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Pablo Larraín's Post Mortem

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Pablo Larraín's Post Mortem Films about the Dictatorship • La frontera (Ricardo Larraín, 1991) • Amnesia (Gonzalo Justiniano, 1994) • Machuca (Andres Wood, 2004) • Dawson, Isla 10 (Miguel Littín, 2009) • Nostalgia de la luz (Patricio Guzmán, 2013) Julio comienza en Julio (Silvio Caiozzi, 1979) 1990s onwards • 1990 – Ley de donaciones culturales (amplified in 2001 and 2013) • Year 2000: 11 Chilean films released • 1999-2002 – Private-State funding ratio of 2:1 • 2004: 274 cinemas in the country; 158 in Santiago • 2006: Ley de Fomento Audiovisual • 2006: Consejo del Arte y la Industria Audiovisual Branding Chilean Cinema • ‘sí estamos fallando en algo, en que estamos usando recursos de todos los chilenos para hacer películas que después ven 1.000 personas. Hay que hacer una película que se comunique con el público’, Gregorio González. http://www.latamcinema.com/sanfic- 8-las-divergencias-del-mercado-cinematografico-chileno/ • valora el patrimonio audiovisual, por lo que le permite actuar en el conjunto de la cadena de valor de la actividad, desde la creación, la producción, la distribución y la exhibición, la promoción internacional y el apoyo a la actividad patrimonial y cultural, por medio de festivales, como también en el desarrollo del audiovisual en regiones. (Florencia Rosenfeld de la Torre, 2006, p. 27). • no existe todavía una imagen que identifique al cine chileno y que logre que el público se acerque con confianza a ver las películas nacionales. (Ibid, p. 8) Pablo Larraín's Trilogy • Tony Manero (Pablo Larraín, 2008) • Post-mortem (Pablo Larraín, 2010) • No (Pablo Larraín, 2012) • ‘long flashback sequences that transport the present-day spectator into a particular vision of the national past’ (Oscherwitz 2010: 40) • ‘[trades] on its visual authenticity while co-opting collective memory to suit a conservative political agenda’ (Belen Vidal, 2012: 11) • a flashback does not ‘simply serve as record of the past but precisely registers the force of an experience that is not yet fully owned’ (Caruth 1995: 151) Pablo Larraín's Trilogy • Tony Manero (Pablo Larraín, 2008) • Post-mortem (Pablo Larraín, 2010) • No (Pablo Larraín, 2012) Alternative Scenarios: The Flower Substitute? • ‘Once flexibility is introduced, the traumatic memory starts losing its power over current experience. By imagining […] alternative scenarios, many patients are able to soften the intrusive power of the original, unmitigated horror’ (Bessel van der Kolk and Onno van der Hart, 1995: 178, emphasis added). Simultaneity • : ‘Bits and pieces of the event are not organized in any sort of sequence. Those shards can be likened to a stack of photographs flung on a tabletop with no order or organization’ (2012: 29). • simultaneity […] related to the fact that the traumatic experience/memory is, in a sense, timeless. It is [dangerously] not transformed into a story, placed in time, with a beginning, a middle and an end (which is characteristic for narrative memory). (Van Der Kolk and Van Der Hart, 177). Idelber Avelar: The Untimely Present, Postdictatorial Latin American Fiction and the Task of Mourning(1999) • Avelar posits that neoliberalism seeks to erase the past with the new, ‘without leaving a remainder’ in a ‘substitutive, metaphorical logic’ (2) • ‘that brand of oblivion that ignores itself as such, not suspecting that it is the product of a powerful repressive operation’ (1-2) • mourning, or active forgetting: ‘to point out the residue left by every substitution, thereby showing that the past is never simply erased by the latest novelty’ (2). • The anachronisitic, obsolete commodity, the recycled gadget, the museum piece are all forms of survival of what has been replaced in the market. These images of ruins are crucial for postdictatorial memory work, for they offer anchors through which a connection with the past can be reestablished (Avelar 2). Bibliography Avelar, Idelber. 1999. The Untimely Present, Postdictatorial Latin American Fiction and the Task of Mourning. London/Durham: Duke University Press. Allende, Salvador. December 4 1972. Speech to the United Nations. Printed in James D. Cockcroft. Salvador Allende, A Reader. Chile’s Voice of Democracy. 2000. Melbourne/New York. Ocean Press. 200-221. Buelens, Gert, Samuel Durrant, Robert Eaglestone. Eds. 2014. The Future of Trauma Theory. Contemporary Literary and Cultural Criticism. Abingdon/New York. Routledge. Caruth, Cathy. 1996. Unclaimed Experience: Trauma, Narrative and History. John Hopkins University Press. Baltimore. Caruth, Cathy. 1995. Ed. ‘Introduction’ in Trauma, Explorations in Memory. John Hopkins University Press. Baltimore. 151-158. Van der Kolk, Bessel A., and Onno van der Hart. 1995. ‘The Intrusive Past: The Flexibility of Memory and the Engraving of Trauma’ in Caruth, ed., Explorations in Memory. John Hopkins University Press Baltimore. 158-183. Larraín, Pablo. 2012a. 19 April 2012. Violet Lucca. ‘Projecting and excavating the past. An interview with Pablo Larraín. http://www.filmcomment.com/blog/projecting-the-past-an-interview-with-pablo-larrain/. Accessed 27/7/15. Larraín, Pablo. 2012b. October. 56th BFI London Film Festival Q&A. Unnamed interviewer. Larraín, Pablo. 2015. 29 January 2015. The Body Politic: Pablo Larraín on Post Mortem. http://www.bfi.org.uk/news-opinion/sight-sound- magazine/interviews/body-politic-pablo-larra-on-post-mortem Accessed 27/7/15. Oscherwitz, Dayna. 2010. Past Forward: French Cinema and the Post-Colonial Heritage Southern Illinois University Press. Vidal, Belén. 2012. Heritage Film: Nation, Genre and Representation. Wallflower Press. New York and Chichester. Thakkar, Amit. Forthcoming. ‘Víctima and Victimario (Victim and Perpetrator): An Allegorical Reading of Pablo Larraín’s Tony Manero’. Journal of Latin American Cultural Studies. Murder Allende’s Autopsy Hard Hats Carrying the nation on his shoulders?.
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