Produced 21 years after the return to institutional democracy in Chile, Ignacio Agüero’s El
otro día (The other day, 2012) picks up a set of social topics that were left in suspension
under authoritarianism. In doing so, it evidences two main divergences in this renewal of
social projects. Firstly, rather than adopting old hierarchies of det…[Read more]

In this chapter I examine how post-coup Chilean cinema depicts the coming of age of boys who are entering manhood, a process executed within a single hegemonic socio-political structure in which issues of gender, sexual dynamics and class function both organically and indivisibly. The analysis will focus on a 1976 fictionalisation of the coming of…[Read more]

En 1950 Luis Buñuel produce Los olvidados, y sesenta años después Alejandro González Iñárritu le devuelve la mirada al filmar su cuarta película en los barrios marginales de Barcelona. Más allá de la denuncia socio-política de su argumento, Biutiful hace visible un centro cada vez más desplazado hacia los bordes al enfocarse en metrópolis…[Read more]

This is an interview conducted to Pedro Lemebel, a Chilean visual artist and writer, who in the 1990s established himself as one of the most provocative and wrenching voices in the contemporary literary culture of Chile and Latin America in general. His chronicles direct their most confrontational barbs towards practices that regulate the traffic…[Read more]

Central to the analysis of a corpus of films dealing with current psychosocial conditions
in Chile and the challenges of communal reconciliation, are the concepts of collective
memory and social trauma. Chilean cinema of the postdictatorship reflects a society
whose channels of communication have been broken, in which the past continues to be…[Read more]

Among the political documentaries produced in Chile in the postauthoritarian era there
is a significant corpus of films that carry out a meticulous process of forensic memory. Both
documentaries that dig through skeletal remains and those that excavate the memories of
surviving victims or witnesses of state terror are carrying out similar…[Read more]

Este artículo analiza las estrategias de la televisión abierta al conmemorar los 40 años del Golpe militar chileno, centrándose para ello en la serie documental “Chile, las imágenes prohibidas”, para lo cual se pasa revista a anteriores formatos televisivos empleados al recordar episodios centrales de la historia del país. Se establece que dicha…[Read more]

The traumatic experiences of Latin American countries from 1950s to
the 1980s clearly illustrate the region’s political circumstances during
the Cold War. Although many other regions shared authoritarian
experiences during this period, David Harvey asserts that the South
American dictatorial regimes of 1970s-1980s may be distinguished a…[Read more]

The ideological polarization that framed the Cold War period (1945– 1989)
affected not only international relations but also the social commitments
and aesthetic options of those artists and cultural activists who instigated
the Latin American decolonization processes of the 1960s and 1970s.
In this framework, the positivistic signature of t…[Read more]

Distinct modes of social and psychological angst are noted in a significant number of
films from Chile and New Zealand, becoming most evident in the way family relations are
portrayed, and in various modes through which the protagonists relate to their natural and
social environment. This article focuses on the films In My Father’s Den (Brad M…[Read more]