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- W4285656105 abstract "This chapter demonstrates, through close textual analysis, how Pablo Larraín’s “dictatorship trilogy” remixes historical neorealism’s aesthetic and formal approach. <italic>Tony Manero</italic> and <italic>Post mortem</italic> pair attention to historical faithfulness – to objects, actors, and mise-en-scène – with the absence of archive footage, while <italic>No</italic> artfully meshes documentary and recreated footage, creating a different category of “faux authenticity.” A corporeal metaphor, already central in historical neorealism, plays a crucial role in these films to anchor their reference to the real: in <italic>Tony Manero</italic>, the body translates the schizophrenia of the system, the erosion of social trust and annihilation of a public sphere; in <italic>Post mortem</italic>, bodies are compressed within the frame, persecuted by a cold machine gaze; in <italic>No</italic>, both historical bodies and the “body” of the film stock are taken as markers of authenticity, as they exhibit a physically inscribed lived-in history. These aesthetic strategies are put into context with Chile’s historical and contemporary cinema landscape, including the influence of the global festival circuit and realist tendencies in world cinema. Finally, by activating the aesthetic approaches associated with neorealism, these films also rework the ethical proclivities of their precursor." @default.
- W4285656105 created "2022-07-17" @default.
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- W4285656105 date "2020-09-01" @default.
- W4285656105 modified "2023-10-18" @default.
- W4285656105 title "“Within the Limits of the Possible”: Realist Aesthetics in Larraín’s Dictatorship Trilogy" @default.
- W4285656105 doi "https://doi.org/10.3366/edinburgh/9781474448284.003.0004" @default.
- W4285656105 hasPublicationYear "2020" @default.
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