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This article analyzes the critical, poetic and cinematographic work of Nicolás Prividera with the aim of thinking about the ways in which the memory of the dictatorship is staged by a representative of "second generation" cinema. Three notions are investigated here: that of the body in relation to the cinema of the children of the disappeared in M (2007), that of the monumentalization of memory in some texts of Restos de Restos (2012) and the question of the representation of history, its relation to political discourses, and violence in Argentine history in Tierra de los Padres (2013).
