The Presence of Absence in Contemporary Chilean Cinema | The Invisibilities of Political Torture: The Presence of Absence in US and Chilean Cinema and Television | Edinburgh Scholarship Online (2024)

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Berenike Jung

Berenike Jung

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132–152

  • Published:

    August 2020

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Jung, Berenike, 'The Presence of Absence in Contemporary Chilean Cinema', The Invisibilities of Political Torture: The Presence of Absence in US and Chilean Cinema and Television (Edinburgh, 2020; online edn, Edinburgh Scholarship Online, 19 May 2022), https://doi.org/10.3366/edinburgh/9781474436991.003.0007, accessed 28 June 2024.

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Abstract

Building on the affective turn in memory and film scholarship, including work by Laura Marks, Davina Quinlivan and Sara Ahmed, and on Latin American scholars such as Macarena Gómez-Barris, Nelly Richard, Carolina Urrutia, Miriam Haddu and Joanna Page, this chapter analyses how some films among the so-called New Chilean cinema are able to translate perpetrator experiences as well as dictatorship and post-dictatorship repercussions that appear invisible and intangible. The toxic impact on social relations or a process of erasing historical traces are rendered perceivable in films through sound and other sensual modalities in films such as Pena de Muerte / [Death Penalty] (Tevo Díaz, 2012) and Carne de Perro / Dogflesh (Fernando Guzzoni, 2012). These films activate spectators’ affective responses, both in relation to historical lineage with post-traumatic melancholy, and to contemporary alienation in a neoliberal society.

Keywords: Carne de Perro, Pena de Muerte, New Chilean Cinema, Latin American scholarship, affective film scholarship, haptic visuality, dictatorship, sound, perpetrator

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Film

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