Rights statement: This is an Accepted Manuscript of an article published by Taylor & Francis in Journal of Latin American Cultural Studies on 24/11/2017, available online: http://www.tandfonline.com/10.1080/13569325.2017.1386637
Accepted author manuscript, 604 KB, PDF document
Available under license: CC BY-NC: Creative Commons Attribution-NonCommercial 4.0 International License
Final published version
Research output: Contribution to Journal/Magazine › Journal article › peer-review
Research output: Contribution to Journal/Magazine › Journal article › peer-review
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TY - JOUR
T1 - The Perpetrating Victim
T2 - An Allegorical Reading of Pablo Larrains Tony Manero (2008)
AU - Thakkar, Amit Mahendra
N1 - This is an Accepted Manuscript of an article published by Taylor & Francis in Journal of Latin American Cultural Studies on 24/11/2017, available online: http://www.tandfonline.com/10.1080/13569325.2017.1386637
PY - 2017/12
Y1 - 2017/12
N2 - This article positions the protagonist Raúl Peralta in Tony Manero (Pablo Larraín 2008) towards the perpetrator end of a victim–perpetrator continuum. With reference to Michael Rothberg’s work on the role of implicated subjects (2013), it acknowledges the character’s status as class victim but foregrounds the repetitive acts of physical violence that mark him out as much more of a perpetrator under the dictatorship of General Augusto Pinochet (1973-1990). The article also mobilises theories of allegory developed by Walter Benjamin (1928) and Ismael Xavier (2004) to posit that acquisitive violence, cultures of imitation and façades of unity in the film all resonate with wider aspects of society during the dictatorship. Citing Idelber Avelar (1999), it concludes with the observation that the film’s conceptual engagement with the themes of forgetting and erasure has relevance to this day, both within and beyond Chile, in a neoliberalism-influenced culture of novelty and oblivion.
AB - This article positions the protagonist Raúl Peralta in Tony Manero (Pablo Larraín 2008) towards the perpetrator end of a victim–perpetrator continuum. With reference to Michael Rothberg’s work on the role of implicated subjects (2013), it acknowledges the character’s status as class victim but foregrounds the repetitive acts of physical violence that mark him out as much more of a perpetrator under the dictatorship of General Augusto Pinochet (1973-1990). The article also mobilises theories of allegory developed by Walter Benjamin (1928) and Ismael Xavier (2004) to posit that acquisitive violence, cultures of imitation and façades of unity in the film all resonate with wider aspects of society during the dictatorship. Citing Idelber Avelar (1999), it concludes with the observation that the film’s conceptual engagement with the themes of forgetting and erasure has relevance to this day, both within and beyond Chile, in a neoliberalism-influenced culture of novelty and oblivion.
KW - Chile
KW - Cinema
KW - Film
KW - Latin America
KW - Allegory
KW - Pablo Larraín
KW - Pinochet
KW - Allende
U2 - 10.1080/13569325.2017.1386637
DO - 10.1080/13569325.2017.1386637
M3 - Journal article
VL - 26
SP - 523
EP - 537
JO - Journal of Latin American Cultural Studies
JF - Journal of Latin American Cultural Studies
SN - 1469-9575
IS - 4
ER -