Winning the street: images of resistance(s) in Chili. About Hoy y no Mañana (Today & not tomorrow, Josefina Morandé, 2018).

Authors

  • Olga Lobo Carballo Universidad de Grenoble-Alpes

DOI:

https://doi.org/10.24310/Fotocinema.2022.vi24.13732

Keywords:

Chilean cinema; documentary film; feminism and urban resistance; Hoy y no mañana; Chile woke up; Arts and resistance in Chile

Abstract

Since the early 2000s, a series of documentaires have portrayed a Chili where indignation progressively gained ground, calling into question the discourse of defeat impose by the 1973 coup d’état and 17 years of dictatorship. This process would culminate in the social outbreak of october 2019, symbolically called “despertar” (awakening), whose most striking consequence will be the transformation of an urban space, reappropriated and resignified to change the course of the History. Chili woke up in the street and from the street will be achieved what the politial agreements could not: put an end to the most despotic of the Pinochetist power holdouts, the constitution of 1980. After a brief study of the “poetics” of the occupation of the city of Santiago, this article will focus on the analysis of Hoy y no mañana (Today and not Tomorrow, Josefina Morandé, 2018), one of the documentaries that, studied from the perspective of the revolt (and gender), allows us to delve in that Santiago de Chili, become the ground for the conquest of chilien people, once again, owner of its own destiny.

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Author Biography

  • Olga Lobo Carballo, Universidad de Grenoble-Alpes

    Doctora en estudios hispánicos (Universidad de Poitiers, Francia) Cátedra universitaria defendida en diciembre de 2019 (Universidad de Angers, Francia) Profesora titular de la Universidad de Grenoble-Alpes y miembro del equipo de inves

References

Published

2022-01-23

Dimensions

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How to Cite

Winning the street: images of resistance(s) in Chili. About Hoy y no Mañana (Today & not tomorrow, Josefina Morandé, 2018) . (2022). Fotocinema. Revista científica De Cine Y fotografía, 24, 63-83. https://doi.org/10.24310/Fotocinema.2022.vi24.13732