{"version":"1.0","provider_name":"CURE","provider_url":"https:\/\/cure.uni-saarland.de\/en\/","author_name":"Eva Hitschfel","author_url":"https:\/\/cure.uni-saarland.de\/en\/author\/eva-hitschfelkhk-uni-saarland-de\/","title":"\u201cTrasiego\u201d: The Reparations of Amnesia - CURE","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"iiqymlBLsv\"><a href=\"https:\/\/cure.uni-saarland.de\/en\/media-library\/blog\/trasiego-the-reparations-of-amnesia\/\">\u201cTrasiego\u201d: The Reparations of Amnesia<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/cure.uni-saarland.de\/en\/media-library\/blog\/trasiego-the-reparations-of-amnesia\/embed\/#?secret=iiqymlBLsv\" width=\"600\" height=\"338\" title=\"&#8220;\u201cTrasiego\u201d: The Reparations of Amnesia&#8221; &#8212; CURE\" data-secret=\"iiqymlBLsv\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/cure.uni-saarland.de\/wp\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/cure.uni-saarland.de\/app\/uploads\/2026\/04\/Baum-Gedachtnis-1-1500x851.png","thumbnail_width":1500,"thumbnail_height":851,"description":"Three years ago, I watched Trasiego (Amanda Woolrich, 2023) for the first timethrough a link shared with me by the director.[^1] My attention was immediately grabbed by the striking visuals \u2013 various animal skulls, animated with charcoal and ink, in a dark process of mutation \u2013 and the rejection of the belief that a person dies only once and that is the end of their story. However, at the film\u2019s first screening in Germany in 2025 during the workshop The Politics of Literature between East-Central Europe and Latin America, organised by Agnieszka Hudzik and Jos\u00e9 Luis Nogales Baena at the University of Saarland, I realised the importance of the film\u2019s dialogues; the exchanges between a grandmother (the visual artist Fanny Rabel) and her grandchild, the visual artist Amanda Woolrich, lie at the heart of Trasiego (Decanting)."}