This article proposes a new mode of understanding the entanglement of ecological and postcolonial questions in contemporary Chilean documentary filmmaking. 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). Guzmán’s metaphorical meditations on indigenous connections to the ocean nonetheless risk collapsing into romanticism and replicating colonial visuality. Conversely, Panizza’s reflexive conception of filmmaking as a situated and embodied practice facilitates a subtler understanding of cinema’s political engagement, which resonates with recent developments in filmmaking elsewhere in Latin America.
|Journal||Bulletin of Latin American Research|
|Publication status||Submitted - 18 Feb 2020|