextos de representación del pasado, la investigación teórica conduce finalmente a la formulación de un nuevo proyecto de arte. El conjunto del proceso de investigación, en su diálogo entre experiencia y teoría, es interpretado desde el modelo de abducción propuesto por Charles Sanders Peirce. Descriptores: memoria; ruina; cine documental; archivo; iconoclasia; autoetnografía; abducción.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract  At the nexus between audio-visual production and theoretical research, this article is based on the experience of producing a documentary on the history of a cement plant in Colombia: La Siberia. The tensions between the narratives constructed in the documentary and the immensity of the discarded archives from the plant drive a theoretical quest to respond to its own iconoclast and the post-structuralist critique of history. This brought us to the formulation of the concept of claroscura representation, defined as representation that is transparent about its own limitations. I put this concept to the test through the medium of documentary film, talking specifically about the making of La Siberia, and suggest its relevance in other projects that attempt to represent the past or history through film. I suggest that this theory drives us towards the formulation of a new artistic project. The research process, and the dialogue between theory and practice, is interpreted using the model of abduction proposed by Charles Sanders Peirce.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Desde o entrelaçamento entre produção audiovisual e investigação teórica, este artigo parte da experiência de realização de um documentário sobre o passado de uma fábrica de cimento na Colômbia: La Sibéria. As tensões entre a construção narrativa do documentário e a imensidão do arquivo descartado conduzem a uma busca teórica para responder à iconoclastia própria da crítica pós-estruturalista da história. Isso envolve a formulação do conceito de representação chiaroscura, definida como uma representação capaz de tornar visíveis os seus próprios limites. Depois de testar a sua aplicação na linguagem documental, especificamente em La Sibéria, e sugerir a sua pertinência para outros contextos de representação do passado, a pesquisa teórica conduz finalmente à formulação de um novo projeto de arte. O conjunto do processo de pesquisa, no seu diálogo entre experiência e teoria, é interpretado a partir do modelo de abdução proposto por Charles Sanders Peirce.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[memoria]]></kwd>
<kwd lng="es"><![CDATA[ruina]]></kwd>
<kwd lng="es"><![CDATA[cine documental]]></kwd>
<kwd lng="es"><![CDATA[archivo]]></kwd>
<kwd lng="es"><![CDATA[iconoclasia]]></kwd>
<kwd lng="es"><![CDATA[autoetnografía]]></kwd>
<kwd lng="es"><![CDATA[abducción]]></kwd>
<kwd lng="en"><![CDATA[memory]]></kwd>
<kwd lng="en"><![CDATA[ruins]]></kwd>
<kwd lng="en"><![CDATA[documentary film]]></kwd>
<kwd lng="en"><![CDATA[archives]]></kwd>
<kwd lng="en"><![CDATA[iconoclast]]></kwd>
<kwd lng="en"><![CDATA[auto-ethnography]]></kwd>
<kwd lng="en"><![CDATA[abduction]]></kwd>
<kwd lng="pt"><![CDATA[memória]]></kwd>
<kwd lng="pt"><![CDATA[ruína]]></kwd>
<kwd lng="pt"><![CDATA[cinema documentário]]></kwd>
<kwd lng="pt"><![CDATA[arquivo]]></kwd>
<kwd lng="pt"><![CDATA[iconoclastia]]></kwd>
<kwd lng="pt"><![CDATA[auto-etnografia]]></kwd>
<kwd lng="pt"><![CDATA[abdução]]></kwd>
</kwd-group>
</article-meta>
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<given-names><![CDATA[Joshua]]></given-names>
</name>
</person-group>
<source><![CDATA[Killer Images: Documentary Film, Memory, and the Performance of Violence]]></source>
<year>2012</year>
<publisher-loc><![CDATA[Nueva York ]]></publisher-loc>
<publisher-name><![CDATA[Wallflower Press]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
