Community-Based Art, Film and Memory: A participatory video project with Older People
DOI:
https://doi.org/10.17561/rtc.29.9803Keywords:
participatory video project; artistic mediation; Community-Based Art; cinema; memory; old peopleAbstract
This article presents and reflects on the process of artistic mediation and collective creation developed within the framework of the audiovisual project Remake-Pelikulie, carried out during 2022 and 2023 at the Municipal Residence for Older Adults in Bermeo (Bizkaia). The initiative is part of the annual BBK Artegileak program, which aims to bring contemporary culture closer to the public through proposals that connect art, community, and territory.
Remake-Pelikulie is conceived as a community-based research and artistic mediation project, centered on the creation of a participatory film in collaboration with a group of elderly residents. The project seeks to promote participants’ emotional and cognitive well-being by assigning them an active, leading role in the audiovisual creation process. The initiative draws upon both individual and collective cinematic memories: subjective recollections of films they remember watching, lived experiences associated with cinema as a social and cultural practice, and personal narratives that emerge through these stimuli.
The methodology combines tools from participatory video practices with strategies rooted in artistic education and mediation within community contexts, fostering a space for horizontal creation. The adopted approach is grounded in an interdisciplinary theoretical framework that integrates contributions from Memory Studies, collaborative practices in contemporary art, and research in the fields of artistic education and mediation, among others.
Through this experience, the article explores the potential of film as a tool for mediation, memory activation, and the construction of intersubjective bonds within aging contexts.
Downloads
References
Alirangues, M. (2018). La dialéctica del olvido, notas para reconceptualizar la tensión entre ausencia y pérdida. Olvidar/Forgetting. Brumaria 9, 57-82.
Ciancio, B. (2016). ¿Cómo (no) hacer cosas con imágenes? Sobre el concepto de posmemoria. Constelaciones. Revista De Teoría Crítica, 7(7), 503-515. Recuperado a partir de https://constelaciones-rtc.net/article/view/1128
Carrillo-Quiroga, P. (2015). La investigación basada en la práctica de las artes y los medios audiovisuales. Revista Mexicana de Investigación Educativa, vol. 20(64), 219-240. Recuperado en 11 de marzo de 2022, http://www.scielo.org.mx/scielo.php?script=sci_arttext&pid=S1405-66662015000100011&lng=es&tlng=es.
Cruz García, L. (2021). La difusión del cine colaborativo: Métodos y beneficios multidireccionales de la difusión de los cines de participación. AdComunica, 22, 317-337. https://doi.org/10.6035/2174-0992.2021.22.16
Kuhn, A., Biltereyst, B., Meers, P. (2017). Memories of cinemagoing and film experience: An introduction. Memory Studies, vol. 10 (I), 3-16. https://doi.org/10.1177/1750698016670783
Kuhn, A. (2004). Heterotopia, heterochronia: place and time in cinema memory. Screen, vol. 45 (2), 106-114. https://doi-org.ehu.idm.oclc.org/10.1093/screen/45.2.106
https://doi.org/10.1093/screen/45.2.106
Marín-Viadel R. y Roldán J. (2019). A/r/tografía e Investigación Educativa Basada en Artes Visuales en el panorama de las metodologías de investigación en Educación Artística. Arte, Individuo y Sociedad, 31(4), 881-895. https://doi.org/10.5209/aris.63409
Miguélez-Juan, B., Zorita-Aguirre, I., Narbaiza Amillategi, B. (2021). Consumo Audiovisual de adolescentes y jóvenes: netflix, Binge-watching y contenidos de ficción. Segarra-Saavedra, J., Herrero-Gutiérrez J., Hidalgo-Marí, T. (Coor). De la universidad a la sociedad. Transferencia del conocimiento en el área de Comunicación (págs. 118-137). Dykinson S.L. ISBN: 978-84-1377-820-4
https://doi.org/10.2307/j.ctv2gz3scz.10
Moltrasio, J., Detlefsen, V., Dominguez, F., & Rubinstein, W. (2022). Memoria emocional y efecto de la música en el recuerdo de adultos mayores. Ciencias Psicológicas, 16(1), e-2647. https://doi.org/10.22235/cp.v16i1.2647
Montero Sánchez, D., & Moreno Domínguez, J. M. (2020). Explorando el campo de conocimiento del video participativo. Un recorrido por las principales aportaciones teórico-prácticas. Revista Internacional De Comunicación Y Desarrollo (RICD), 3(11), 92-108. https://doi.org/10.15304/ricd.3.11.6345
Nagamini, E., & Aguaded, I. (2018). La Educomunicación en el contexto de las nuevas dinámicas discursivas mediáticas [Editorial]. Revista Mediterránea De Comunicación, 9(2), 119-121. https://doi.org/10.14198/MEDCOM2018.9.2.27
Obradors, M. (2021). Hibridaciones y desbordamientos entre disciplinas y sectores en arte y comunicación. Trazando el potencial creativo transdisciplinar para la docencia. Icono 14, 19(2), 212-234. https://doi: 10.7195/ri14.v19i2.1708
O'Keane, V. (2021). El bazar de la memoria. Madrid: Siruela.
Ortuño, P., (2013). Estéticas colaborativas en vídeo: la paz intervenida como proyecto artístico. Crespo Fajardo J.L. (coor.). Estéticas del Media Art. (Págs. 211-223). Universidad de Málaga (UMA), Eumed. ISBN: 978-84-15774-75-4. https://dialnet.unirioja.es/servlet/articulo?codigo=4339293
Ortuño Mengual, P. & Villapana Ruiz, V. (2017). Activismo Transmedia. Narrativas de participación para el cambio social. Obra digital: revista de comunicación, 12, 123-144. https://raco.cat/index.php/ObraDigital/article/view/328402.
https://doi.org/10.25029/od.2017.123.12
Özdemir, Ç., Leichtman, M. D., Kreinces, L. J., Pillemer, D. B. (2021). A deeper dive into the reminiscence bump: further evidence for the life script hypothesis. Memory, vol. 29 (10), 1411-1419. https://doi.org/10.1080/09658211.2021.1978501
Paz, M. A. (2003). The Spanish Remember: movie attendance during the Franco dictatorship. Historical Journal of Film, Radio and Television, vol. 23 (4), 358-374. https://doi.org/10.1080/0143968032000126645
Radstone, S. (2008). Memory studies:For and againts. Memory Studies, vol I (I), 31-39. https://doi.org/10.1177/1750698007083886
Roediger, H. L., Wertsch, J. V. (2008). Creating a new discipline of memory studies. Memory Studies, vol. I (I), 9-22. https://doi.org/10.1177/1750698007083884
Roig Telo, A. (2017). Cine Colaborativo, entre los discursos, la experimentación y el control: metodologías participativas en ficción y no-ficción. Obra digital: revista de comunicación, 12, 13-25. https://dialnet.unirioja.es/servlet/articulo?codigo=6122235
https://doi.org/10.25029/od.2017.121.12
Rosas Mantecón, A. (2017). Ir al Cine: Antropología de los públicos, la ciudad y las pantallas. México: Gedisa editorial.
Sánchez de Serdio, A. (2015). Prácticas artísticas colaborativas: comprender, negociar, reconocer, retornar. En A. Collados y J. Rodrigo (eds.) Transductores 3. Prácticas artísticas en contexto (págs. 39-44). Centro José Guerrero, Diputación de Granada.
Schuman, H., Corming, A. (2014). Collective memory and autobiographical memory: Similar but not the same. Memory Studies, vol. 7 (2), 146-160. https://doi.org/10.1177/1750698013508196
Sucari, J. (2017). El documental social participativo: el protagonista como sujeto de la historia. Obra Digital, vol. 12, 69-85. https://doi.org/10.25029/od.2017.112.12
Vermeulen, P., Craps, S., Crownshaw, R., de Graef, O., Huyssen, A., Liska, V., Miller, D. (2012). Dispersal and redemption: The future dynamics of memory studies - A roundtable. Memory Studies, vol. 5 (2), 223-239. https://doi.org/10.1177/1750698011428302
Villapana Ruiz, V. (2016). Tendencias discursivas: cine colaborativo, comunicación social y prácticas de participación en internet. AdComunica. Revista Científica de Estrategias, Tendencias e Innovación en Comunicación, 12, 109-126. https://raco.cat/index.php/adComunica/article/view/312860.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 itziar zorita aguirre
This work is licensed under a Creative Commons Attribution 4.0 International License.
Those authors who have publications with this magazine, accept the following terms:
The authors will retain their copyright and will guarantee to the journal the right of first publication of their work, which will be simultaneously subject to the Creative Commons Attribution License that allows third parties to share the work whenever their author is indicated and its first publication is this journal.
Authors may adopt other non-exclusive license agreements to distribute the version of the published work (eg to be deposited in an institutional telematic file or published in a monographic volume) provided the initial publication is indicated in this journal .
Authors are encouraged to disseminate their work via the Internet (eg in institutional telematic files or on their website) before and during the submission process, which can produce interesting exchanges and increase the number of citations of the published work..
In case of being accepted works will be published under Creative Commons license.
