{"id":209270,"date":"2021-05-17T00:24:18","date_gmt":"2021-05-16T23:24:18","guid":{"rendered":"https:\/\/tucuentavip.com\/es\/?p=209270"},"modified":"2021-05-16T06:58:30","modified_gmt":"2021-05-16T05:58:30","slug":"el-cine-chileno-en-el-siglo-xxi","status":"publish","type":"post","link":"https:\/\/theprisma.co.uk\/es\/2021\/05\/17\/el-cine-chileno-en-el-siglo-xxi\/","title":{"rendered":"El cine chileno en el siglo XXI"},"content":{"rendered":"

Durante la dictadura de Pinochet solo se estrenaron dos largometrajes nacionales en Chile, pero en la \u00faltima d\u00e9cada de este siglo se estrenaron unas dos docenas de pel\u00edculas nuevas cada a\u00f1o.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

\"\"<\/em>Sean Sheehan<\/a><\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

El cine chileno se debate ahora entre las identidades locales y la est\u00e9tica global dominante: una \u00e9poca de adaptaci\u00f3n y diluci\u00f3n, de compromiso y de apuesta.<\/p>\n

Los dos editores de \u201cEl cine chileno en el mundo del siglo XXI\u201d <\/em>se preguntan en qu\u00e9 sentido el enfoque nacional sigue siendo una forma v\u00e1lida de abordar la producci\u00f3n cinematogr\u00e1fica del pa\u00eds.<\/p>\n

La penetraci\u00f3n del capital global permite preguntarse si incluso un contexto regional es \u00fatil. Cualquier enfoque esencialista del cine latinoamericano tiene que enfrentarse a la realidad de un mundo cinematogr\u00e1fico internacional, a su financiaci\u00f3n y a su distribuci\u00f3n.<\/p>\n

\"\"<\/em>Las pel\u00edculas de Pablo Larra\u00edn y Sabasti\u00e1n Lelio dan testimonio de las ambivalencias que surgen cuando los directores aspiran a un alcance global. NO (2012), el primer largometraje chileno nominado al \u00d3scar a la mejor pel\u00edcula en lengua extranjera, aborda el refer\u00e9ndum de 1988 con el que Pinochet pensaba que legitimar\u00eda su dictadura.<\/p>\n

Es admirable que se centre en los asuntos pol\u00edticos, pero se elude la movilizaci\u00f3n de la izquierda en el per\u00edodo previo al refer\u00e9ndum y se considera que la estrategia de marketing de un inteligente ejecutivo de publicidad fue clave para asegurar la victoria del No.<\/p>\n

\u201cEl Club\u201d<\/em> (2015), tambi\u00e9n obra de Larra\u00edn, ahonda en el dolor infligido por los que tienen el poder \u2014en este caso los abusos sexuales de los sacerdotes\u2014 que resuena con la complicidad de sectores de la sociedad chilena con los abusos del r\u00e9gimen de Pinochet.<\/p>\n

\u201cUna mujer fant\u00e1stica\u201d<\/em> (2017) tambi\u00e9n fue nominada a la mejor pel\u00edcula en lengua extranjera y gan\u00f3 un \u00d3scar. Como retrato conmovedor de una mujer trans*, Marina, que lidia con la repentina muerte de Orlando, su pareja, no es dif\u00edcil ver por qu\u00e9.<\/p>\n

Sometida a la biopol\u00edtica del Estado chileno y a los prejuicios de la familia de Orlando, Marina se gana el respeto por la entereza con la que defiende el derecho a llorar a un ser querido.<\/p>\n

\"\"
Daniela Vega, \u00abA fantastic woman\u00bb, Berlinale, 2017. Foto: Commons Wikimedia<\/a>.\u00a0\u00a0 Licencia Creative Commons<\/a> Attribution-Share Alike 4.0 International<\/a>.<\/figcaption><\/figure>\n

Cualquier liberal compasivo estar\u00e1 de su lado, pero, como se se\u00f1ala en este libro, la pel\u00edcula hace que la situaci\u00f3n de Marina no sea caracter\u00edstica de las dificultades a las que se enfrentan las personas trans* (ayuda el hecho de que sea blanca, tenga seguridad econ\u00f3mica y sea una talentosa cantante de \u00f3pera).<\/p>\n

Los colaboradores de este conjunto de ensayos comparten una actitud cr\u00edtica hacia el cine chileno contempor\u00e1neo. El resultado es una gu\u00eda inestimable para los angl\u00f3fonos, mientras que su instinto cr\u00edtico lo convierte en una lectura vital para cualquier persona interesada en el cine.<\/p>\n

El libro tambi\u00e9n le har\u00e1 querer ver \u201cActores secundarios\u201d<\/em> (2004) y \u201cLa ciudad de los fot\u00f3grafos\u201d <\/em>(2006), sobre la forma en que la dictadura influy\u00f3 en la vida de los chilenos, y otros dos documentales de 2017 no sobre las v\u00edctimas, sino sobre los autores de la violencia bajo Pinochet: \u201cEl pacto de Adriana\u201d<\/em> y \u201cEl color del camale\u00f3n\u201d.<\/em><\/p>\n

\u201cChilean cinema in the twenty-first century world\u201d<\/em>, editado por Vania Barraza y Carl Fischer, es publicado por Wayne State University Press<\/a>.<\/p>\n

(Traducido por Claudia Lillo \u2013 Email: lillo@usal.es)<\/strong><\/a><\/p>\n

\n\t\t\t\t\tTweet<\/a>\n\t\t\t\t<\/div><\/div>","protected":false},"excerpt":{"rendered":"

Durante la dictadura de Pinochet solo se estrenaron dos largometrajes nacionales en Chile, pero en la \u00faltima d\u00e9cada de este siglo se estrenaron unas dos docenas de pel\u00edculas nuevas cada a\u00f1o. \u00a0 Sean Sheehan \u00a0 El cine chileno se debate ahora entre las identidades locales y la est\u00e9tica global dominante: […]<\/p>\n","protected":false},"author":9,"featured_media":209275,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,14,7,26],"tags":[],"class_list":["post-209270","post","type-post","status-publish","format-standard","has-post-thumbnail","category-cultura","category-en-foco","category-opinion","category-paginas"],"yoast_head":"\nEl cine chileno en el siglo XXI - ThePrisma.co.uk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theprisma.co.uk\/es\/2021\/05\/17\/el-cine-chileno-en-el-siglo-xxi\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El cine chileno en el siglo XXI - 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