<abstract xmlns="http://www.w3.org/1999/xhtml"><p>Through films such as <italic>Tony Manero</italic> (2008), <italic>Santiago 73</italic>, <italic>Post Mortem</italic> (2010), and <italic>No</italic> (2012), the productions of Chilean director Pablo Larraín have focused on the historical and political themes that marked the last decades in the life of his country: the putsch against Salvador Allende and Augusto Pinochet’s dictatorship. This paper analyses the last film of the trilogy, dedicated to the 1988 Chilean national plebiscite and the communication battle between supporters of the “Yes” and “No” sides. Why does Larraín identify the copywriter René Saavedra as the main character of the film? And why does the film accord such importance to the advertising campaign in recounting the historical reality of democratic transition? How does the fictional film remediate the archival footage of the 1988 campaign? To answer these questions, this paper investigates the film as an audiovisual form of interpretation of historical events and film montage as an intermedial “authentication” of the archival documents relating to this traumatic past.</p></abstract>

Through films such as Tony Manero (2008), Santiago 73, Post Mortem (2010), and No (2012), the productions of Chilean director Pablo Larraín have focused on the historical and political themes that marked the last decades in the life of his country: the putsch against Salvador Allende and Augusto Pinochet’s dictatorship. This paper analyses the last film of the trilogy, dedicated to the 1988 Chilean national plebiscite and the communication battle between supporters of the “Yes” and “No” sides. Why does Larraín identify the copywriter René Saavedra as the main character of the film? And why does the film accord such importance to the advertising campaign in recounting the historical reality of democratic transition? How does the fictional film remediate the archival footage of the 1988 campaign? To answer these questions, this paper investigates the film as an audiovisual form of interpretation of historical events and film montage as an intermedial “authentication” of the archival documents relating to this traumatic past.

When the Copywriter is the Protagonist. History and Intermediality in Pablo Larraín’s <italic>No</italic> (2012)

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

When the Copywriter is the Protagonist. History and Intermediality in Pablo Larraín’s  (2012)

Through films such as Tony Manero (2008), Santiago 73, Post Mortem (2010), and No (2012), the productions of Chilean director Pablo Larraín have focused on the...

When the Copywriter is the Protagonist. History and Intermediality in Pablo Larraín’s No (2012)

Publié en ligne: 24 sept. 2016

Pages: 129 - 147

DOI: https://doi.org/10.1515/ausfm-2016-0007

Mots clés
the Chilean democratic transition, heterotopia and utopia, history and intermediality, intermedial “authentication”, Pablo Larraín’s cinema

© 2016 Francesco Zucconi, published by De Gruyter Open

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

When the Copywriter is the Protagonist. History and Intermediality in Pablo Larraín’s No (2012)

Publié en ligne: 24 sept. 2016

Pages: 129 - 147

DOI: https://doi.org/10.1515/ausfm-2016-0007

Mots clésthe Chilean democratic transition, heterotopia and utopia, history and intermediality, intermedial “authentication”, Pablo Larraín’s cinema

© 2016 Francesco Zucconi, published by De Gruyter Open

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Mots clés
the Chilean democratic transition, heterotopia and utopia, history and intermediality, intermedial “authentication”, Pablo Larraín’s cinema