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Journal Article
Pedagogy Behind and Beyond Bars
2022
Overview
Since 2008, numerous Argentine documentary films have explored the complexities of prison education. Prison education documentaries from other countries usually focus overwhelmingly on the possible success of “rehabilitation.” In contrast, this article argues that contemporary Argentine prison education documentaries encourage critical, at times quasi-abolitionist, perspectives on imprisonment by challenging both punitive attitudes and liberal beliefs in the reinserción (reintegration) of prisoners into society. Analyzing the documentaries El almafuerte (dir. Roberto Sebastián Persano, Santiago Nacif Cabrera, and Andrés Martínez Cantó, Argentina, 2009), 13 puertas (dir. David Rubio, Argentina, 2014), Lunas cautivas (dir. Marcia Paradiso, Argentina, 2012), and Pabellón 4 (dir. Diego Gachassin, Argentina, 2017), it draws on insights from film studies and criminology to show how these films provide intersectional and structural critiques of imprisonment. “Touristic” and affective encounters between incarcerated and non-incarcerated people serve to challenge comfortable viewing positions predicated on internal-external carceral and cinematic divides. These films teach spectators that outside spaces, people, and institutions are all central to the meaning, problems, and incoherence of incarceration in Argentina.
Desde 2008 se han producido numerosos documentales que abordan las complejidades de la educación en contextos de encierro en Argentina. En otros países, los documentales sobre la educación en contextos de encierro suelen centrarse en el posible éxito de la “rehabilitación.” Por el contrario, arguyo que los documentales argentinos contemporáneos desarrollan perspectivas críticas y a veces cuasi abolicionistas sobre la cárcel, desafiando tanto el punitivismo como la fe liberal en la reinserción de los presos en la sociedad. Analizando El almafuerte (Roberto Sebastián Persano, Santiago Nacif Cabrera y Andrés Martínez Cantó, dirs., Argentina, 2009), 13 puertas (David Rubio, dir., Argentina, 2014), Lunas cautivas (Marcia Paradiso, dir., Argentina, 2012) y Pabellón 4 (Diego Gachassin, dir., Argentina, 2017), combino teorías cinematográficas y criminológicas para demostrar cómo estos documentales ofrecen críticas interseccionales y estructurales sobre el encarcelamiento. Los encuentros “turísticos” y afectivos entre sujetos carcelarios y no carcelarios sirven para desestabilizar las formas dominantes de mirar la cárcel, estructuradas por divisiones rígidas entre lo interno y lo externo. Estos documentales demuestran que los espacios, las personas y las instituciones fuera de la cárcel son centrales al significado, los problemas y la incoherencia de la cárcel en Argentina.
Publisher
Cambridge University Press,Ubiquity Press Ltd,Latin American Studies Association
Subject
