ABSTRACT In recent years, both academia and popular culture have shown what some scholars have pointed out as the turn to the perpetrator. Although the voice of the perpetrator has never been completely silent since the National Reorganization Process (the military junta’s name for state terror and economic reorganization ended in 1983), recently two documentary films, 70 y Pico (‘70 and Pico’, Mariano Corbacho 2016) and El hijo del cazador (‘The son of the hunter’, Federico Robles and Germán Scelso 2018), have addressed the Argentinean dictatorship from the perpetrator´s perspective. These films have two things in common. One is that they highlight the pact of silence among the Argentinean perpetrators; the second one, is that the main characters are perpetrator descendants. With this in mind, this article analyse the representations of the perpetrators in these two films. First, I will provide background information about earlier Argentinean cultural products dealing with perpetrators, including documentary cinema, before examining the context in which the voices of the children emerge. Finally, the analysis will focus on the way in which these films break family loyalty.

中文翻译：

---

反对家庭忠诚：关于阿根廷上一届独裁统治者的后代的纪录片

摘要 近年来，无论是学术界还是流行文化，都出现了一些学者所指出的转向施暴者的现象。尽管自国家重组进程（军政府对国家恐怖和经济重组的名称于 1983 年结束）以来，肇事者的声音从未完全沉默，但最近两部纪录片，70 y Pico（'70 和 Pico'，Mariano Corbacho 2016 ) 和 El hijo del cazador（“猎人之子”，Federico Robles 和 Germán Scelso，2018 年），从肇事者的角度讨论了阿根廷的独裁统治。这些电影有两个共同点。一是他们强调了阿根廷肇事者之间的沉默协议；第二，主要人物是肇事者的后代。考虑到这一点，本文分析了这两部电影中肇事者的表现。首先，在研究儿童声音出现的背景之前，我将提供有关早期阿根廷文化产品（包括纪录片电影）的背景信息。最后，分析将集中在这些电影破坏家庭忠诚的方式上。