Pablo Larraín’s No and the Aesthetics of Television
Pablo Larraín’s No and the Aesthetics of Television
Pablo Larraín’s No and the Aesthetics of Television
Pablo Larraín’s No and the Aesthetics of Television
Pablo Larraín’s No and the Aesthetics of Television
Pablo Larraín’s No and the Aesthetics of Television
Pablo Larraín’s No and the Aesthetics of Television
Pablo Larraín’s No and the Aesthetics of Television

Published on Seismopolite: Journal of Art and Politics (Vol. 10; May 2015)

Pablo Larraín’s No (2012) is a Janus-faced film, documentation and interpretation. The movie reconstructs the events surrounding the 1988 Chilean referendum through the perspective of René Saavedra (Gael García Bernal), an advertising executive hired to run a television campaign to end General Augusto Pinochet’s rule. By adopting outdated U-matic 3:4 video technology from the period, Larraín gives the impression that the events were recorded as they occurred. The result is what I refer to as “fictionalized documentary,” that is, a film that blends archival television documents and staged scenes that reconstruct the real events in such a way that the end result appears to be a reportage. A movie made by combining contemporary technologies with existing analogue footage from the No campaign would have resulted in an uneven style. Thus, to give his work a creative unity, Larraín produces an “ideal documentary-like footage” that reflects the visual culture at a historical turning point for his country  READ MORE 

Pablo Larraín’s No and the Aesthetics of Television

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