Abstract
The first four parts of writer-director Raúl Ruiz’s unfinished Cofralandes, Chilean Rhapsody (2002, alternative subtitle: Impressions of Chile) radically breach the frontiers between artist, researcher, and educator in the generation of a profoundly poetic (trans)formative space for Chilean identity. In order to address this multifaceted work, which was awarded the Glauber Rocha Award for Best Latin American Film and the International Press Award (FIPRESCI) at the 2002 Montreal World Film Festival, I shall discuss Ruiz’s reflections on cinema and his dialogue with avant-garde theories and practices, the construction of the social, and the (trans)formative potential of the audiovisual arts.
The real must be fictionalized in order to be thought.
Jacques Rancière1
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© 2009 Miriam Haddu and Joanna Page
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Rodríguez-Remedi, A. (2009). Cofralandes: A Formative Space for Chilean Identity. In: Haddu, M., Page, J. (eds) Visual Synergies in Fiction and Documentary Film from Latin America. Studies of the Americas. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230622159_6
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