Sepulchral Intermediality in Paula Markovitch’s "Armando y Genoveva" (2013)

Abstract

This article explores Paula Markovitch’s intermedial reconstruction of her parents’ public (in)visibility in Armando y Genoveva (2013). Markovitch’s intermedial choices—particularly those moments in the documentary when recorded voices are superimposed on the scenes that brim with her parents’ artwork—contain a focused political significance related to her parents’ artistic conviviality and existential fragility. As the recorded audio footage and the filmed artwork further intersect with the filmmaker’s provocative touch and retrospective voice-over, the parents’ key identity traits as well as their uncertain sense of social belonging take center stage. Such intermedial interactions also begin a process of immortalizing the parents’ unbroken commitment to artistic expression despite their life-long isolation in response to Argentina’s political violence (1976–1983).