CHILEFILM (Peter Nestler, 1974) #CoMoChileThe Chilean film industry began in 1897, with the first effort by the documentalist Luis Oddó Osorio who, in May of that year, screened his short silent film UNA CUECA EN CAVANCHA (A ‘Dance’ in Cavancha) at the Philharmonic salon. Sadly, most of these early productions are now lost and the only film of that time that can still be viewed, is the delightful silent short UN PASEO A PLAYA ANCHA (1903) (An outing to Wide Beach) directed by the Frenchman Maurice Albert Massonnier. Massonnier, with his brother Moussy, were both cameramen who had been trained in Paris from 1896 by the Lumière Brothers). It was a good time for brothers to flourish! Massonnier and his brother then went to Chile where Albert established himself in Valparaíso, a coastal town in central Chile. For the film, Massonnier invited a group of 150 guests to the beach, including some people from the local media, where he filmed them having a meal that gradually descends into a brawl. The film was enthusiastically received and was shown in the city for many days.
A historical socio-political depiction of the development of Chile since the 16th century and until the coup d'etat. The film mainly consists of still images.
A man, tired of life on earth, coincides with a ship whose mission is to pick up an Antarctic iceberg and bring it to Seville. The journey becomes the martyrdom of this man…
Introduction: A New Cartographer?
1/ Ruiz’s Cinema in the 1960s and 1970s
1/1: Beyond Socialist Realism: Ruiz’s Cinema in Chile
1/2: From the ‘Dialectics’ of Exile to the Tableau Vivant
2/ The Cinema of Piracy, the Sea and Spectral Voyages: Ruiz’s Neo-Baroque Cinema of the 1980s
3/ Cartographies of Complexity: Ruiz’s ‘French’ Cinema Since the Mid-1990s
Conclusion: Ruizian Cartography from Chile to the Cosmos via the Littoral, or The Film to Come
Appendix: Raúl Ruiz Interview (Paris, November, 2009)
https://youtu.be/SvsRTQtqAzABeginnings of the New Chilean Cinema
The new Chilean cinema had its origins in the 1950s in the cinema club founded at the Universidad de Santiago de Chile in that decade. A key figure in this context was the documentary filmmaker Sergio Bravo who was the first director of the Centre for Experimental Cinema that sought to extend the activities of the cinema club into production. There was a strong documentary and ethnographic orientation to this initiative with the idea of finding a cinematic language capable of portraying the lives of the different peoples of Chile, with a particular interest in the lives and customs of its rural indigenous inhabitants. This initiative was part of a larger popular transformation of Chilean culture that rejected colonial, European definitions of Chilean culture and sought to revive forgotten indigenous traditions. This tendency was therefore closely aligned with the pressures for political reform and was in opposition to the political stagnation that had characterised Chilean politics under the Allesandri and Ibanez administrations.
A key demonstration of this combination of new forms of culture with progressive politics was in the Chilean new song movement that built on the activities of the musician, amateur ethnologist and educator Violetta Parra. By the late 1960s there were numerous groups such as Quilapayún whose songs combined popular, indigenous music traditions with an advocacy of social change. These groups would perform both at small clubs and massive political demonstrations and were a key feature of the election rallies of the late 1960s. Later, some of these groups would tour the world and were a central feature of international Chilean solidarity events after the Pinochet coup.
At the same time there was a revival of Chilean theatre with many avant-garde groups forming that would later provide performers for the films of the New Chilean Cinema.
There was also the massively important figure of the communist poet Pablo Neruda who stood in the 1970 elections as the official communist party candidate despite the support of many communists for Allende’s Popular Unity Party, while at the other extreme there was the counter-cultural ‘anti-poet’ Nicanor Parra, Violetta Parra’s brother.
https://youtu.be/EEc3R3Pn0FAColonia Dignidad → https://en.wikipedia.org/wiki/Colonia_Dignidad
my favorite character the oblivious popstar who doesn't know he's been kidnapped
rip maestro In the Providencia barrio of Santiago, Chile, a neighbor lives through the demolition of the house next door and the construction of a building in the same place, over a two-year period. Under Construction is about the passing of time and the transformation of a space where minor and major events occur: a death and a birth; neighborhoods disappearing; buildings being demolished and built; winters and springs passing. In the end, when the building is finished, the protagonist looks up at his new neighbors, while they look down at him from their balcony: evidence of a space (and a past) that they now control.
