Within the Limits of the Visible: The Offscreen in Post- Dictatorial Chilean Cinema
This article examines the limited representation of violence in Chilean productions from the early 21st century, as a reflection of the democracy of agreements promoted by the “Concertación” governments (1990-2010). The analysis focuses on how violence is often displaced off-screen in the works of...
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| Format: | Article |
| Language: | Spanish |
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Pontificia Universidad Católica del Perú
2025-07-01
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| Series: | Conexión |
| Online Access: | https://revistas.pucp.edu.pe/index.php/conexion/article/view/31543 |
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| author | Vania Barraza |
| author_facet | Vania Barraza |
| author_sort | Vania Barraza |
| collection | DOAJ |
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This article examines the limited representation of violence in Chilean productions from the early 21st century, as a reflection of the democracy of agreements promoted by the “Concertación” governments (1990-2010). The analysis focuses on how violence is often displaced off-screen in the works of three directors from different generations: Andrés Wood, Miguel Littin, and Pablo Larraín. From the films of these directors, two trends in representation are identified: one reproduces a consensual perspective on historical events, while the other aims to challenge the democracy of agreements by introducing new subjectivities into Chilean historical cinema.
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| format | Article |
| id | doaj-art-0ee7bd5bbabe46de8503d72751aaf1ca |
| institution | Kabale University |
| issn | 2305-7467 2413-5437 |
| language | Spanish |
| publishDate | 2025-07-01 |
| publisher | Pontificia Universidad Católica del Perú |
| record_format | Article |
| series | Conexión |
| spelling | doaj-art-0ee7bd5bbabe46de8503d72751aaf1ca2025-08-20T03:50:45ZspaPontificia Universidad Católica del PerúConexión2305-74672413-54372025-07-0123Within the Limits of the Visible: The Offscreen in Post- Dictatorial Chilean CinemaVania Barraza This article examines the limited representation of violence in Chilean productions from the early 21st century, as a reflection of the democracy of agreements promoted by the “Concertación” governments (1990-2010). The analysis focuses on how violence is often displaced off-screen in the works of three directors from different generations: Andrés Wood, Miguel Littin, and Pablo Larraín. From the films of these directors, two trends in representation are identified: one reproduces a consensual perspective on historical events, while the other aims to challenge the democracy of agreements by introducing new subjectivities into Chilean historical cinema. https://revistas.pucp.edu.pe/index.php/conexion/article/view/31543 |
| spellingShingle | Vania Barraza Within the Limits of the Visible: The Offscreen in Post- Dictatorial Chilean Cinema Conexión |
| title | Within the Limits of the Visible: The Offscreen in Post- Dictatorial Chilean Cinema |
| title_full | Within the Limits of the Visible: The Offscreen in Post- Dictatorial Chilean Cinema |
| title_fullStr | Within the Limits of the Visible: The Offscreen in Post- Dictatorial Chilean Cinema |
| title_full_unstemmed | Within the Limits of the Visible: The Offscreen in Post- Dictatorial Chilean Cinema |
| title_short | Within the Limits of the Visible: The Offscreen in Post- Dictatorial Chilean Cinema |
| title_sort | within the limits of the visible the offscreen in post dictatorial chilean cinema |
| url | https://revistas.pucp.edu.pe/index.php/conexion/article/view/31543 |
| work_keys_str_mv | AT vaniabarraza withinthelimitsofthevisibletheoffscreeninpostdictatorialchileancinema |