Academic literature on the topic 'García Rossi'

In his adaptation of Carlo Levi's Cristo si é fermato a Eboli (Christ Stopped at Eboli, 1979), Rosi continues to confront the problems of the South—emigration, cultural marginalization, poverty—while reclaiming its rich, forgotten culture. The film signals a shift of Rosi's style, later evident in the slow-paced Cronaca di una morte annunciata (Chronicle of a Death Foretold, 1987), an epic adaptation of Gabriel García Márquez' 1981 novel that, like Cristo, is structured as an archetypal journey back to the past. In Tre fratelli (Three Brothers, 1981), Italy's chronic political instability is reflected in the tale of a self-assured judge, an idealistic teacher, and an angry factory worker and labor organizer. Summoned home for their mother's funeral, the brothers revisit their peasant roots, confront their present, and imagine their future. The film's concluding wide shot, which unites two generations, indicates Rosi's return to ahistorical values.

The chapter focuses on collective digital projects representing real stories in Mexico, particularly on 72 migrantes (2010) and Testigos presenciales (2014). It aims to demonstrate that new media narratives are alternative ways for truth-telling while dealing with a failed state and a censored press. Since 2006, when public policies against drug trafficking provoked the rise of violence in the country, there has been a boom of what Cristina Rivera Garza has called “necrowriting.” Moving beyond conventional testimonial accounts, these works use new communication technologies in response to experiences of horrorism. The chapter reflects on how the Mexican artistic community responds to this horror by telling what they call “death stories.” Following Rosi Braidotti’s theory of the posthuman, this chapter proposes that new media narratives expose an updated version of Walter Benjamin’s storyteller. Contemporary storytellers, it is argued, excavate life from the dead in their aim of rescuing lost identities. This process, however, cannot leave the storyteller intact. In the era of the eyewitness and the new forensic sensibility, testimonial narratives are no longer attached to a particular person or locality but rather can be found at the intersections of self, community, and geopolitical borders.