For Salvadorans, the memory of El Mozote and Rufina Amaya's story (the story of many rural Salvadorans' experience during the eighties) have not been forgotten. A number of Websites on the Internet with a greater number of links attests to how remembering El Mozote has been adapted by new technologies. More recently, Amaya's testimonio has been reproduced in media forms such an electroacoustic, ambient musical composition entitled “La Masacre del Mozote” (JC Mendizabal @ 1999) and the film Homeland (Dir. Doug Scott, 1999), both of which attempt to recuperate for a U.S.-Salvadoran reception the primary trauma of that violent past and to recall the memory of a war that cost the lives of over 75,000 people and set off the great Salvadoran migrations of the 1980s. For many Salvadoran immigrants, particularly new generations of Salvadorans born outside of the country who have no or very little memory of the Salvadoran Civil War, El Mozote is a lost fragment of their history, the same history that produced their diasporic condition today.  Recovering the story of El Mozote and of the Civil War in El Salvador, I argue, may enable an imaginary recovery of the Central American homelands for those people who may not have lived in the region during the 1980s. Through a reading of hybrid, multimedia texts such as Mendizabal’s CD La masacre del Mozote and Doug Scott’s film “Homeland,” I intend to explore the transmission of the “memory” of war to diasporic communities of Salvadorans through new technologies and audio and visual scapes.