| Popis: |
This article analyses aspects of masculinity representation in the trilogy composed of Tony Manero, Post Mortem and No, by Chilean filmmaker Pablo Larraín, and their role as key elements on which the social criticism laid out by these films is built. The argument is that it is possible to identify in this trilogy an aesthetical structure ordered around a framework of masculinities whose effects condensate the political oppression of Chilean dictatorship in a highly physical dimension, offering a distinguishable reading of its impact in terms of subjectivity. Through artistic expressions that emphasize aspects such as the erotic and the abject, always articulated in a hierarchy of patriarchal power, Larraín’s trilogy reads as a bodily translation of such oppression, with characters’ bodies functioning as projections of the psychological constraints of the dictatorial regime. |
