<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0186-0348</journal-id>
<journal-title><![CDATA[Secuencia]]></journal-title>
<abbrev-journal-title><![CDATA[Secuencia]]></abbrev-journal-title>
<issn>0186-0348</issn>
<publisher>
<publisher-name><![CDATA[Instituto de Investigaciones Dr. José María Luis Mora]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0186-03482009000300145</article-id>
<article-id pub-id-type="doi">10.18234/secuencia.v0i75.1092</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Memorias de una mexicana: la revolución como monumento fílmico]]></article-title>
<article-title xml:lang="en"><![CDATA[Memories of a Mexican: The Revolution as a Filmic Monument]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Wood]]></surname>
<given-names><![CDATA[David M.J.]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Nacional Autónoma de México Instituto de Investigaciones Estéticas ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2009</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2009</year>
</pub-date>
<numero>75</numero>
<fpage>145</fpage>
<lpage>170</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0186-03482009000300145&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0186-03482009000300145&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0186-03482009000300145&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Memorias de un mexicano (Carmen Toscano, 1950) es un largometraje documental realizado con base en el pietaje de noticiarios del archivo del pionero del cine, Salvador Toscano. Los primeros críticos lo celebraron como un retrato transparente y "modernizante" del pasado reciente del país, pero este artículo enfrenta tal noción. Analiza varias secuencias en detalle para examinar las implicaciones estéticas e historiográficas de la "modernización" cinematográfica, atada a un estilo narrativo algo autoritario: un proceso análogo a la historiografía posrevolucionaria que afirmó que la lucha armada inauguró el progreso hacia un presente idealizado. Compara la declaración de la película como "monumento histórico" en 1967 con una reflexión poética posterior por Carmen Toscano que le atribuye al filme una calidad polisémica, y finalmente propone una relación subjetiva entre espectador e imagen.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Memorias de un mexicano (Carmen Toscano, 1950) is a feature­length documentary based on news­ reel footage from the archives of cinema pioneer Salvador Toscano. Early critics hailed it as a transparent, "modernizing" portrait of the country's recent past, but this article refutes this notion. It analyzes various sequences in detail to examine the aesthetic and historiographic implications of cinematographic "modernization" linked to a rather authoritarian narrative style: an analogous process to post­ revolutionary historiography that stated that the armed struggle ushered in progress towards an idealized present. The author compares the declaration of the movie as a "historic monument" in 1967 with a subsequent poetic reflection by Carmen Toscano that attributes a polysemic quality to the film and ends by proposing a subjective link between spectator and image.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Memorias de un mexicano]]></kwd>
<kwd lng="es"><![CDATA[Carmen Toscano]]></kwd>
<kwd lng="es"><![CDATA[Salvador Toscano]]></kwd>
<kwd lng="es"><![CDATA[cine]]></kwd>
<kwd lng="es"><![CDATA[cine mudo]]></kwd>
<kwd lng="es"><![CDATA[cine documental]]></kwd>
<kwd lng="es"><![CDATA[noticieros]]></kwd>
<kwd lng="es"><![CDATA[revolución mexicana]]></kwd>
<kwd lng="es"><![CDATA[archivos]]></kwd>
<kwd lng="es"><![CDATA[patrimonio]]></kwd>
<kwd lng="en"><![CDATA[Memorias de un mexicano]]></kwd>
<kwd lng="en"><![CDATA[Carmen Toscano]]></kwd>
<kwd lng="en"><![CDATA[Salvador Toscano]]></kwd>
<kwd lng="en"><![CDATA[cinema]]></kwd>
<kwd lng="en"><![CDATA[silent movies]]></kwd>
<kwd lng="en"><![CDATA[documentary cinema]]></kwd>
<kwd lng="en"><![CDATA[newsreel]]></kwd>
<kwd lng="en"><![CDATA[Mexican Revolution]]></kwd>
<kwd lng="en"><![CDATA[archives]]></kwd>
<kwd lng="en"><![CDATA[heritage]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Toscano]]></surname>
<given-names><![CDATA[Carmen]]></given-names>
</name>
</person-group>
<source><![CDATA[Memorias de un mexicano]]></source>
<year>1950</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Baudrillard]]></surname>
<given-names><![CDATA[Jean]]></given-names>
</name>
</person-group>
<source><![CDATA[Simulacres et Simulation]]></source>
<year>1981</year>
<publisher-loc><![CDATA[París ]]></publisher-loc>
<publisher-name><![CDATA[Galilée]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Benjamin]]></surname>
<given-names><![CDATA[Thomas]]></given-names>
</name>
</person-group>
<source><![CDATA[La revolución: Mexico's Great Revolution as Memory, Myth, and History]]></source>
<year>2000</year>
<publisher-loc><![CDATA[Austin ]]></publisher-loc>
<publisher-name><![CDATA[University of Texas Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Benjamin]]></surname>
<given-names><![CDATA[Walter]]></given-names>
</name>
<name>
<surname><![CDATA[Andrés E.]]></surname>
<given-names><![CDATA[Weikert]]></given-names>
</name>
</person-group>
<source><![CDATA[La obra de arte en la época de su reproductibilidad técnica]]></source>
<year>2003</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Ítaca]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bottomore]]></surname>
<given-names><![CDATA[Stephen]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Collection of Rubbish'. Animatographs, Archives and Arguments: London, 1896­97]]></article-title>
<source><![CDATA[Film History]]></source>
<year>1995</year>
<volume>7</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>291­97</page-range><publisher-loc><![CDATA[Bloomington, Indiana ]]></publisher-loc>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Brownlow]]></surname>
<given-names><![CDATA[Kevin]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Silent Films ­ What Was the Right Speed?]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Elsaesser]]></surname>
<given-names><![CDATA[Thomas]]></given-names>
</name>
<name>
<surname><![CDATA[Barker]]></surname>
<given-names><![CDATA[Adam]]></given-names>
</name>
</person-group>
<source><![CDATA[Early Cinema: Space, Frame, Narrative]]></source>
<year>1990</year>
<page-range>282­290</page-range><publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[British Film Institute]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cherchi Usai]]></surname>
<given-names><![CDATA[Paolo]]></given-names>
</name>
</person-group>
<source><![CDATA[Silent Cinema: An Introduction]]></source>
<year>2000</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[British Film Institute]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Debord]]></surname>
<given-names><![CDATA[Guy]]></given-names>
</name>
</person-group>
<source><![CDATA[The Society of the Spectacle]]></source>
<year>1994</year>
<publisher-loc><![CDATA[Nueva York ]]></publisher-loc>
<publisher-name><![CDATA[Zone Books]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Doane]]></surname>
<given-names><![CDATA[Mary Ann]]></given-names>
</name>
</person-group>
<source><![CDATA[The Emergence of Cinematic Time: Modernity, Contingency, the Archive]]></source>
<year>2002</year>
<publisher-loc><![CDATA[Cambridge, Mass. ]]></publisher-loc>
<publisher-name><![CDATA[Harvard University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[García Canclini]]></surname>
<given-names><![CDATA[Néstor]]></given-names>
</name>
</person-group>
<source><![CDATA[Culturas híbridas: estrategias para entrar y salir de la modernidad]]></source>
<year>2001</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Grijalbo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[García Riera]]></surname>
<given-names><![CDATA[Emilio]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Medio siglo de cine mexicano]]></article-title>
<source><![CDATA[Cine Cubano]]></source>
<year>1965</year>
<numero>31­33</numero>
<issue>31­33</issue>
<page-range>75­97</page-range><publisher-loc><![CDATA[La Habana ]]></publisher-loc>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[García Riera]]></surname>
<given-names><![CDATA[Emilio]]></given-names>
</name>
</person-group>
<source><![CDATA[Historia documental del cine mexicano]]></source>
<year>1972</year>
<volume>4</volume>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Ediciones Era]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gunning]]></surname>
<given-names><![CDATA[Tom]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Cinema of Attractions. Early Film, Its Spectator and the Avant­Garde]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Elsaesser]]></surname>
<given-names><![CDATA[Thomas]]></given-names>
</name>
<name>
<surname><![CDATA[Barker]]></surname>
<given-names><![CDATA[Adam]]></given-names>
</name>
</person-group>
<source><![CDATA[Early Cinema: Space, Framce, Narrative]]></source>
<year>1990</year>
<page-range>56­62</page-range><publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[British Film Institute]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gunning]]></surname>
<given-names><![CDATA[Tom]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Now You See It, Now You Don't': The Temporality of the Cinema of Attractions]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Grieveson]]></surname>
<given-names><![CDATA[Lee]]></given-names>
</name>
<name>
<surname><![CDATA[Kramer]]></surname>
<given-names><![CDATA[Peter]]></given-names>
</name>
</person-group>
<source><![CDATA[The Silent Cinema Reader]]></source>
<year>2004</year>
<page-range>41­50</page-range><publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Hall]]></surname>
<given-names><![CDATA[Stuart]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Encoding/Decoding]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Hall]]></surname>
<given-names><![CDATA[Stuart]]></given-names>
</name>
</person-group>
<source><![CDATA[Culture, Media, Language]]></source>
<year>1996</year>
<page-range>128­138</page-range><publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Houston]]></surname>
<given-names><![CDATA[Penelope]]></given-names>
</name>
</person-group>
<source><![CDATA[Keepers of the Frame: The Film Archives]]></source>
<year>1994</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[British Film Institute]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Leyda]]></surname>
<given-names><![CDATA[Jay]]></given-names>
</name>
</person-group>
<source><![CDATA[Films Beget Films: A Study of the Compilation Film]]></source>
<year>1964</year>
<publisher-loc><![CDATA[Nueva York ]]></publisher-loc>
<publisher-name><![CDATA[Hill and Wang]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Metz]]></surname>
<given-names><![CDATA[Christian]]></given-names>
</name>
</person-group>
<source><![CDATA[Psychoanalysis and Cinema: The Imaginary Signifier]]></source>
<year>1982</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Macmillan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Miquel]]></surname>
<given-names><![CDATA[Ángel]]></given-names>
</name>
</person-group>
<source><![CDATA[Salvador Toscano]]></source>
<year>1997</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Universidad de Guadalajara]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mraz]]></surname>
<given-names><![CDATA[John]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[How Real is Reel? Fernando de Fuentes's Revolutionary Trilogy]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Stock]]></surname>
<given-names><![CDATA[Anne Marie]]></given-names>
</name>
</person-group>
<source><![CDATA[Framing Latin American Cinema: Contemporary Critical Perspectives]]></source>
<year>1997</year>
<page-range>92­119</page-range><publisher-loc><![CDATA[Minneapolis ]]></publisher-loc>
<publisher-name><![CDATA[University of Minnesota Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mraz]]></surname>
<given-names><![CDATA[John]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The Revolution is History: Filming the Past in Mexico and Cuba]]></article-title>
<source><![CDATA[Film­Historia]]></source>
<year>1999</year>
<volume>9</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>147­167</page-range></nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Nichols]]></surname>
<given-names><![CDATA[Bill]]></given-names>
</name>
</person-group>
<source><![CDATA[La representación de la realidad: cuestiones y conceptos sobre el documental]]></source>
<year>1997</year>
<publisher-loc><![CDATA[Barcelona ]]></publisher-loc>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Nichols]]></surname>
<given-names><![CDATA[Bill]]></given-names>
</name>
</person-group>
<source><![CDATA[Blurred Boundaries: Questions of Meaning in Contemporary Culture]]></source>
<year>1994</year>
<publisher-loc><![CDATA[Bloomington ]]></publisher-loc>
<publisher-name><![CDATA[Indiana University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Noble]]></surname>
<given-names><![CDATA[Andrea]]></given-names>
</name>
</person-group>
<source><![CDATA[Mexican National Cinema]]></source>
<year>2005</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Orellana]]></surname>
<given-names><![CDATA[Margarita de]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Una voz del presente sobre imágenes del pasado]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Orellana]]></surname>
<given-names><![CDATA[Margarita de]]></given-names>
</name>
</person-group>
<source><![CDATA[Imágenes del pasado]]></source>
<year></year>
<page-range>81-4</page-range><publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Centro Universitario de Estudios Cinematográficos]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Renov]]></surname>
<given-names><![CDATA[Michael]]></given-names>
</name>
</person-group>
<source><![CDATA[The Subject of Documentary]]></source>
<year>2004</year>
<publisher-loc><![CDATA[Minneapolis ]]></publisher-loc>
<publisher-name><![CDATA[University of Minnesota Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Reyes]]></surname>
<given-names><![CDATA[Aurelio de los]]></given-names>
</name>
</person-group>
<source><![CDATA[Cine y sociedad en México, 1896­1930]]></source>
<year>1981</year>
<volume>1</volume>
<publisher-name><![CDATA[UNAM]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Reyes]]></surname>
<given-names><![CDATA[Aurelio de los]]></given-names>
</name>
</person-group>
<source><![CDATA[Cine y sociedad en México, 1896­1930]]></source>
<year>1993</year>
<volume>2</volume>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Instituto de Investigaciones Estéticas­UNAM]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Reyes]]></surname>
<given-names><![CDATA[Aurelio de los]]></given-names>
</name>
</person-group>
<source><![CDATA[Filmografía del cine mudo mexicano 1896­1920]]></source>
<year>1986</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Filmoteca UNAM]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sjöberg]]></surname>
<given-names><![CDATA[Patrik]]></given-names>
</name>
</person-group>
<source><![CDATA[The World in Pieces: A Study of Compilation Film]]></source>
<year>2001</year>
<publisher-name><![CDATA[Universidad de Estocolmo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sorlin]]></surname>
<given-names><![CDATA[Pierre]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[EI cine, reto para el historiador]]></article-title>
<source><![CDATA[lstor]]></source>
<year>2005</year>
<numero>20</numero>
<issue>20</issue>
<page-range>11­35</page-range><publisher-loc><![CDATA[México, D. F. ]]></publisher-loc>
</nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Toscano]]></surname>
<given-names><![CDATA[Carmen]]></given-names>
</name>
</person-group>
<source><![CDATA[Memorias de un mexicano]]></source>
<year>1993</year>
<publisher-loc><![CDATA[México ]]></publisher-loc>
<publisher-name><![CDATA[Fundación Carmen Toscano]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Uricchio]]></surname>
<given-names><![CDATA[William]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Archives and Absences]]></article-title>
<source><![CDATA[Film History]]></source>
<year>1995</year>
<volume>7</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>256­263</page-range><publisher-loc><![CDATA[Bloomington, Indiana ]]></publisher-loc>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
