The subjective documentary genre emerged in the context of the “subjective turn” in Argentina (Sarlo 2005), when testimony became the main instrument to mobilise memory. In these films, the narrative of truth is driven by a subjective identity rather than an objective observer, focussing on introspective and private narratives rather than social and political realities. These documentaries have largely been regarded as less politically relevant than their predecessors. This paper seeks to challenge this dominant perspective by theorising the links between the political and the affective in four recent works: La TV y yo (2002) and Fotografías (2006), by Andrés Di Tella, Familia tipo (2009) by Cecilia Priego, and Madres con ruedas (2006) by Mónica Chirife and Mario Piazza. These films explore the identity of the director in relation to the family through narratives that are clearly influenced by psychoanalytic discourses. Pursuing the implications of the link between psychoanalysis and neoliberalism, this paper seeks to theorise the exploration of the self in relation to the family. The aim is to reconceptualise the intimate as political, ultimately understanding the production of subjectivity in these films as closely intertwined with the experience of neoliberalism.

中文翻译：

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家庭政治：当代阿根廷纪录片中的精神分析和新自由主义

主观纪录片类型出现在阿根廷“主观转向”的背景下（Sarlo 2005），当时证词成为调动记忆的主要工具。在这些电影中，真实的叙事是由主观身份而非客观观察者驱动的，侧重于内省和私人叙事，而不是社会和政治现实。这些纪录片在很大程度上被认为与它们的前辈相比在政治上的相关性较低。本文试图通过对最近四部作品中政治和情感之间的联系进行理论化来挑战这一主导观点：La TV y yo (2002) 和 Fotografías (2006)，Andrés Di Tella 着，Familia tipo (2009) 着 Cecilia Priego，和 Madres con ruedas (2006) by Mónica Chirife 和 Mario Piazza。这些电影通过明显受到精神分析话语影响的叙事来探索导演与家庭的关系。追求精神分析和新自由主义之间联系的含义，本文试图将自我与家庭关系的探索理论化。目的是将亲密关系重新定义为政治，最终理解这些电影中主观性的产生与新自由主义的经验密切相关。