DOCSLIB.ORG

Image Migration and History: the End of the Chilean Military Dictatorship in Pablo Larraín's Feature Film NO! 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Image Migration and History: the End of the Chilean Military Dictatorship in Pablo Larraín's Feature Film NO! 2018 Repositorium für die Medienwissenschaft Delia González de Reufels Image Migration and History: The End of the Chilean Military Dictatorship in Pablo Larraín's Feature Film NO! 2018 https://doi.org/10.25969/mediarep/14793 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: González de Reufels, Delia: Image Migration and History: The End of the Chilean Military Dictatorship in Pablo Larraín's Feature Film NO!. In: Research in Film and History. The Long Path to Audio-visual History (2018), Nr. 1, S. 1– 12. DOI: https://doi.org/10.25969/mediarep/14793. Erstmalig hier erschienen / Initial publication here: https://film-history.org/issues/text/image-migration-and-history Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ 1 Image Migration and History: The End of the Chilean Military Dictatorship in Pablo Larraín's Feature Film NO! Delia González de Reufels Published: November 23, 2018 Figure 1.NO, DVD Sony Pictures Home Entertainment © original copyright holders Introduction Almost twenty-five years after the end of the Chilean military dictatorship had 1. They were discussed already been initiated with a national referendum, the feature film NO/NO! (CHL/ immediately after the transition to democracy and then again at USA/ F 2012) by the Chilean director Pablo Larraín re-opened the discussion the beginning of the new about the referendum and its long-term consequences.1 Like all the feature millennium, for example on the films that addressed the issue of the military dictatorship, which lasted sixteen basis of the memories of the Junta general Matthei. See, for years under Augusto Pinochet, NO! also had to confront numerous existing example, Isabel De la Maza and media images and the memories of that time, which are coded acoustically. Patricia Arancibia Clavel, And indeed, Larraín, who based his film on an unpublished play Matthei. Mi testimonio (Santiago by the de Chile 2003). Research in Film and History ‣ Issue 1 2018 ©The Author(s) 2018. Published by Research in Film and History. This is an Open Access article distributed under the terms of the Creative Commons BY–NC–ND 4.0 License (http://creativecommons.org/licenses/by-nc-nd/4.0/). 2 Chilean author Antonio Skármeta, found a way to deal with these images, which, in keeping with academic art and film studies on the “migration of images”, will be termed 'image migration' for the purpose of this article and made fruitful for historical analysis.2 2. See Dennis Vidal, “La migration des images. Historire de l’art et cinéma documentaire,” in The process of image migration plays an outstanding role in the feature film L’Homme, 165 (2003): 249–266, NO!, for it characterises the narrative flow, determines the aesthetic style and esp.: 249ff. is indispensable for the message conveyed, which is why this feature film will be examined in detail here as an example of the migration of images and its effects. This process, which is being used more frequently now, and not only by Chilean directors, has photographs and archival footage “migrate” from the time presented into feature films, in other words they are integrated specifically as historical images and sounds. It is one of the basic assumptions of this essay that this is done in order to arouse associations with existing images of 3. See Tobias Ebbrecht, “Sekundäre Erinnerungsbilder. Visuelle 3 recollection and to give the films greater credibility or authenticity, and, at the Stereotypen in Filmen über same time, with the intention of placing the shown historical events and Holocaust und Nationalsozialismus seit den 1990er Jahren,” in Medien- processes in new contexts by using historical media images and films or Zeit-Zeichen. Beiträge des 19. Film- excerpts from them. In this way they are not only narrated differently but also und Fernsehwissenschaftlichen Kolloquiums, ed. Christian differently evaluated. This occurs inevitably, due to the feature film’s presence, Hissnauer and Andreas Jahn- illuminating past events and processes and at the same time making a statement Sudmann (Marburg 2007), 37–44, about the time in which the film itself was made and the political and social esp.: 40f. contexts in which it was made. As—at least potentially—a new historical narration or even a counter-narration, the films about the Chilean dictatorship that are realised with the means of image migration are of particular interest, for, according to the interpretation followed here, image migration serves not only to reprocess the past in the media in greater proximity to the images of collective memory but also to comment critically on the most recent history and the ways it is understood. 4. On this concept see: Ana Ros, The Post-Dictatorship-Generation in Argentina, Chile and Uruguay (New Significantly, in many cases the directors who make use of image migration are York 2012). those who have little or no personal experience of the military dictatorship 5. Julian Paul Smith, “At the Edge of because they were too young to do so. They are the Chilean 'post-dictatorship' History,” in Film Quarterly 64:2 generation,4 which can in fact no longer include the director Pablo Larraín, (2010): 12. who was born in 1976, but for whom the years of dictatorship are 6. Larraín’s tryptich of the military dictatorship includes the movies similarly a “puzzle” and whose “silent, strange atmosphere” he wants to TONY MANERO (2008), POST capture in his films in order to better understand it.5 Until now this approach MORTEM (2010), NO! (2012). 6 has led to three works on the subject, which rank among the series of recent 7. Since 2000 about 17 films on this films about the dictatorship in Chile7 and make a contribution to memory theme have been premiered, including those by Pablo Larraín and the work of recollection. The political scientist Alison Brysk insists already named and the following: that the latter is necessary in order to overcome the experience of MACHUCA (Andrés Wood, 2004); MI MEJOR ENEMIGO (Alex dictatorship or for society as a whole to recover from it, for: “Recovery Bowen, 2005); DAWSON. ISLA10 begins with memory […]”.8 This regeneration through memory with the (Miguel Littín, 2009); LA PASSION DE MICHELANGELO (Esteban employment of familiar images of recollection or through the provision of Larraín, 2013). historical media images in new contexts is one of the characteristic qualities of 8. Alison Brysk, “Recovering from recent films about the Chilean military dictatorship. In the case of NO!, in State Terror. The Morning After in calling for a debate on the present, this memory work goes beyond that, Latin America,” in Latin American Research Review 38:1 (2003): 238– because here—as is to be shown later— a double image migration comes 247, here: 239. into view. The appeal to a critical revaluation of the present by means of an 9. See for example Burton’s historical feature film also reveals the political dimension of NO!, which statement in: Julianne Burton, suggests the political attitude of Latin American films in general.9 This Cinema and Social Change in Latin America: Conversations with political attitude is underlined by image migration here; however, it has Filmmakers (Austin 1986): ix. Research in Film and History 1 2018 ‣ Delia González de Reufels ‣ Image Migration and History 3 also caused the director to be accused of distorting the historical processes in 10. One spoke of “historical half- an ahistorical way.10 truths in the movie”, for example: Olga Khazan, “Four Things the Movie NO left out about Real-Life Chile,” in The Atlantic, March 4, 2013, accessed March 4, 2015, http://www.theatlantic.com/ international/archive/2013/03/4- things-the-movie-no-left-out- about-real-life-chile/274491 11. Cf., for example: Marc Ferro, “Gibt es eine filmische Sicht der Geschichte?,” in Bilder schreiben Geschichte: der Historiker im Kino, ed. Rainer Rother (Berlin 1991), 17–36; Figure 2. Historical footage and the election campaign in NO! Günter Riederer, “Film und Geschichtswissenschaft. Zum aktuellen Verhältnis einer And yet NO!, on the one hand, uses historical footage to convey the history of schwierigen Beziehung,” in the campaign that was to bring Chileans into the voting booth and lead to a Visual History. Ein Studienbuch, rejection of any continuation of the dictatorship in the plebiscite of 5 October ed. Gerhard Paul (Göttingen 1988. Its images and sounds are consequently at the centre of the film. On the 2006), 96–113. other hand, the history of the campaign is rewritten with the use of pictures that 12. Gertrud Koch, have been little noticed until now and a statement is made on the character and “Nachstellungen- Film und historischer Moment,” in Die consequences of the referendum. How image migration can help to bring Gegenwart der Vergangenheit. Chilean past and present into contact with each other and why this process is Dokumentarfilm, Fernsehen und important from the point of view of historical study is at the centre of the Geschichte, ed. Eva Hohenberger and Judith present essay, which is deliberately located at the intersection of history and Keilbach
Load more

Recommended publications
  • Palmerston North City Library Massey University School of Language Studies Latin American Society
    Palmerston North City Library Massey University School of Language Studies Latin American Society Present the 2010 Latin American Film Festival in Palmerston North 12-23 October – 7pm City Library’s Sound & Vision Zone All films in Spanish with English subtitles Gold Coin Donation With Support from and Friends of the Library TUESDAY 12 OCTOBER – 7 pm El secreto de sus ojos / The Secret in Their Eyes Argentina – Directed by Juan José Campanella Running time: 129 min The Secret in Their Eyes Reviewed by Matthew Turner – The ViewLondon Review Beautifully made and superbly written, this is an emotionally absorbing thriller with a terrific central performance from Ricardo Darin. What's it all about? The winner of the 2010 Oscar for best foreign film, The Secret in Their Eyes is directed by Juan Jose Campanella and stars Ricardo Darin (Nine Queens) as Benjamin Esposito, a recently retired criminal court investigator, whose efforts to write a novel are frustrated when he finds himself unable to shake the memories of a 25-year-old murder case. After visiting his ex-superior Irene (Soledad Villamil), who's now a high court judge, Benjamin decides to reinvestigate the case and we flash back to his first view of the crime scene, where a beautiful young woman was raped and murdered. As Benjamin attempts to recall the details of the case, the various events unfold, from the questioning of the victim's troubled husband (Pablo Rago) to the discovery and arrest of a probable suspect (Javier Godino), only for the authorities to subsequently let him go for nefarious purposes of their own.
    [Show full text]
  • Festival Schedule
    T H E n OR T HWEST FILM CE n TER / p ORTL a n D a R T M US E U M p RESE n TS 3 3 R D p ortl a n D I n ter n a tio n a L film festi v a L S p O n SORED BY: THE OREGO n I a n / R E G a L C I n EM a S F E BR U a R Y 1 1 – 2 7 , 2 0 1 0 WELCOME Welcome to the Northwest Film Center’s 33rd annual showcase of new world cinema. Like our Northwest Film & Video Festival, which celebrates the unique visions of artists in our community, PIFF seeks to engage, educate, entertain and challenge. We invite you to explore and celebrate not only the art of film, but also the world around you. It is said that film is a universal language—able to transcend geographic, political and cultural boundaries in a singular fashion. In the spirit of Robert Louis Stevenson’s famous observation, “There are no foreign lands. It is the traveler who is foreign,” this year’s films allow us to discover what unites rather than what divides. The Festival also unites our community, bringing together culturally diverse audiences, a remarkable cross-section of cinematic voices, public and private funders of the arts, corporate sponsors and global film industry members. This fabulous ecology makes the event possible, and we wish our credits at the back of the program could better convey our deep appreci- ation of all who help make the Festival happen.
    [Show full text]
  • Affect, Spectacle, and Horror in Pablo Larraín's Post Mortem
    chapter 13 Affect, Spectacle, and Horror in Pablo Larraín’s Post Mortem (2010) Rosa Tapia Abstract Post Mortem by Chilean filmmaker Pablo Larraín challenges traditional cinematic con- ventions of affect and spectacle through a narrative of spaces and bodies that is neither realist, comedic, nor melodramatic. This chapter draws upon affect theories that study the spectacle of cinematic spaces and political bodies in Latin American film. The pro- tagonist of Larraín’s film is an inconsequential morgue clerk who transcribed the details of Salvador Allende’s autopsy after the president’s death in the 11th September 1973 coup d’état. Post Mortem intentionally abstains from an explicit political commentary or sen- timental release. The plot and cinematic technique combine to paint an uncomfortably naked image of evil, without guilt-ridden or heroic characters. The systematic disloca- tion, defamiliarization, and desecration of spaces sacralized by the collective memory allows Larraín’s film to trespass the affective boundaries of political melodrama. Spaces that should have been familiar appear eerily distant and strange, morphing into dystop- ic versions of themselves as hospitals become morgues and body dumpsters, city streets turn into empty battlefields, and homes are now targets, prisons, or tombs. Chile has produced relatively few films about its seventeen- year dictatorship (1973– 1990). Unlike the many blockbusters that filmmakers from Spain and Argentina have dedicated to their own civil conflicts and dictatorships, most Chilean films on the subject have had limited viewership, with the notable exceptions of Andrés Wood’s Machuca (2004) and Pablo Larraín’s No (2012).1 Unsurprisingly, a comparison of audience size shows that more theatergoers 1 Barraza Toledo states that from 2003 to 2013 there were only a handful of Chilean films that depicted or focused on the Pinochet era.
    [Show full text]
  • History in Chilean Fiction Films: Strategies for an Audiovisual Common Sense Production*
    160 Comunicación y Medios N°39 (2019) C. Salinas / H. Stange / E. Santa Cruz / C. Kulhman History in Chilean Fiction Films: Strategies for an Audiovisual Common Sense Production* La historia en el cine de ficción chileno: estrategias de producción de un sentido común audiovisual Claudio Salinas Hans Stange Universidad de Chile, Chile Universidad de Chile, Chile [email protected] [email protected] Eduardo Santa Cruz Carolina Kulhman Universidad de Chile, Chile Universidad de Chile, Chile [email protected] [email protected] Abstract Resumen The text reports the conclusions of a study that El texto da cuenta de los resultados de una inves- aims to identify the characteristics of the histori- tigación, cuyo propósito fue establecer las carac- cal discourses produced by Chilean fiction cinema, terísticas de los discursos históricos vehiculizados assuming that Chilean cinema has not properly por el cine chileno de ficción, bajo la premisa de developed “historical” genres. Therefore, how does que no se han desarrollado propiamente géne- Chilean cinema represent history? We argue that ros que podamos llamar “históricos”. ¿Cómo Chilean fiction films representations produce a representa entonces el cine chileno la historia? historical verisimilar, that is, an aesthetic-narrative Nuestra hipótesis es que las representaciones device that resorts to present-day social imaginar- cinematográficas producen un verosímil histórico, ies, with which an ‘effect of reality’ in representa- es decir, un mecanismo estético-narrativo que re- tion is achieved. On the grounds that this device curre a imaginarios sociales del presente y con los would not be primarily historical discourses, but que se consigue un efecto de realidad en la rep- an ‘audiovisual common sense’ that gives famil- resentación.
    [Show full text]
  • Identidad Y Memoria De Los Presos Políticos De Isla Dawson (1970-1990)”
    Universidad de Magallanes Facultad de Educación y Ciencias Sociales Departamento de Educación y Humanidades “Identidad y Memoria de los Presos Políticos de Isla Dawson (1970-1990)” Tesis para optar al título profesional de Profesor de Historia y Cs. Sociales Alumnos: Juan Andrés Aliaga Bustamante Luis Jonathan Toledo Villalón Director de Seminario: Sr. Fernando Bahamonde Avendaño Punta Arenas, Diciembre 2014 Dedicatoria. En la etapa culmine de este ciclo, dedicar este logro especialmente a mi familia, a mi mamá por todo el apoyo, esfuerzo y cariño brindado a lo largo de estos años, te amo chechita. A mis abuelos, papi Alejo y mami Nena por toda la atención y afecto que recibí de ustedes desde que era niño, gracias viejitos. A mis tíos Jaime, Gastón, Gilda, Silvia y mi primita Natalia, por estar aparecer alegrándome la vida a lo largo de los años, los quiero mucho. A mi hermanita chola por aparecer en mi vida y demostrarme que tener una hermana es algo hermoso. Por último a Laura, mi compañera en estos últimos años, gracias por la paciencia y la compañía en todo momento, te amo mi fea. Juan Andrés Aliaga Bustamante. En este termino de etapa, quiero agradecer el total apoyo de mis padres, mis hermanos y a toda mi familia, asi también el motivo del esfuerzo entregado a mi hija Anaelle. Luis Jonathan Toledo Villalón. 2 Agradecimientos A nuestro profesor guía de tesis por la disposición y la buena onda. Gracias profe Bahamonde. A don Baldovino por la ayuda prestada para llevar a cabo este trabajo. A todos quienes prestaron testimonios y que hicieron posible esta investigación 3 ÍNDICE DEDICATORIA.
    [Show full text]
  • Reviewing the Present in Pablo Larraín's Historical Cinema*
    Reviewing the Present in Pablo Larraín’s Historical Cinema* Vania Barraza Toledo University of Memphis, USA Abstract: Pablo Larraín’s film trilogy about the Chilean dictatorshipexplores the contra- dictions of memory haunting contemporary society, establishing a dialogue between a present and a dreadful past. The protagonists of Tony Manero (2008) and Post Mortem (2010) symbolize traumatized subjects embodying a dual temporality, becoming the living dead in a lifeless society. They belong to the domain of between two deaths, returning to collect an unpaid symbolic debt. Both characters bring back the memory of an inconve- nient past to Chilean society reporting a haunting history. Hence, Larraín’s movies review the political transition as a tension between oblivion and the incomplete postdictatorial task of mourning. This essay analyzes the figure of the undead epitomizing the debt of Chilean society to its history. Keywords: Pablo Larraín; Postdictatorship; Trauma, Memory; Film; Chile; 20th-21st Century. Resumen: La trilogía cinematográfica de Pablo Larraín sobre la dictadura chilenarefiere a las contradicciones de una memoria en acecho sobre una sociedad contemporánea, para establecer un diálogo entre un presente y un pasado ominoso. Los protagonistas de Tony Manero (2008) y Post Mortem (2010) simbolizan sujetos traumatizados que encarnan una temporalidad dual, transformándose en muertos vivos de una sociedad sin vida. Pertenecen al dominio de entre dos muertes, regresando para cobrar una deuda simbólica impaga. Ambos personajes traen el recuerdo de un pasado incómodo para la sociedad chilena, al reportar una historia que se manifiesta de manera acechante. Por lo tanto, los filmes de Larraín revisan la transición política como una tensión entre el olvido y el trabajo de duelo incompleto de la posdictatura.
    [Show full text]
  • Panorama Del Audiovisual Chileno
    Obra realizada con aporte de la Dirección de Artes y Cultura de la Pontificia Universidad Católica de Chile PANORAMA DEL AUDIOVISUAL CHILENO Valerio Fuenzalida + Pablo Julio (editores)/ Cristián Amaya/Alejandro Caloguerea/Soledad Gutiérrez/Alexis Ibarra/David Inostroza/Carola Leiva/Carol Neumann/Tamara Oliveri/Ignacio Polidura/Verónica Silva/Carolina Vergara Obra realizada con aporte de la Dirección de Artes y Cultura de la Pontificia Universidad Católica de Chile PANORAMA DEL AUDIOVISUAL CHILENO Valerio Fuenzalida + Pablo Julio (editores)/ Cristián Amaya/Alejandro Caloguerea/Soledad Gutiérrez/Alexis Ibarra/David Inostroza/Carola Leiva/Carol Neumann/Tamara Oliveri/Ignacio Polidura/Verónica Silva/Carolina Vergara Editores Valerio Fuenzalida. Profesor e Investigador en la Facultad de Comunicaciones de la Universidad Católica, especializado en investigación de audiencias, TV pública, y TV infantil. Pablo Julio. Ingeniero Civil de Industrias y Magíster en Administración, académico de la Facultad de Comunicaciones de la Universidad Católica. Colaboradores Cristián Amaya. Periodista. Magíster en Comunicación, mención Dirección y Edición Periodística de la Universidad Católica. Alejandro Caloguerea. Ingeniero Comercial. Gerente de CAEM A.G. Soledad Gutiérrez. Periodista, especializada en audiovisual. Alexis Ibarra. Periodista, especializado en tecnología. David Inostroza. Periodista. Maestría© en Economía. Carola Leiva. Periodista. Máster en Dirección de Empresa Audiovisual, ex Secretaria Ejecutiva del Consejo del Arte y la Industria Audiovisual. Carol Neumann. Estudiante de Periodismo de la Facultad de Comunicaciones de la Universidad Católica. Tamara Oliveri. Directora Audiovisual de la Universidad Católica. Productora de Televisión. Ignacio Polidura. Sociólogo, especializado en audiovisual. Verónica Silva. Psicóloga, especializada en audiovisual. Carolina Vergara. Periodista. Máster en Dirección de la Empresa Audiovisual. Diseño. Bercz Dirección creativa. Dany Berczeller + Consuelo Saavedra Diseño editorial.
    [Show full text]
  • 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) •
    [Show full text]
  • An Allegorical Reading of Pablo Larraín's Tony Manero
    The Perpetrating Victim: An Allegorical Reading of Pablo Larraín’s Tony Manero (2008) The dictatorship of General Augusto Pinochet (1973-1990) has been an important source of material for Chilean filmmakers. Notable examples of films concerning this period include La frontera (Ricardo Larraín, 1991), Amnesia (Gonzalo Justiniano, 1994), Machuca (Andrés Wood, 2004) and Dawson Isla 10 (Miguel Littín, 2009). Pablo Larraín has based three films on this still-lingering past: Tony Manero (2008), Post-mortem (2010) and NO (2012). Tony Manero, set in 1978, won several awards, including Best Film in festivals at Buenos Aires and Istanbul in 2009. Post-mortem, set around the time of the death of Pinochet’s socialist predecessor, Salvador Allende, won awards in Havana, Lima, Los Angeles and Cartagena. The critical and commercial success of the last film, NO, set during the 1988 plebiscite on Pinochet’s rule, drew both on the worldwide fame of the lead actor, Gael García Bernal, and on Larraín’s growing reputation as a young, up-and-coming director. According to Vaina Barraza Toledo, the films confront the dictatorship era by ‘[exploring] contradictions of memory haunting contemporary society, establishing a sort of dialogue between a present and the dreadful past by which this present is hounded’ (2013: 59). In Tony Manero, the subject of this article, the violent protagonist, Raúl Peralta (played by Alfredo Castro), aims to win a contest on the television show Festival de la una (The One O’Clock Show) to find Chile’s best impersonator of John Travolta’s Tony Manero, the protagonist of Saturday Night Fever (1977), and to stage a Saturday Night Fever show in the cantina where he lives.
    [Show full text]
  • Stitching Resistance: an Educator’S Guide to Chilean Arpilleras
    Stitching Resistance: An Educator’s Guide to Chilean Arpilleras Produced by the University of New Mexico Stitching Resistance: An Educator’s Guide to Chilean Arpilleras Latin American & Iberian Institute 1 Table of Contents Introduction . 3 Background & History . 4 Vocabulary . 10 Curriculum Discussing Arpilleras . 11 The Arpillerista: Poem Analysis . 12 Comparing Herstories: The Arpilleristas of Chile and African-American Women Quilters in the U .S .: . 18 Creating an Arpillera . 25 Supplementary Materials . 33 *Cover image is a photograph of a woman’s hands threading a needle, wearing a thimble. The photographer is Jerry Soalte, date un- known. Provided by Kheel Center for Labor-Management Documentation and Archives, Cornell University Libraries, via Flickr. Copy- right unknown. UNM Latin American & Iberian Institute 2 Introduction Dear Educators, These resources have been created to support teachers in integrating discussions and activities concerning Chilean arpilleras into their classroom. The UNM Latin American & Iberian Institute (LAII) developed this educator’s guide in conjunction with profes- sional development workshops held in Spring and Fall 2013 through a partnership with the National Hispanic Cultural Center. The workshops were organized to explore teaching about the exhibition “Stitching Resistance: The History of Chilean Arpilleras,” on display at the NHCC from October 19, 2012, through January 31, 2014. The intent of this powerful and extensive exhibit was to help illuminate the artistry and the history of arpilleristas and arpilleras in the hope that what happened to Chileans between 1973 and 1990 is never forgotten - and that the artists who stitched it are forever recognized. As a first recommendation, we suggest that educators review another wonderful resource available online at no cost: The Making History Series “Stitching Truth: Women’s Protest Art in Pinochet’s Chile” from Facing History and Ourselves.
    [Show full text]
  • Stitching Resistance
    Stitching Resistance Supplementary Materials for Teaching about Chilean Arpilleras Pictured: Violeta Morales, Justice, 2006. Collection of Marjorie Agosín. Photograph by Addison Doty. TABLE OF CONTENTS Introduction 3 Historical Context 5 Introduction 5 Politics and Authoritarianism 6 Women and Community 7 Abductions and Desaparecidos (The Disappeared Ones) 8 Human Rights and Exile 9 After the Darkness: Post 1990 Works 11 Vocabulary 12 Reflections: Analyzing “Introduction” 13 The Arpillerista: Poem Analysis 14 Books 15 Films 19 Stitching Resistance: Supplementary Materials for Teaching About Chilean Arpilleras 2 INTRODUCTION These resources have been created to support teachers in implementing The Making History Series: “Stitching Truth: Women’s Protest Art in Pinochet’s Chile” from Facing History and Ourselves. “Stitching Truth: Women’s Protest Art in Pinochet’s Chile” includes a series of readings and comprehension questions to help students learn both about the history of Chile and the use of art as a form of political protest. Facing History and Ourselves has also provided complementary lesson plans on their website. You can access both “Stitching Truth: Women’s Protest Art in Pinochet’s Chile” and the complementary lesson plans at http://www.facinghistory.org/resources/publications/bordando-la- verdad-arte-de-. Below you will find a number of materials to supplement the resources listed above. First, a short overview and introduction to the relevant themes and topics raised through the readings and lessons such as: politics and authoritarianism, women and community, abductions and desaparecidos (the disappeared ones), human rights and exile, and significant events after 1990. Created by the National Hispanic Cultural Center Art Museum, these materials provide an important overview for teachers preparing to implement the lesson plans and readings in their classrooms.
    [Show full text]
  • Universidad De Chile Instituto De La Comunicación E Imagen Dirección De Pregrado
    Universidad de Chile Instituto de la Comunicación e Imagen Dirección de Pregrado La última década del cine chileno: Inevitablemente independiente Memoria para optar al Título de Periodista Loreto Montero Muñoz Francisca Valdebenito Fica Profesor Guía: Claudia Lagos Lira Santiago, enero de 2012 1 INTRODUCCIÓN: DESMITIFICANDO AL CINE CHILENO ................................................................ 4 PARTE I: CONSTRUYENDO INDUSTRIA ..................................................................................... 11 CAPÍTULO 1. MEMORIA FÍLMICA: DEL CINEMATÓGRAFO A NUESTROS DÍAS ............................. 12 1.1 LA PREHISTORIA DEL CINE CHILENO ............................................................................................. 12 1.2 LA REVOLUCIÓN DEL CINE EXPERIMENTAL .................................................................................... 13 1.3 LA DERROTA TRAS EL ENTUSIASMO ............................................................................................ 16 CAPÍTULO 2: EL BOOM DE LAS ESCUELAS DE CINE .................................................................... 20 2.1“YO NO FORMO PROFESIONALES, FORMO ARTISTAS”....................................................................... 21 2.2 MÁS CUPOS PARA FINANCIAR A LOS TALENTOSOS .......................................................................... 23 CAPÍTULO 3: COSTO HUNDIDO ................................................................................................ 27 3.1FAMILY, FRIENDS AND FOOLS ...................................................................................................
    [Show full text]