Neoliberalism and the Politics of Affect and Self‐Authorship in Contemporary Chilean Cinema

Abstract

While Chilean cinema has recently enjoyed a boom in production as well as high critical acclaim, it has been also been charged with passively reproducing the logic of neoliberalism in its retreat from the political into intimate and domestic spaces of private life. With close reference to a range of post-2005 Chilean films (Play, Zoológico, Velódromo and others), this essay explores the representation of neoliberal individualism and practices of “self-authorship.” It examines what the terms of this debate reveal about hegemonic conceptions of the political in cinema, and their deficiencies within the contemporary context. It argues that the self-reflexive investigation in Play of cinema as a form of affective labour opens up new ways in which this body of films may be read in relation to the social transformations they register.

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 8 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.