Acceso usuarios
Benjamin Fraser
María Guadalupe Arenillas and Michael J. Lazarra conveyed a concise summary of the concerns that, since the 1990s, have motivated such scholarship in their introduction to Latin American Documentary Film in the New Millennium (2016), writing: transitions to democracy; truth commissions; persistent socioeconomic inequality; continued battles over memory and justice; struggles for gender equality, sexual rights, and equal access to education; as well as the return to power of leftist governments and political actors who just two decades earlier were brutally persecuted. [...]there is a difference between considering embodiment as a general theme of the country's documentary tradition, one to which disability contributes, and considering a specific disability (here, Down syndrome) as itself the main subject of investigation. Nonetheless, caution is in order, as the choice between radical social change and tangible gains for disabled populations-between the long-term goal of equity and the short-term goal of inclusion, to put it crudely-is not a zero-sum game.2 The sections that follow analyze themes of representation and autonomy in Maite Alberdi's documentary The Grown-Ups (2016, also released under the original Spanish title Los niños, and L'ecole de la vie in French). If we are to dismantle oppressive legal structures and more systematically support inclusion efforts and social services for people experiencing disability in ableist societies, it is important to recognize that we are all dependent on others.3 While some may see autonomy as a synonym for independence, the term is not used that way in this article.
