La estética del (an)archivo en el cine de Pablo Larraín
Palabras clave:
cine chileno, Pablo Larraín, archivo, anarchivo, memoria, dictatura y cine, archivabilidad y enunciabilidadResumen
¿Cómo contar o mostrar la experiencia del golpe entre (an)archivo y memoria? ¿Qué dialéctica opera en las películas de Pablo Larraín entre archivo y anarchivo, y cómo se articula la experiencia del ser humano con lo archivable y lo enunciable? Estas preguntas guían este trabajo sobre el cine de Larraín, con énfasis en la película Post mortem (2010). Me propongo analizar las figuras retóricas de la elipsis, el anacoluto y la interrupción como elementos de una estética que se mueve entre la construcción y la destrucción de memorias del golpe de estado en Chile. Se perfila, de esta manera, una puesta en escena de una inédita performance de los cuerpos humanos y de las distintas tecnologías audiovisuales como característica más destacada de la cinematografía de Larraín.
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