Within the Limits of the Visible: The Offscreen in Post- Dictatorial Chilean Cinema

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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 t...

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Detalles Bibliográficos
Autor: Barraza, Vania
Formato: artículo
Fecha de Publicación:2025
Institución:Pontificia Universidad Católica del Perú
Repositorio:Revistas - Pontificia Universidad Católica del Perú
Lenguaje:inglés
OAI Identifier:oai:revistaspuc:article/31543
Enlace del recurso:http://revistas.pucp.edu.pe/index.php/conexion/article/view/31543
Nivel de acceso:acceso abierto
Descripción
Sumario: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.
Within the Limits of the Visible: The Offscreen in Post- Dictatorial Chilean Cinema
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