Bring on the Apocalypse: Nostalgia and Tragedy in Hugo Santiago's Aquilea

Hugo Santiago's films about the apocalypse of the fictional city of Aquilea work as an allegory to Argentina's blood bath during General Onganía's and General Videla's dictatorships (1966-1983). Invasion (1969) and The Sidewalks of Saturn (1985) portray an obsessive nostalgia that motivates the character's ideological performance of memento mori and pro patria mori. These tropes perpetuate a tradition that I have coined as the defeated defender myth, which expresses the glorification of the willingness to self-sacrifice as a heroic act and is reminiscent of the Argentine emblematic gaucho-martyrs tradition. Thus, philosopher Steve Rose's model of suicide (2015) contributes to understanding the influence of nostalgia and future nostalgia in enforcing the major and minor phenomenological forces that shape these tragic identities. Ultimately, this thesis finds that this romanticization of self-sacrifice illustrates Hugo Santiago's project of constructing an insurrectionary national identity that conversely practices a murderous cult of memory.