Everything to play for
Renegotiating Chilean identity in Alicia Scherson’s Play (2005)
in Hispanic and Lusophone women filmmakers
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This chapter considers the ways in which Alicia Scherson's Play reflects on identity in post-Pinochet Chile. By centring on the experiences of a marginalised Mapuche woman, the film contemplates the ways that present-day Santiago reflects or refutes social divisions. Filmed in digital brilliance, Santiago rises up as the film's glittering co-protagonist. Part of Scherson's project was to depict Santiago cinematically. Through the image of the flâneur, the walker in the city, the film meditates on the possibilities of social cohesion, identity politics and the right to space. In Play the division between private and public and the right to space in relation to the flâneuse gains new vigour in twenty-first century Chile as the main character is a Mapuche domestic worker. Domestic servants are practically invisible and yet at the core of family life, 'marginal[s] on the inside'.

Hispanic and Lusophone women filmmakers

Theory, practice and difference

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