Democratic ambivalence in post mortem

Harvey, James (2017) Democratic ambivalence in post mortem. Journal of Latin American Cultural Studies, 26 (4). pp. 539-551. ISSN 1469-9575

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Official URL: https://doi.org/10.1080/13569325.2017.1384367

Abstract

Pablo Larraín’s trilogy of films has broken new ground in Chilean cinema by offering a new perspective on realities of the Pinochet dictatorship, the outbreak of the coup, and the dissolution of Pinochet’s power. This article explores Larraín’s use of banality, which, I claim, realizes a democratic ambivalence that is latent in historical representation and History proper. Rather than accusing Larraín’s films of conservatism or apathy, I argue that these films seek to destabilize the known categories of identification: a radical gesture against any form of establishment. Paying particular attention to Larraín’s aesthetics, I claim that the radical gesture of Post mortem (2010) lies in its innovations at the level of mise-en-scène and editing. Drawing on philosophical insights in Jacques Rancière’s and Gilles Deleuze’s writings on historical representation and ambivalent representations, I argue that Larraín avoids conventional forms of historical fiction and Latin American political cinema.

Item Type: Journal Article
Keywords: Chile, political cinema, democracy, Larraín, Rancière, banality, history, trauma
Faculty: ARCHIVED Faculty of Arts, Law & Social Sciences (until September 2018)
Depositing User: Lisa Blanshard
Date Deposited: 20 Sep 2019 09:51
Last Modified: 09 Sep 2021 16:11
URI: https://arro.anglia.ac.uk/id/eprint/704775

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