Academic literature on the topic 'Chilean cinema'
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Journal articles on the topic "Chilean cinema"
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Merchant, Paul. "Rhetorics of Chilean Cinema (Pablo Corro, 2014)." Film Studies 16, no. 1 (2017): 94–102. http://dx.doi.org/10.7227/fs.16.0008.
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Pablo Corro‘s 2014 book Retóricas del cine chileno (Rhetorics of Chilean Cinema) is a wide-ranging examination of the style and concerns that have come to characterise Chilean film-making from the 1950s to the present day. Corro demonstrates how ideas of national cinema are always to some extent dependent on transnational currents of cinematic ideas and techniques, as well as on local political contexts. The chapter presented here, Weak Poetics, adapts Gianni Vattimo‘s notion of weak thought to discuss the growing attention paid by Chilean films to the mundane, the everyday and the intimate. Corro‘s dense, allusive writing skilfully mirrors the films he describes, in which meaning is fragmented and dispersed into glimpsed appearances and acousmatic sounds. Corros historicisation of this fracturing of meaning allows the cinema of the everyday to be understood not as a retreat from politics, but as a recasting of the grounds on which it might occur.
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Aguilera Mora, Mauricio Kevin. "Aldo Francia and Italian neorealism: A Latin American filmmaker and a creative affiliation." Journal of Italian Cinema & Media Studies 10, no. 2 (March 1, 2022): 333–48. http://dx.doi.org/10.1386/jicms_00130_1.
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This article first analyses how and why Italian neorealism was a catalyst for the emergence of other national cinemas in Latin America. It also delves into the case of the creation of a new cinematographic culture in Chile, where the filmmaker Aldo Francia served as one of its main promoters and for whom neorealist cinema was a preponderantly important reference. Subsequently, the article examines the complex relationship that Francia established with neorealism in his work. In this sense, one of his films, Valparaíso, mi amor (Valparaiso My Love) (1969) is analysed and put into dialogue with other neorealist films, to determine the intertextual relationships that the film establishes with neorealist cinema, and thus, to delimit what is the neorealist heritage in the film, and, to understand how he radicalized and appropriated a foreign aesthetic to create his own aesthetic proposal based on Chilean context.
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Gonzalez Fulle, Maria Beatriz. "Imágenes sobre Chile: dos miradas para construir la memoria." eari. educación artística. revista de investigación, no. 10 (December 20, 2019): 262. http://dx.doi.org/10.7203/eari.10.13895.
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Resumen: Este artículo presenta un material pedagógico que, a través del cine, permite desarrollar contenidos incluidos en los programas de estudio del curriculum escolar chileno. Se trata de la obra de los cineastas Raúl Ruiz y Patricio Guzmán que, desde miradas muy diversas nos permiten acercarnos a un mismo país, antes y después de la dictadura militar. Estos materiales integran la colección editorial Educación Artística realizada por el Ministerio de las Culturas, las Artes y el Patrimonio, de Chile.
Palabras clave: Educación artística, cine, formación ciudadana, memoria, didáctica.
Abstract: This paper presents a pedagogic material that trough cinema allows to develop contents included in the study programs of the chilean scholar schedule. It’s about the work of the filmmakers Raúl Ruiz and Patricio Guzmán. Both of them, from very different point of view, allows us to get close to the same country, after and before the militar dictatorship. This pedagogic materials integrate the editorial collection of Artistic Education made by the Ministry of Cultures, Arts and Heritage of Chile.
Keywords: Artistic Education, cinema, citizen formation, memoir, didactic.
DOI: http://dx.doi.org/10.7203/eari.10.13895
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Cisneros, James. "The Figure Of Memory In Chilean Cinema: Patricio GuzmÁn And RaÚl Ruiz." Journal of Latin American Cultural Studies 15, no. 1 (March 2006): 59–75. http://dx.doi.org/10.1080/13569320600597007.
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Marín Castro, P. "Los unos y los otros: identidades en el cine chileno (1960-2014)." Araucaria, no. 34 (2015): 329–51. http://dx.doi.org/10.12795/araucaria.2015.i34.15.
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Venegas Valdebenito, Hernán, and Adriana Palomera Valenzuela. "Refugio e inmigración. El cine documental chileno frente a un viejo y nuevo dilema." Revista Austral de Ciencias Sociales, no. 41 (2021): 155–74. http://dx.doi.org/10.4206/rev.austral.cienc.soc.2021.n41-08.
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Roa Pilar, Cristian Felipe. "Grabbing Dignity." Journal of Anthropological Films 1, no. 1 (November 29, 2017): 1313. http://dx.doi.org/10.15845/jaf.v1i1.1313.
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‘Grabbing Dignity’ explores how marginalised women perceive their dignity during a relocation process from an illegal settlement to subsidised housing in Santiago, Chile, in 2016.Through an ethnographic-based approach, the film experiments with different audiovisual language techniques, where observational cinema, semi-structured interviews and voice over are combined to build a reflective storytelling about a year-long fight for housing rights.This film points out that the fight for dignity is not driven by seeking material goods for improving their quality of life, but rather as finding a legitimate and embodied sense of place where the locals are accepted by the wider Chilean society, and by that acceptance also recognised as human beings. I portray that this fight is contrasted by how the relocation is carry out by the Chilean government where house and home are inaccurately taken as equals. With this in mind, the film enlarges the discussion about human dignity as not only an individual perception, but also as a community-based phenomenon. From this perspective, I suggest that a collective sense of place is paramount in achieving a better understanding of what human dignity might encompass.
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Silva Oyaneder, Vladimir. "Trascender la superficie: El cuerpo como enunciante retórico e ideológico en el documental Noticias." Catedral Tomada. Revista de crítica literaria latinoamericana 5, no. 9 (January 5, 2018): 67–83. http://dx.doi.org/10.5195/ct/2017.272.
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The text raises a critical interpretation about the representation of the body in the documentary Noticias (2009) of the Chilean directors Bettina Perut and Ivan Ossnovikof. To this end, it is emphasize on the capacity of the concept of a body without organs to destroy the intellectual reflection that has been universally hegemonic when it comes to appreciating a work of art. In this way, it is argued that the body in the analyzed film, aims to the de-hierarchization of the gaze in the intellectual act of appreciating cinematographic work. The body understood,then, as a sensitive organicity that inverts the reflection of body/intellect, shows the capacity of making a critique of the classic cinematic representation and a questioning to the ideological and social configuration in which, historically, the cinema has developed its discourse.
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Aceituno Silva, David, and Damaris Natalia Collao Donoso. "Estética de lo popular en el cine de Joris Ivens y Aldo Francia. Resignificar la memoria y patrimonio de Valparaíso." Cartaphilus. Revista de investigación y crítica estética 17 (January 11, 2020): 1–20. http://dx.doi.org/10.6018/cartaphilus.362221.
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El presente artículo tiene por objetivo analizar la mirada estética de dos grandes cineastas de los años ‘60 y ’70, cuyo trabajo rupturista marcó una época de controversia en Chile. Joris Ivens, pionero de cine realidad, y Aldo Francia, padre del nuevo cine chileno, a través de su obras “A Valparaíso” y “Valparaíso mi amor”, respectivamente, muestran una ciudad poco conocida y valorada por su configuración popular. A través de un análisis histórico del lenguaje fílmico buscamos comprender los lentes de estos cineastas para así reflexionar sobre un patrimonio material e inmaterial de la ciudad de Valparaíso que se crea y recrea entre sus calles, cerros, escaleras y pobreza, más allá de lo conocido y valorado históricamente. La mirada a lo popular, a la gente de a pie, a quienes con esfuerzo y lucha lograron sortear la geografía del puerto, permite cuestionar los patrones y escalas estéticas conocidos. Analizaremos en estas líneas la puesta en valor de la verdadera riqueza patrimonial de Valparaíso -ciudad declarada el año 2003 Patrimonio Mundial de la humanidad-, la que a través de la experiencia fílmica de estos artistas se dejará conocer para consolidar la memoria de una ciudad que se desconoce a si misma. This article aims to analyse the aesthetic gaze of two great filmmakers of the years ' 60 and ' 70, whose groundbreaking work marked a time of controversy in Chile. Joris Ivens, pioneer of cinema reality, and Aldo Francia, father of the new Chilean cinema, through his works "to Valparaiso" and "Valparaiso mi Amor", respectively, show a city little known and valued by its popular configuration. Through a historical analysis of the film language we seek to understand the lenses of these filmmakers in order to reflect on a material and immaterial heritage of the city of Valparaiso that is created and recreates between its streets, hills, stairs and poverty, beyond Historically known and valued. The view to the popular, to the people of walking, who with effort and struggle managed to circumvent the geography of the port, allows to question the patterns and aesthetic scales known. We will analyze in these lines the value of the true patrimonial richness of Valparaiso-City declared the year 2003 World Heritage of Humanity, which through the film experience of these artists is left to know to consolidate the memory of A city that doesn't know itself.
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Itavo, Camila Vinhas. "PRESENÇA IMEMORIAL EM NOSTALGIA DA LUZ (2010) * IMMEMORIAL PRESENCE IN NOSTALGIA FOR THE LIGHT (2010)." História e Cultura 8, no. 1 (July 3, 2019): 67. http://dx.doi.org/10.18223/hiscult.v8i1.2883.
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Reflexão sobre o longa-metragem Nostalgia da Luz (2010), de Patricio Guzmán como um filme-ensaio performático que põe em jogo para o espectador uma experiência sobre o papel da memória na imensidão da subjetividade humana, ao mesmo tempo em que produz verdade histórica sobre fatos que revela. Assim, busca-se detalhar a escrita cinematográfica de Guzmán, observando como ele pluraliza sua abordagem da memória e dá vazão a uma narrativa do trauma que foi a passagem do Governo Allende para o golpe sucedido pela ditadura militar de Pinochet (1973 – 1990) para a sociedade chilena. Analisando-o como um cinema testemunho que produz mais do que um documento fundamental à história humana, reinventa o valor subjetivo e criativo do documentário, propondo uma interlocução entre passados e presente e dando as coordenadas de sua montagem e poder de remontagem ao convocar o espectador-montador para reconstrução do presente e da história além do filme.*Reflection about the film Nostalgia for the Light (2010), by Patricio Guzmán, approaching it as a performative essay-film that invites the viewer to experience the role of memory in the vastness of human subjectivity, as it produces historical truth over the facts it reveals. Therefore, Guzmán’s cinematographic writing is put to analysis by observing how he amplifies his approach of memory as he sets the scene to the ambiguous trauma that was the coup that took place in Chile, deposing president Salvador Allende and giving way to Pinochet’s military dictatorship (1973-1990), and its consequences for all Chilean society. Considering it as a testimony that produces more than a fundamental document to the human history, the film reinvents the subjective and creative value of the documentary, suggesting a direct dialogue between the multiple pasts and the present and giving the coordinates of his own assembling process and to the possibility of reassembling it as he calls the so-called viewer-assembler to the reconstruction of both present and the history that goes beyond the film.
Dissertations / Theses on the topic "Chilean cinema"
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Peirano, María Paz. "Contemporary Chilean cinema : film practices and narratives of national cinema within the Chilean 'film community'." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/50776/.
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This thesis presents an anthropological perspective on the film production practices and narratives underlying the construction of contemporary Chilean national cinema. Based on a multi-sited ‘travelling’ ethnography, it reflects on small, peripheral film production in a transnational neoliberal context, where ‘local’ and ‘global’ trends converge, and focuses on the case of Chilean cinema, which has expanded its production, global circulation and exhibition. The research is grounded in the film experiences of the Chilean film community, a network of film professionals (filmmakers, critics, exhibitors and other film agents) involved in the construction of national cinema. The thesis provides a contextually-based perspective on national film, which is uncommon in both Anthropology and Film Studies, seeking to expand the still emerging field of anthropology of cinema. More than as a group of ‘national’ films, Chilean cinema is understood as both an art world and a field of cultural production, arguing that ‘national cinema’ is both a cultural artifact and a social practice, which is constructed in permanent negotiations between Chilean professionals and other agents in the field. The thesis claims that the film experience of Chilean professionals is part of a broader experience of globalisation, and discusses the formation of artistic, professional and national subjectivities in the neoliberal context, where the identity of Chilean ‘national’ cinema is often contested. It then deconstructs the idea of national cinema as a bounded cultural product, highlighting the overlapping social and cultural traits that affect Chileans’ creative processes. The thesis examines the ways in which Chilean professionals have made sense of this transnational context, reshaping both their social performances and their cinematographic imagination. By referring to the case of Chilean cinema, the thesis shows the complexities of building a contemporary peripheral film industry. It discusses the construction of national communities, cultural commodification, precarious global labour conditions, and the role of national and international social networks in media production. It argues that Chilean cinema practices, particularly at international film festivals, evince overlapping narratives of art and business as well as localism and cosmopolitanism, revealing some of the cultural paradoxes of local film production.
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Zambrano-Cardenas, Andrea. "Le spectacle cinématographique à Santiago du Chili entre 1920 et 1929." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2003.
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Ce travail a comme objectif de reconstruire, à travers les annonces publicitaires parues dans la presse de l’époque, un pan de l’histoire cinématographique chilienne jusqu’ici relativement peu étudié et pourtant fondamental : le spectacle cinématographique muet à Santiago du Chili pendant les années 1920 – 1929, une décennie clé pour le cinéma national.Cette recherche utilise comme source principale les journaux El Mercurio de Santiago et El Diario Ilustrado. L’analyse des annonces publicitaires des salles de cinéma parues respectivement dans ces journaux, archives riches en contenu et qui participent du dialogue intertextuel et interculturel, a été le pilier fondamental de cette recherche.C’est par l’étude du spectacle cinématographique, des salles de projection, des cinémas et de leurs exploitants et leurs répercussions dans la presse écrite des années vingt, que ce travail, qui s’inscrit dans ce que Bongers appelle la « discusivacion del cine », initie, à notre sens, une approche nouvelle de cette mémoire culturelle que constitue le cinéma.Cette perspective amène à questionner précisément le rôle joué par la production cinématographique nationale, l’une des plus dynamiques dans l’histoire du cinéma chilien, et par la censure dans le spectacle cinématographique tel qu’il se construit à cette époque.Notre recherche aborde des sujets qui concernent la naissance du cinéma chilien, le début de la sédentarisation du spectacle cinématographique dans la capitale du Chili et le rôle socialisateur des salles de cinéma, la politique tarifaire appliquée par leurs exploitants, les productions cinématographiques locales et le rapport de ce spectacle avec la presse de l’époqueThe purpose of this work is to reconstruct, through the study of advertisements published in the press of the time, a part of Chilean film history that is so far relatively unstudied, but nevertheless fundamental: the silent film show in Santiago, Chile during the 1920 - 1929.This research uses as it's main sources the newspapers El Mercurio de Santiago and El Diario Ilustrado. The analysis of cinema advertisements published in these content-rich newspapers, which contribute to intertextual and intercultural dialogue, were the fundamental pillar of this research.It is through the study of the cinematographic show, projection rooms, cinemas and their operators, as well as and their repercussions in the press of the 20s, that this work, which is part of what Bongers calls the "discusivacion del cine", initiates in our opinion, a new approach to the cultural memory that constitutes the cinema.This perspective leads to a precise questioning of the role played by production one of the most dynamic in the history of Chilean cinema, and by censorship in the film show as it was being constructed at that time.Our research addresses topics related to the birth of Chilean cinema, the beginning of the sedentarisation of the cinematographic show in the Chilean capital and the socializing role of cinemas as well as the price policy applied by their operators, local film productions and the relationship of this show with the press of the time
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Runciman, Nicola. "Image, process, experience : exploring the landscapes of Chilean cinema (2008-2014)." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/image-process-experience-exploring-the-landscapes-of-chilean-cinema-20082014(99445434-2fd9-466a-96ec-4f62785fd93f).html.
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This thesis explores representations of landscape in Chilean fiction cinema from 2008 to 2014, through a corpus drawn from the so-called novisimo cine chileno, a generation of young filmmakers who have attracted significant critical attention both within Chile and on international festival and arthouse circuits. The thesis is built on close readings of the selected films within a conceptual framework informed by interdisciplinary perspectives from the developing field of landscape studies. It aims to show how these cinematic landscapes function beyond the limitations of narrative setting or symbolic imagery and are instead represented in ways which capture landscape's processual, experiential and polysemic nature, which in turn throws light on landscape as an approach to a wide range of thematic concerns within these films. It begins by placing the selected corpus within a broader cultural history of the Chilean landscape and maps out the conceptual framework which will be applied and developed through the thesis, considering landscape as experience and process, as well as image. The thesis then sets out the foundations for the thesis' close readings by demonstrating how such a conceptual approach can reveal the inherent tensions of film landscapes - between being inside and outside, contemplation and immersion, proximity and distance - and can also uncover the multisensory and embodied aspects of landscapes on screen, with particular attention to the roles of sound and haptic imagery. In the remainder of the thesis, this approach to landscape is developed through further close analysis of selected films in order to demonstrate how landscape functions in relation to certain thematic concerns - what contact between body and landscape reveals about materiality and mortality, how the cinematic landscape both invites and resists its framing as territory, and how film as a medium has a particular capacity to evoke the multiple temporalities at work within landscape. As a whole, the thesis works to illuminate the aesthetic, formal, narrative and thematic functions of landscape in the chosen films and argues for the usefulness of interdisciplinary conceptual approaches in the study of cinematic landscapes in order to reach a more nuanced understanding of film's representation of the relation of people and place.
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Sorensen, Kristin. "Chilean media and discourses of human rights (Augusto Pinochet Ugarte)." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3178475.
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Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2005.Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2008. Adviser: Barbara Klinger. "Title from dissertation home page (viewed Nov. 27, 2006)."
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Merchant, Paul Rumney. "New constructions of house and home in contemporary Argentine and Chilean cinema (2005-2015)." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269407.
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This thesis explores the potential of domestic space to act as the ground for new forms of community and sociability in Argentine and Chilean films from the early twenty-first century. It thus tracks a shift in the political treatment of the home in Southern Cone cinema, away from allegorical affirmations of the family, and towards a reflection on film’s ability to both delineate and disrupt lived spaces. In the works examined, the displacement of attention from human subjects to the material environment defamiliarises the domestic sphere and complicates its relation to the nation. The house thus does not act as ‘a body of images that give mankind proofs or illusions of stability’ (Bachelard), but rather as a medium through which identities are challenged and reformed. This anxiety about domestic space demands, I argue, a renewal of the deconstructive frameworks often deployed in studies of Latin American culture (Moreiras, Williams). The thesis turns to new materialist theories, among others, as a supplement to deconstructive thinking, and argues that theorisations of cinema’s political agency must be informed by social, economic and urban histories. The prominence of suburban settings moreover encourages a nuancing of the ontological links often invoked between cinema, the house, and the city. The first section of the thesis rethinks two concepts closely linked to the home: memory and modernity. Analysing documentary and essay films, Chapter 1 suggests some political limitations to the figure of the fragment which dominates scholarly discussion of memory in Latin America. Chapter 2 studies films which explore the inclusions and exclusions created by modernist domestic architecture. The second section focuses on two human figures found on the threshold of the home: the domestic worker and the guest. Chapter 3 analyses unorthodox representations of domestic work, and explores how new materialist approaches can enhance readings of the political potential of ‘art cinema’. Finally, in Chapter 4 I examine films depicting household visitors that upset urban class divisions, and question the possibility of ‘domestic cosmopolitanism’ (Nava 2006) in contemporary Latin America. My comparative analysis of these films explores a rupture between physical dwelling and imagined home that points towards new political practices in a neoliberal, post-dictatorship context.
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Reveco, Fissore Roberto. "Un cinéma sous tension : une histoire du cinéma chilien 1939-1973." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080139/document.
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Entre 1939 et 1973, le cinéma chilien a tenté au moins deux modèles de développement : dans les années quarante, on a essayé d’industrialiser l’activité cinématographique avec la création de studios, entre autres, tandis que dans les années soixante et soixante-dix, on a tenté de produire un cinéma artistique et révolutionnaire. Le passage d’un cinéma à un autre a eu lieu grâce à une transition de quinze ans lors de laquelle les cinéastes et individus liés au cinéma ont réinventé les concepts et les pratiques cinématographiques. La trajectoire que le cinéma chilien a tracé pendant ces années-là est le sujet de cette thèse, qui tente de comprendre et de considérer toute la complexité de ce parcours particulier, tendu entre plusieurs pôles, qu’il s’agissent de demandes, de besoins, de problèmes et de désirs, tant économiques, que politiques, artistiques, techniques et culturelsBetween 1939 and 1973 Chilean cinema attempted at least two models of development: during the 1940s it tried to industrialize cinematographic activity through, amongst other things, the creation of studios, while in the 1960s and 1970s the efforts were placed on the production of artistic and revolutionary cinema. The advancement from one cinema to the other took place thanks to a 15-year transition during which film-makers and people tied to cinema reinvented the cinematographic concepts and practices. The trajectory traced by Chilean cinema during those years is the theme of this thesis, whose focus seeks to understand and consider all the complexity of this particular process, tensioned by various poles, demands, necessities, problems and desires, as much economic as political, artistic, technical and cultural
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Jung, Berenike Christiane. "The (in)visibilities of torture : political torture and visual evidence in U.S. and Chilean fiction cinema (2004-2014)." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/81387/.
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This thesis explores how selected contemporary U.S. and Chilean films and television shows depict political torture, in relation to visual documentation of factual cases. The films explore the uneasy complicity in seeing or watching torture, which concerns both the spectacle of cinema, the nature of torture as well as the position of the audience or witness. Casting a wider net on the definition of torture, I suggest that these media products can help broaden our comprehension of the event torture, in its collective and emotional dimension, its long-term social effects as well as its links to other cultural concepts. Moving beyond dominant and limiting frameworks based on representation and identification, this thesis integrates affect, film and media theory with textual analysis. Some of these films and television shows offer a public and emotional space to explore subject positions crucial to acknowledge a sense of social pain, often missing in official accounts. These films’ heterogeneous aesthetic responses speak to a similar set of epistemological and ontological queries, which are fundamentally related to the truth claims of images. In its inherent need for an ethical stand and trust in documented truth, torture offers a research axis to discuss current anxieties regarding the reliability of visual evidence, coinciding with a historical moment that interrogates (moving) images’ powers and reliability to document the real. Ethical questions regarding documentation are reconfigured in epistemological terms. If vision is problematic as means of verification, how do the films pursue authenticity, and what kind of truth do they offer? Responding to current interventions regarding the nature of the cinematic medium, the films propose a new poetics of the real that does not rely primarily on visual evidence. I argue that in a situation of contested, censored or plainly missing documentation, these films produce a “cine-poetic archive,” images that highlight both their constructedness and their roots in the historical real. In this way, the films help understand something fundamental about how we relate to our current reality through our images.
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López, Ana Maria. "Tensiones entre las narrativas de ficción y no ficción en la cinematografía contemporanea de Argentina, Chile y Colombia." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040073/document.
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Le cinéma de l'Argentine, le Chili et la Colombie entre 1990 et 2005 a dû faire face à divers changements liés aux modèles politique, économique et culturel. En particulier, les lois relatives à la production du cinéma ont changées dans les années ci-dessous, ce qui a permet de configurer un cinéma hétérogène par rapport aux thèmes et moyens de raconter. Dans cette thèse, nous nous proposons d’étudier un phénomène particulier situé temporellement dans un moment de transition et envisagé à travers un corpus clairement sélectionné. Le dit phénomène se présente à travers la relation que le cinéma entretient avec la réalité, relation qui, à cette époque, se caractérise par une grande ambigüité. Il s’agit principalement d’un élargissement des frontières de classifications des productions en vertu de sa relation avec la réalité qui, traditionnellement fut séparée en deux grands groupes définis comme fiction et non fiction. Pour cette raison, nous avons développés un cadre théorique autour du réalisme comme une catégorie d'analyse du corpus. Aussi, nous avons fait une analyse basée sur les approches des Études Culturelles d'Amérique Latine, l’Analyse Critique du Discours et l'Analyse de Cinéma. Notre travail a été de systématiser et de mettre en relation les processus qui ont permis la consolidation du cinéma contemporain d'Amérique Latine. Également, nous avons confirmés le besoin de contextualiser et de nourrir l'analyse de film avec la connaissance de l'histoire sociale, politique et économique comme une condition pour 'interpréter et analyser le récit de l'Amérique LatineArgentine, Chilean and Colombian Cinema of the period between1990-2005 had to face several changes related to political, economic and cultural models. In particular, laws related to film production changed over the years, allowing the configuration of a heterogeneous cinematography regarding its topics and ways of narrating. The main problem of this research is studying the relationship between cinema and reality and how the strategies of construction of fiction and nonfiction narratives are put into tension during the period above mentioned. For this reason, we developed a theoretical framework around the realism as a category to get an approach to the corpus. Additionally, we carried out an analysis of our corpus based on the Latin American Cultural Studies, Critical Discourse Analysis and Film Analysis approaches. We systematized and correlated the processes that have allowed contemporary Latin American films to consolidate as a reference. In this project, we have been able to confirm the need to contextualize and nourish film analysis using knowledge of the social, political and economic history as a condition to interpret and study Latin American Narratives
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Faúndez, Carreño Tania. "La guerra en la dramaturgia chilena." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/283534.
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La guerra se ha constituido un tema constante en la dramaturgia chilena, la cual a su vez se ha vinculado estrechamente con la identidad nacional. La pulsión de la guerra, con sus mecanismos discursivos institucionales (histórico, político, cultural, militar, nacional), sus ondulaciones y su dificultad misma de la representación sobre la escena han resonado en la dramaturgia patria desde la consolidación de la República en el siglo XIX (1817) hasta la apoteósica celebración del Bicentenario nacional (2010). Nuestro objeto de estudio pretende estructurar de forma general de qué modo las pulsiones bélicas (durante la preguerra, guerra y postguerra) y sus derivaciones de violencia (guerra de clases y guerra sucia) se han incrustado en la dramaturgia chilena, en un arco de tiempo que abarca casi tres siglos. Este gráfico desvelará la continuidad, ruptura, retorno e innovación de la representación de la guerra en la dramaturgia nacional, ofreciendo una selección de escrituras bélicas que van desde una formación clásica (épica-nacionalista), pasando por la guerra política (lucha de clases) y el terrorismo de Estado (dictadura militar) hasta llegar a la deconstrucción y resignificación de la memoria histórica. Sobre este soporte analizamos de qué manera aparece el pretexto bélico (acción, contexto histórico, tela de fondo o dimensión políticaWar has been a recurring subject in Chilean drama, which in turn has been closely connected with national identity. The drive of war along with its institutional discursive mechanisms (historical, political, cultural, military, national), its consequences and the difficulty in representing it on stage have echoed around the country’s playwriting from the establishment of the Republic in 1817 to the tremendous celebration of the national Bicentenary in 2010. This study aims to organize how pre-war, war and post-war eras and their by-products of violence (class war and dirty war) have become embedded in Chilean drama within a three-century span of time. This framework will reveal the continuity, the breaking, the revival and innovation of staging of war in the national drama while offering a selection of war literature that goes from classical formation (epic-national), through political war (class struggle) and State terrorism (dictatorship) to the deconstruction and reinterpreting of the historical memory. This work examines how the war pretext appears (action, historical background, backdrop or social, economic and political dimension) in plays with some representative importance in the theatre scene.
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Valencia, Fuentes Luis Eduardo, and Fuentes Luis Eduardo Valencia. "El cine chileno durante la dictadura militar." Tesis de Licenciatura, UNIVERSIDAD AUTÓNOMA DEL ESTADO DE MÉXICO, 2015. http://hdl.handle.net/20.500.11799/65735.
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El 11 de septiembre de 1973 quedará por siempre grabado en la memoria de los chilenos por el violento golpe de Estado de Augusto Pinochet al primer gobierno socialista electo democráticamente en América Latina. Con la irrupción del gobierno militar, hubo una fuerte censura en la cinematografía chilena, (junto con la música, la literatura, la pintura y el teatro), sobre todo en aquellas obras que se consideraban como una amenaza para los ideales políticos del régimen en turno. Actores y cineastas se vieron obligados a abandonar su país pero en el exilio continuaron desarrollando su
obra para denunciar al mundo la problemática de opresión y violación a los derechos humanos que se vivía en Chile.
El mismo día del golpe de Estado, un grupo de militares se dirigió a las instalaciones de Chile Films con la intención de destruir los celuloides; otros se encargaron de cerrar las escuelas y universidades especializadas en la enseñanza del séptimo arte. La razón principal de las medidas represivas en contra del cine y de otras manifestaciones artísticas radicó en la simpatía de los cineastas con el gobierno de la Unidad Popular, encabezado por Salvador Allende. Los cineastas exiliados por la fuerza opresora del golpe militar, tuvieron que pedir asilo político en países como Francia, Alemania, Suecia, Finlandia, Canadá, Unión Soviética, Cuba y México. A pesar del exilio, los cineastas buscaron el modo de denunciar las intransigencias de la dictadura, tema principal de sus películas; las obras cargadas de un alto valor simbólico mostraban a un pueblo inmerso en el miedo, al que no se le
permitía expresar su manera de pensar relacionada con la desaprobación a los cambios sociales por los que atravesó el país. Por medio de la coproducción con otros países, la cinematografía chilena registró un incremento notable y encontró en festivales y
muestras los únicos caminos para su distribución y exhibición en un mercado alejado de los parámetros comerciales de Hollywood.
El objetivo del presente trabajo, es identificar los elementos de producción, acciones emprendidas por los cineastas para buscar los medios necesarios y llevar a cabo la filmación de sus películas, de dos películas realizadas entre los años 1975 y 1985, tales
como el bajo presupuesto, el escaso apoyo del gobierno, la marginalidad en cartelera frente a producciones de Hollywood y el uso excesivo de modismos, pertenecientes a la cinematografía chilena realizada tanto en el exilio como al interior del país en la época de la dictadura militar, las cuales demostraré a partir del análisis de dos películas: Prisioneros desaparecidos (1979) de Sergio Castilla, realizada en el exilio, y El otro round (1984) de Cristian Sánchez, realizada en Chile.
Books on the topic "Chilean cinema"
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1976-, Douzet Pablo, and Rodríguez Cecilia 1974-, eds. Huérfanos y perdidos: Relectura del cine chileno de la transición, 1990-1999. Santiago, Chile: Uqbar Editores, 2007.
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1982-, Stange Hans, and Salinas Roco Sergio, eds. Historia del cine experimental en la Universidad de Chile 1957-1973. Santiago de Chile: Uqbar Editores, 2008.
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Marquez, Gabriel Garcia. Clandestine in Chile: The adventures of Miguel Littín. Cambridge: Granta in association with Penguin, 1989.
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Marquez, Gabriel Garcia. La aventura de Miguel Litti n, clandestino en Chile. Madrid: Ediciones El Pai s, 1986.
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Marquez, Gabriel Garcia. L' Aventure de Miguel Littín, clandestin au Chili. Paris: Livre de Poche, 1986.
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Marquez, Gabriel Garcia. La aventura de Miguel Littin clandestino en Chile. [México]: Editorial Diana, 1986.
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Marquez, Gabriel Garcia. La aventura de Miguel Littín clandestino en Chile: Un reportaje. Bogotá, Colombia: Editorial Oveja Negra, 1986.
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Marquez, Gabriel Garcia. La aventura de Miguel Littín, clandestino en Chile: Un reportaje. Buenos Aires: Editorial Sudamericana, 1986.
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Marquez, Gabriel Garcia. La aventura de Miguel Littín, clandestino en Chile. 6th ed. Madrid: El País, 1988.
Find full textBook chapters on the topic "Chilean cinema"
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Page, Joanna. "Neoliberalism and the Politics of Affect and Self-Authorship in Contemporary Chilean Cinema." In A Companion to Latin American Cinema, 269–84. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118557556.ch15.
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Poblete, Juan. "A Sense of Humor and Society in Three Chilean Comedies: Taxi para tres, Sexo con Amor, and Super, Todo Chile adentro." In Humor in Latin American Cinema, 247–66. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-54357-8_12.
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DiGiovanni, Lisa. "Torture, masculinity, and resistance in Chilean documentary film." In Gender-Based Violence in Latin American and Iberian Cinemas, 109–25. London ; New York : Routledge, 2020. | Series: Global gender: Routledge, 2020. http://dx.doi.org/10.4324/9780429436307-11.
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Winterbottom, Tom. "Human Rights and the Shadow of Chile’s Dictatorship: Patricio Guzmán and the Poetics of a Cinematic Landscape." In Human Rights, Social Movements and Activism in Contemporary Latin American Cinema, 21–43. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96208-5_2.
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Galindo, Gloria J. "Featuring Acts of Genocide in Chilean Film." In The History of Genocide in Cinema. I.B.Tauris, 2017. http://dx.doi.org/10.5040/9781350988750.ch-011.
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"7. The Politics of Realism in Chilean Cinema." In The Invisibilities of Political Torture, 153–71. Edinburgh University Press, 2020. http://dx.doi.org/10.1515/9781474437011-010.
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Trumper, Camilo D. "The Politics of Place in the “Cinema of Allende”." In Ephemeral Histories. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520289901.003.0006.
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Chapter 5 studies documentary films as rich historical documents and creative political exercises. Chilean documentarians turned their attention to the streets in order to reconcile cinematic form and political commitment in the three years of Allende’s presidency. The films they made emerge as key sources for political history. They shed light on the struggle over urban spaces as a political tactic. They also proposed a complex and reciprocal relationship between political and aesthetic modes. Their films were creative attempts to engage and understand the relationship between politics and visual culture, and act as evidence of how styles and forms of political participation were rapidly and radically changing in the 1960s and 70s.
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Peirano, María Paz. "Film Mobilities and Circulation Practices in the Construction of Recent Chilean Cinema." In Envisioning Networked Urban Mobilities, 135–47. Routledge, 2017. http://dx.doi.org/10.4324/9781315200217-13.
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"Cinema-Utoppia." In Theaterstücke aus Chile, 145–70. Vervuert Verlagsgesellschaft, 2000. http://dx.doi.org/10.31819/9783964567703-005.
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Parada Poblete, María Marcela. "Los estudios sobre cine en Chile aproximaciones a la lectura y conformación de campo." In Los estudios sobre cine en Latinoamérica (2000-2017), 205–52. Editorial Uniagustiniana, 2020. http://dx.doi.org/10.28970/9789585498501.05.
Full textAbstract:
Este trabajo aborda una visión panorámica de los estudios sobre cine en Chile en la década entre el 2005 y el 2015. La gran pregunta que comandó la investigación fue de qué manera se ha desarrollado el campo de la investigación sobre cine en Chile en la última década. En ello, nos propusimos identificar los intereses de investigación dominantes y recesivos; presencias, predominancias y ausencias que pueden verificarse en cuanto a periodos en estudio del cine chileno; temas y objetos de investigación que convoca el cine chileno ya sea como realizaciones o como campo; perspectivas teóricas dominantes; tipo de investigación/análisis y fuentes de financiamiento. El corpus de análisis fue acotado a las investigaciones publicadas como libros, capítulos de libros y artículos en revistas académicas indexadas. La cartografía arrojó un corpus total de 452 publicaciones, que fueron analizadas metodológicamente a través de una matriz de lectura y vaciado de textos diseñada específicamente para esta investigación. Los resultados que se presentan en este trabajo constituyen una primera estación en el itinerario de observación de campo y aspiran a ser una contribución al desarrollo y discusión de los estudios de cine en Chile y Latinoamérica.