Affect, Spectacle, and Horror in Pablo LarraÃ­nâs Post Mortem (2010)

Rosa Tapia

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Chapter 13 Affect, Spectacle, and Horror in Pablo LarraÃnâs Post Mortem (2010)

In: Negotiating Space in Latin America

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Rosa Tapia

Rosa Tapia
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Type:: Chapter

Pages:: 281â299

DOI:: https://doi.org/10.1163/9789004408708_015

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Abstract

Post Mortem by Chilean filmmaker Pablo LarraÃn challenges traditional cinematic conventions of affect and spectacle through a narrative of spaces and bodies that is neither realist, comedic, nor melodramatic. This chapter draws upon affect theories that study the spectacle of cinematic spaces and political bodies in Latin American film. The protagonist of LarraÃnâs film is an inconsequential morgue clerk who transcribed the details of Salvador Allendeâs autopsy after the presidentâs death in the 11th September 1973 coup dâÃ©tat. Post Mortem intentionally abstains from an explicit political commentary or sentimental release. The plot and cinematic technique combine to paint an uncomfortably naked image of evil, without guilt-ridden or heroic characters. The systematic dislocation, defamiliarization, and desecration of spaces sacralized by the collective memory allows LarraÃnâs film to trespass the affective boundaries of political melodrama. Spaces that should have been familiar appear eerily distant and strange, morphing into dystopic versions of themselves as hospitals become morgues and body dumpsters, city streets turn into empty battlefields, and homes are now targets, prisons, or tombs.

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Negotiating Space in Latin America

Series:Â Spatial Practices, Volume: 32

E-Book ISBN:: 9789004408708

Publisher:: Brill

Print Publication Date:: 24 Oct 2019

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Chapter 13 Affect, Spectacle, and Horror in Pablo LarraÃ­nâs Post Mortem (2010)

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Negotiating Space in Latin America

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Chapter 13 Affect, Spectacle, and Horror in Pablo LarraÃnâs Post Mortem (2010)