O exílio chileno pelas lentes do cinema (1973-1983)
Autor(a) principal: | |
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Data de Publicação: | 2022 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Temporalidades |
Texto Completo: | https://periodicos.ufmg.br/index.php/temporalidades/article/view/37717 |
Resumo: | In this article, we intend to demonstrate, in general lines, the constitution of the Chilean cinema of exile. This cinematographic movement originated in 1973, with the coup d'état that annihilated the Popular Unity government and with the immediate implementation of the repressive dictatorial machine in Chile, led by General Augusto Pinochet. Faced with this authoritarian framework, the artistic field, and especially cinema, was seriously affected. However, many Chilean filmmakers, expelled for political reasons, continued their craft abroad producing a myriad of works denouncing the dictatorship and exposing life in other countries. Among these numerous filmic examples we highlight the documentary trilogy La Batalla de Chile, considered a milestone in Chilean and Latin American documentaries. In addition, the end of Chilean cinema in exile can be located in 1983, a moment in which Pinochet's government was worn down by massive protests accompanied by a relaxation of censorship and the return of expatriate directors. |
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O exílio chileno pelas lentes do cinema (1973-1983)In this article, we intend to demonstrate, in general lines, the constitution of the Chilean cinema of exile. This cinematographic movement originated in 1973, with the coup d'état that annihilated the Popular Unity government and with the immediate implementation of the repressive dictatorial machine in Chile, led by General Augusto Pinochet. Faced with this authoritarian framework, the artistic field, and especially cinema, was seriously affected. However, many Chilean filmmakers, expelled for political reasons, continued their craft abroad producing a myriad of works denouncing the dictatorship and exposing life in other countries. Among these numerous filmic examples we highlight the documentary trilogy La Batalla de Chile, considered a milestone in Chilean and Latin American documentaries. In addition, the end of Chilean cinema in exile can be located in 1983, a moment in which Pinochet's government was worn down by massive protests accompanied by a relaxation of censorship and the return of expatriate directors.Nesse artigo, pretendemos demonstrar, em linhas gerais, a constituição do cinemachileno do exílio. Esse movimento cinematográfico originou-se, em 1973, com o golpe deEstado que aniquilou o governo da Unidade Popular e com a imediata implantação damáquina repressiva ditatorial no Chile, liderada pelo general Augusto Pinochet. Diante destequadro autoritário, o campo artístico, e em especial, o cinema, foi seriamente afetado.Todavia, muitos/as cineastas chilenos/as, desterrados/as por razões políticas, continuaram oseu ofício no estrangeiro produzindo uma miríade de obras de denúncia à ditadura e queexpunham a vida noutros países. Dentre esses numerosos exemplares fílmicos, destacamos atrilogia documental La Batalla de Chile, considerada um marco no documentário chileno elatino-americano. Ademais, o desfecho do cinema chileno do exílio pode ser localizado em1983, momento no qual o governo de Pinochet se desgasta por conta de massivos protestosacompanhados de uma flexibilização da censura e do regresso de diretores/as expatriados/as.Programa de Pós Graduação em História - UFMG2022-08-31info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufmg.br/index.php/temporalidades/article/view/37717Temporalidades; Vol. 14 No. 1 (2022): Edição 37 - Temporalidades, Belo Horizonte (Jan/ago.2022); 158-180Temporalidades; v. 14 n. 1 (2022): Edição 37 - Temporalidades, Belo Horizonte (Jan/ago.2022); 158-1801984-6150reponame:Temporalidadesinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGporhttps://periodicos.ufmg.br/index.php/temporalidades/article/view/37717/31235Copyright (c) 2022 Samuel Torres Buenpohttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessBuenpo, Samuel Torres2022-09-05T15:33:23Zoai:periodicos.ufmg.br:article/37717Revistahttps://periodicos.ufmg.br/index.php/temporalidadesPUBhttps://periodicos.ufmg.br/index.php/temporalidades/oai||temporalidades@gmail.com1984-61501984-6150opendoar:2022-09-05T15:33:23Temporalidades - Universidade Federal de Minas Gerais (UFMG)false |
dc.title.none.fl_str_mv |
O exílio chileno pelas lentes do cinema (1973-1983) |
title |
O exílio chileno pelas lentes do cinema (1973-1983) |
spellingShingle |
O exílio chileno pelas lentes do cinema (1973-1983) Buenpo, Samuel Torres |
title_short |
O exílio chileno pelas lentes do cinema (1973-1983) |
title_full |
O exílio chileno pelas lentes do cinema (1973-1983) |
title_fullStr |
O exílio chileno pelas lentes do cinema (1973-1983) |
title_full_unstemmed |
O exílio chileno pelas lentes do cinema (1973-1983) |
title_sort |
O exílio chileno pelas lentes do cinema (1973-1983) |
author |
Buenpo, Samuel Torres |
author_facet |
Buenpo, Samuel Torres |
author_role |
author |
dc.contributor.author.fl_str_mv |
Buenpo, Samuel Torres |
description |
In this article, we intend to demonstrate, in general lines, the constitution of the Chilean cinema of exile. This cinematographic movement originated in 1973, with the coup d'état that annihilated the Popular Unity government and with the immediate implementation of the repressive dictatorial machine in Chile, led by General Augusto Pinochet. Faced with this authoritarian framework, the artistic field, and especially cinema, was seriously affected. However, many Chilean filmmakers, expelled for political reasons, continued their craft abroad producing a myriad of works denouncing the dictatorship and exposing life in other countries. Among these numerous filmic examples we highlight the documentary trilogy La Batalla de Chile, considered a milestone in Chilean and Latin American documentaries. In addition, the end of Chilean cinema in exile can be located in 1983, a moment in which Pinochet's government was worn down by massive protests accompanied by a relaxation of censorship and the return of expatriate directors. |
publishDate |
2022 |
dc.date.none.fl_str_mv |
2022-08-31 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufmg.br/index.php/temporalidades/article/view/37717 |
url |
https://periodicos.ufmg.br/index.php/temporalidades/article/view/37717 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.ufmg.br/index.php/temporalidades/article/view/37717/31235 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2022 Samuel Torres Buenpo http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2022 Samuel Torres Buenpo http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Programa de Pós Graduação em História - UFMG |
publisher.none.fl_str_mv |
Programa de Pós Graduação em História - UFMG |
dc.source.none.fl_str_mv |
Temporalidades; Vol. 14 No. 1 (2022): Edição 37 - Temporalidades, Belo Horizonte (Jan/ago.2022); 158-180 Temporalidades; v. 14 n. 1 (2022): Edição 37 - Temporalidades, Belo Horizonte (Jan/ago.2022); 158-180 1984-6150 reponame:Temporalidades instname:Universidade Federal de Minas Gerais (UFMG) instacron:UFMG |
instname_str |
Universidade Federal de Minas Gerais (UFMG) |
instacron_str |
UFMG |
institution |
UFMG |
reponame_str |
Temporalidades |
collection |
Temporalidades |
repository.name.fl_str_mv |
Temporalidades - Universidade Federal de Minas Gerais (UFMG) |
repository.mail.fl_str_mv |
||temporalidades@gmail.com |
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