This article proposes a new mode of understanding the entanglement of ecological and postcolonial questions in contemporary Chilean documentary filmmaking, through the lens of directorial subjectivity. Both Tierra sola/Solitary Land (Tiziana Panizza, 2017), and El botón de nácar/The Pearl Button (Patricio Guzmán, 2015) contest hegemonic structures of belonging by constructing an alternative ‘oceanic archive’ (DeLoughrey, 2017). Yet where Guzmán’s metaphorical meditations on indigenous connections to the ocean risk collapsing into romanticism and replicating colonial visuality, Panizza’s reflexive conception of filmmaking as a situated and embodied practice facilitates a subtler understanding of cinema’s political engagement in this sphere.
|Journal||Bulletin of Latin American Research|
|Early online date||19 Dec 2020|
|Publication status||Published - 1 Apr 2022|
- Centre for Environmental Humanities
- Patricio Guzmán
- postcolonial ecology
- Pacific Ocean
- Tiziana Panizza
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Dr Paul Merchant
- Department of Hispanic, Portuguese and Latin American Studies - Senior Lecturer in Latin American Film and Visual Culture
- Migration Mobilities Bristol
- Cabot Institute for the Environment
Person: Academic , Member