3-80 in Juttanne ty of Pittsburgh erica 32 (2:21 realism.” Latin fanne Burton), erica, Austin: 2 de lel (2010) ‘cumental.com pp. 267-288in University of ited by Margot and Argentina.” Cinema of Latin ‘azmndn" Alpha ne Burton (ed), tiago- Bitorial Framing Ruins Patricio Guzmén’s Postdictatorial Documentaries by Juan Carlos Rodriguez ‘The representations of ruins in thre of Patricio Gutzman’s postdictatorial documentaries — ‘Chile, la memoria obstinata (1997), La isla de Robinson Crusoe (1999), and El caso Pinochet (2001)—can be soen as allegories of different aspects of Chilean history: the defeat of Allende's democratic alliance, the end ofthe Pinochet regime, and the challenges of social reconciliation in contemporary Chile. Guezmitn’s strategy of screening urchitec- {onic ruins evokes the ruin of the socialist and dictatorial regites in Chile, The filmmaker also presents a second image of ruin that evokes the ruin of the screen and, in this tony, confronts viewers with the limits of representation, language, reconciliation, and testimony, Las representaciones de ruinas en tres de los documentales de Ia posdiciadura de Patricio Guzman—Chile, la memoria obstinada (1997), La isla de Robinson Crusoe (2999), y Le cas Pinochet (2001) —pueden verse como alegoriens de aspeciosdistintos de la historia de Chile: laderroiade la Alianza Democritica de Allende, el fin del régimen de Pinochet, y los retos dela reconciliacion social en el Chile canterporinen. Laestrategia de Guczmsd de proyectar ruinasarquitecténicas evaca la ruina de ls regimenes socialistas x dictatoriales en Chile. También se presenta otro imagen de ruina que evoca ta ruina de la pantalla, de modo de que se labora tos limites de la representacn, la lengua, la recon- ciliacién, y el testimonio. Keywords: Ruins, Patricio Guzmin, Chile, Dictatorship, Documentary cinema Ever since Alain Resnais's Night and Fog (2008 [1955)), a film about the his- torical impact of concentration camps, some documentary makers have devel- oped a fascination with ruins, In Shoah (1984), Claude Lanzmann took viewers ona journey into the ruins of Nazism still haunting the memories and testimo- nies of Jewish survivors. As we enter the twenty-first century, films exploring urban areas such as Detroit: Ruin of a City (Michael Chanan and George Steinmetz, 2005), When the Levees Broke: A Regiiem in Four Acts (Spike Lee, 2006), and Havana—New Art of Making Ruins (Florian Borchmeyer and Matthias Hentschler, 2006) confirm this growing interest in ruins among documentary film practitioners. It seems that the claim of “objectivity” becomes problematic ‘once we confront an image of ruin because this type of image can capture only the trace of a destroyed abject. Fduardo Cadava (2001: 35-36) suggests that the image of ruin is also “an image about the ruin of the image, about the ruin of the image's capacity to show, to represent, to address and evoke the persons, Juan Carlos Rodriguez i an assistant profeseor of Spanish atthe Georgia Institute of Technology. He iscurrently working on a book about urban imaginariesin Latin American docunentary film. LATIN AMERICAN PERSPECTIVES, lee 185 Vl 0 Mot Janry 20191108 or tox ampasuaxicoies a3 atin American Perspectives 1m132 LATIN AMERICAN PERSPECTIVES, events, things, truths, histories, lives and deaths to which it would refer.” How can we frame the image of ruin if it confronts us with the ruin of the image? The ruin of the image invites us to rethink the limits of memory, testimony, and representation. In their introduction to Telling Ruins in Latin America, Michael J. Lazzara and Vicky Unruh argue that there are “no easy answers” to the question of “how to frame the ruins ofthe disaster,” which i also a question about “what and how to remember” (2009: 6). In the same book, Francine Masiello (2009: 28) says that “rains bring an awareness of framing, the device of representation; they area site of memory that enters into a state of play with memory itself.” Instead of considering how ruins become memory’s “play- ground,” I would like to explore how ruins come to stage memory's “game over.” How does the ruin become a site of memory for a memory in ruins? If ruins “bring an awareness of framing,” is itbecause they also threaten to break the frame of memory in order to stage the limits of the play of representations that gives us access to the past? Ruins can become a site where memory can no longer evade its own collapse. Framing ruins in documentary film, therefore, is not about telling ruins but about the possibility of confronting the ruin of the cinematic frame. In other words, framing ruins in documentary film is not only about the ruins that are visible in the frame but also about the status as rain of the documentary film form. Patricio Guzmén’s postdictatorial documentaries combine the testimonial address with images of ruin. Sometimes the image of ruin in these documenta- ries is a photogiaph, a still image that captures the attention of social actors participating in the film. At other times, the image of ruin isa still image that interrupts the flow of moving images. The image of ruin in Guzmén’s films may also be a piece of archival footage or a pro-filmie space (the space filmed by the camera) (see Chanan, 2007). Guzman has also explored the image of ruin inrelation to the human voice and language. This essay attempts to provide an interpretive framework to understand the role of images of ruin in three of Patricio Guzman’s postdictatorial documentaries: Chile, la memoria obstinada (1996), La isla de Robinson Crusoe (1999), and El caso Pinochet (2001). Walter Benjamin's discussion of images and ruins will serve as a starting point because it offers a view of history associated with memory and violence, two of the main issues approached by Guzmén in his postdictatorial documen- taries. Eduardo Cadava’s (2001) discussion of photography will be helpful for analyzing the representation of ruins as photographic images in Chile, la memo- ria obstinada. Applying Elaine Scarry’s (1985) discussion of the body and the voice in the torture scenario, [will investigate the role of the image of ruin in a testimonial sequence about torture in EI caso Pinochet. Finally, I will refer to Jacobson’s notion of the phatic and Patricio Marchant’s (2000) reflections on the ‘traumatic consequences of the coup to analyze the transformation of language into an image of ruin in La isla de Robinson Crusoe. Thus I will show that Guzmén’s images of ruins emerge as allegorical fragments pointing to shat- tered moments in Chilean history such as the defeat of Salvador Allende’s, democratic alliance in 1973, the end and aftermath of the Pinochet dictatorship, and the challenges of social reconciliation in postdictatorship Chile. Patricio Guzmén achieved international recognition in the 1970s for La batalla de Chile, a film that has become a classic of radical filmmaking (see Guzman, 1975 and 1977; Guzmén and Sempere, 1977; Burton, 1986 and 1990; Lépez, 1990; Pick, 1990; Richard, 2007). His postdictatorial documentaries explore the challenges the legacy tencies of 2006; Mov reactions ¢ critique of by the Chi view see | encourage (Burbach, Arraiza, 21 sition is ray rights and about dail directly tc challenges including. ory inaco Discussi for abandc ofruins. TL ment, whic that by fra inevitable: invite us te in postdict how violer the nation- at risk of f proposition fers from h. in that itre not see”) t demand, in asthe ruins language ir what remai For Walt provide an present. Fe could argut visible evid ing history epoch” (474 inGuzmén’ from violerLa cr SE ice ec i Reskgue/ FRAMING RUINS 133 Id refer.” How challenges of constructing a collective memory of the 1973 coup and question F the image? the legacy of the Pinochet dictatorship, denouncing the sociopolitical inconsis- ory, testimony, tencies of the Chilean transition to democracy (Aufderheide, 2002; Cisneros, Latin America, 2006; Mouesca, 2005; Ruffinelli, 2008). Chile, la memoria obstinada captures the sy answers” to reactions of different audiences to a screening of La batalla de Chile and offers a alsoa question critique of the culture of forgetting promoted by the dictatorship and inherited ook, Francine by the Chilean transition to democracy (Pérez Villalobos, 2001; for a conflicting ing, the device view see Klubock, 2003). Pinochet's arrest in London on October 16, 1998, te of play with encouraged Chileans to question the limits of the transition to democracy mory’s “play (Burbach, 2003; Collier and Sater, 2004; Dorfman, 2002; Kombluh, 2004; Rohi- mory’s “game Axraiza, 2005). Guzman’s critique of the deceptive polities of the Chilean tran- ory in ruins? IF sition is radicalized in Fl caso Pinochet, a film celebrating the struggle for human, eaten tobreak rights and global justice (Keeton, 2004). La isla de Robinson Crusoe isa travelogue »presentations about daily life in the Juan Fernéndez Archipelago that, without referring temory can no directly to Chile’s traumatic past, includes a poetic commentary on the ilm, therefore, challenges of social reconciliation. Guzmn’s postdictatorial documentaries, the ruin of the including Allende (2004), explore the possibilities and limits of collective mem- ilm is notonly ory in a couniry divided by state violence. atus as ruin of Discussing Allende, Carlos Pérez Villalobos (2006: 44-48) criticizes Guzman for abandoning a theory of sovereignty (La batalla de Chile) in favor of a theory xe testimonial of ruins. This negative appraisal will be challenged by this essay’s central argu- edocumenta- ment, which can be expressed in terms of two main propositions. The first is f social actors that by framing architectonic ruins as fragments of the petrified unrest and ‘ll image that inevitable decay of the nation-state, Guzman’s postdictatorial documentaries man’s films invite us to consider that itis impossible to disentangle sovereignty from ruins space filmed in postdictatorship Chile. Since La batalla de Chile Guzmén has been exploring image ofruin how violence damages Chilean sovereignty and pointing out that versions of toprovidean the nation-state, whether leftist, authoritarian, or postdictatorship, are always in in three of at risk of falling apart because of the consequences of violence. The second ori obstinada proposition is that Guzmén’s exploration of language as an image of ruin dif- fers from his exploration of architectonic ruins in connection with sovereignty as a starting in that it responds to an ethical and aesthetic demand ("to show what we can- and violence, not see”) that affects the very articulation of the cinematic language. This ialdocumen- demand, in fact, forces documentary discourse to confront the ruin of the image 2e helpful for asthe ruin of the cinematic frame. In consequence, will suggest that Guzman’s Yhil, fa memo- Ianguage in ruins invites us to rethink what cannot be represented onthescreen, vody and the what remainsasa challenge for any reconciliatory process. eofruinina will refer to sstions on the FRAMING RUINS of language I show that For Walter Benjamin, “history decays into images” (1999: 476), and ruins ting to shat- provide an opening of history that cannot be separated from the image of the or Allende’s present. Following Benjamin's visually inflected reflections on history, we dictatorship, could argue that the task of documentary filmmakers is not only reproducing le. visible evicience (that is, images of objects) for an evaluative eye but confront- for La batalla ing history as it “decays into images” and “explodes the homogeneity of the ce Guzman, epoch” (474), thus revealing “a constellation of dangers” (475). Images of ruins (990; Lopez, in Guzman’ postdictatorial documentaries—for example, those of ruins resulting sexplore the from violence (La Moneda in ruins) or associated with terror (the ruins of134 LATIN AMERICAN PERSPECTIVES. Pinochet's torture and detention centers)—evoke one of Benjamin's best- known assertions: “There is no document of civilization which is not at the same time a document of barbarism” (1968: 256). When Guzmén screens La Moneda in ruins or frames the ruins of Pinochet's dictatorship, he is framing history as “a constellation of dangers” in order to unmask “the epic element in history” (Benjamin, 1999: 474) that continues to frame the 1973 coup and Pinochet terrorism as heroic acts. The idea of Pinochet as a hero threatens to destroy the very framing of memory because it is based on the erasure of, important aspects of the past such as violence and terror. ‘The “weak Messianic power” (Benjamin, 1968: 254) of ruins in Guzmén’s films, however, poses another threat to the framing of memory. The ruins on the screen cannot redeem the past by projecting history as “a constellation of dangers” because “the danger affects the content of the tradition and its receiv- ers” (255). Guzman insists on screening images of ruins in an attempt to frame a memory affected by danger, a memory that is under the constant threat of losing its frame and bearing witness to its own collapse. From the standpoint of historical materialism, framing ruins involves a tri- ple approach that breaks the frame of representation: frst, it exposes the docu- ‘mentary maker to ruins as they become documents of barbarism; secondly, it exposes ruins to history (“History decays into images, not into stories”); and, thirdly, it exposes history to the allegorical character of the ruin (“Allegory hold fast to ruins. It offers the image of petrified unrest” [Benjamin, 1985: 38]).. Documentary film, as an expression of historical materialism, bears witness to rruins as images of the past and allegories of the present that come to actualize “a constellation of dangers” but also a reaction “against its thread” (Benjamin, 1999: 475), SCREENING LA MONEDA IN RUINS: ARCHIVAL FOOTAGE AND STILL IMAGES AS “A CONSTELLATION OF DANGERS" IN CHILE, LA MEMORIA OBSTINADA One of the first sequences of Chile, la memoria obstinada shows an image of La Moneda, the Chilean presidential palace, in flames. This piece of archival foot- age dissolves into a take of the same building, intact, in the present. In this transition Guzmén reveals "the other side of the coin,” what is hidden in the actual monumental aspect of the palace: its partial destruction by the military during the coup. The progression from a view of La Moneda in ruins to a mon- mental view of La Moneda is catastrophic in the Benjaminian sense: “The concept of progress must be grounded in the idea of catastrophe. That things are ‘status quo’ is the catastrophe” (Benjamin, 1999; 473). This progression of moving images evokes the progression that links the coup and Pinochet's ter~ ror to the postdictatorship status quo, a neoliberal consensus based on the idea of economic progress that was established between the old dictatorship and the new democratic regime in the early stages of the transition to democracy (see Moulian, 1997; Richard, 2000; 2004a [1998]; 2004b [1993]; Richard and Moreiras, 2001; Thayer, 2006). For many Chileans the coup was necessary to achieve the political stability that eventually led to Chile's economic success. In order to protect the postdictatorship status quo based on a neoliberal consensus, many officials av doing so t humanity froma viev duces the ¢ democracy denunciati the ruins o| that challer need to kee if we cor also a movi catastrophe to the curre present bec ton of thet terhow ma 1973, the pi in flames ce set fire to tt tohaveone of ruin that Guzmén ‘The first pt citizens fro. showing th the first to t gers.” Thes without kru opening up showing the denounces ‘As Eduan does not tu bears witne. the coup, G of the pastt 1968: 255).F ‘event that E plural dem only sugge: become a cc wins. And t These phy bear witnes socialism). ¢ the disappe. remind us th rated from tamin’s best- ig not at the a screens La eis framing element in 3 coup and threatens to © erasure of n Guaman’s the ruins on sstellation of adits receiv- apt to frame ant threat of volves a tri- es the docu- secondly, it oties”); and, Allegory 1, 1985: 38). 3 witness to toactualize Benjamin, ION ” image of La ‘chival foot- sent. In this dden in the the military astoamon- sense: “The ‘That things gression of rochet’s ter- on the idea ‘hip and the rocracy (see dMoreiras, achieve the In order to sus, many Rodrigues FRAMING RUINS 135 officials avoided as much as possible the issue of state-sponsored terrorism. In doing so they reproduced Pinochet's way of dealing with crimes against humanity and contributed to the erasure of those crimes. The visual transition froma view of La Moneda in ruins toa monumental view of La Moneda repro- dluces the same erasure that took place in the early stages of the transition to democracy in Chile. The ironic repetition of the erasure of violence becomes a denunciation of the culture of forgetting in postdictatorship Chile. Screening the ruins of La Moneda in Chile, la memoria obstinada is an allegorical operation that challenges an important element of the Chilean culture of forgetting, the need to keep the ruins of the past out of public view (see Richard, 2008). If we consider the piece of archival footage in itself, La Moneda in flames is also a moving image that cannot escape the progressive movement of its own. catastrophe precisely because the bombing of La Moneda marks the transition to the current status quo. Guzman reminds us that the catastrophe haunts the present because what is catastrophic is not only the destruction or reconstruc- tion of the building but the complicity of the status quo with violence. No mat- ter how many restorations have been made to La Moneda since September 11, 1973, the presidential palace is still burning, If as a moving image La Moneda in flames cannot avoid its own catastrophe, as an archival image it threatens to set fire to the political archive of Chile (see Derrida, 1998), a nation that claims to have one the strongest democratic traditions in Latin America. Itis an image of ruin that ruins the image of the neoliberal consensus. Guzman also includes two photographic images of La Moneda from 1973. ‘The first photograph shows President Allende and his wife greeting Chilean Gitizens from a balcony of the palace. It dissolves into a second photograph showing the same balcony destroyed by heavy bombing. In the passage from the first to the second photograph, the past has become “a constellation of dan- gers.” The sequence evokes the danger of being in the middle of a combat zone without knowing it. These still images interrupt the flow of moving images, ‘opening up a gap that evokes the interruption of democratic politics in Chile. By ‘showing the photograph of La Moneda in rains after heavy bombing, Guzman denounces the violence of the coup and transforms the president into a ruin. ‘As Eduardo Cadava (2001: 49) has suggested, “there is no photograph that does not turn its ‘subjects’ to ruins. .. . Effacing what it inscribes, the image bears witness to the impossibility of testimony.” In confronting the violence of the coup, Guzman is also confronting another danger, that of losing the image ‘of the past because it cannot be recognized as a current concern (see Benjamin, ‘1968: 255), Photographs cannot rescue or transmit the memory of the historical event that brought Allende to power: the emergence of Unidad Popular as a plural democratic force. They cannot bring back what has been lost but can only suggest that, because “history decays into images,” Chile is about to become a combat vone: “Even the dead will not be safe from the enemy if he wins, And this enemy has not ceased to be victorious” (Benjamin, 1968: 255). “These photographs, therefore, have a double status. As images of ruin, they bear witness to the destruction of Allende’s government (the Chilean way to socialism). Guzman confronts us with the ruin of La Moneda and the faces of the disappeared (the photographic ruins of Allende’s socialist democracy) to remind us that the sovereign power of the Chilean nation-state cannot be sepa- rated from the ruins of the past. As images that confront us with the ruin of the136 LATIN AMERICAN PERSPECTIVES image, these two photographs are allegorical fragments of a memory s0 affected and centur by the violence of the coup that it has become a memory in ruins. Nevertheless, take you to Guzmén and other social actors in the film insist on assuming the ruinous char- History acter of memory as they struggle to account for a past that threatens to disap- fear produ pear in the present. By becoming an obstinate memory, as the title of the film Santiago's suggests, this memory in ruins challenges the perpetuation of the Chilean cul- ized the sp ture of forgetting, ('We will « ‘After Pinochet's arrest in London, forensic investigations against him began Santiago p! in Chile. In El caso Pinochet, Guzmén adopts a new visual approach to the crime torture scer ‘of human disappearance. In addition to using photographs of the disappeared persistence he relies on the full exhibition of skulls and bones, transforming the forensic lab ‘The tempo into a pro-filmic space. The ruins of the dictatorship also become a pro-filmic taminates | space, allowing him to focus on torture. Apart from presenting a memory in traumatic ruins struggling to account for a lost past, Guzman insists on framing ruins in forms min: Elcaso Pinochet to denounce terror as a political fraud. them to cor In El cat Santiago w FRAMING THE RUINS OF THE DICTATORSHIP: to penetrat ‘TERROR AS POLITICAL FRAUD IN El. CASO PINOCHET sequence, | torturer's a In El caso Pinochet, various survivors of Pinochet's terror share their memo- the objectit ries of the dictatorship, Cecilia, one of the survivors interviewed, recells “the of the regi game of the telephone,” which allowed female prisoners to stay in contact with through th each other even when they were separated in different cells. In her testimony, (Gantiago’s she performs the game for Guzmén’s camera: “Hello, Miriam, how are you?” asa pro-fil Ceeilia associates the game with the possibility of creating a new voice that The sequ replaces the voice that she has lost in the torture scenario. Elaine Scarry (1985: part, the in: 46) explains the colossal disjunction between the prisoner and the torturer in tion of the} terms of body and voice: “For the prisoner, the body and its pain are over- of Pinochet whelmingly present and voice, world, and self are absent; for the torturer, with takes voice, world and self are overwhelmingly present and the body and pain are Santiago absent.” By finding a new voice, Cecilia inverts the fixed roles of the body and interior of. the voice as they are performed in the torture scenario. of destroye ‘The liberating power of the telephone game described by Cecilia contrasts out this sec with the destructive potential of a torture method that Santiago, another wit- in the film, ness appearing in El caso Pinacket, also calls “the telephone.” Santiago's descrip- Guzmén, \ tion of “the telephone,” a form of torture consisting of two hands hitting the Pinochet's ears of a victim as if clapping, relates to another violent process described by of Pinoche™ Scarry (1985: 41) that takes place in the torture scenario: the transformation of the end of Familiar objects into weapons of human destruction. Scarry refers to “the tele- to hide the phone” to illustrate what she considers to be a double negation created by the tions for a designation of torture according to the names of domestic objects, a linguistic pro-filmic practice that not only dissolves human pain into words but also obscures the the damag, forturer’s responsibility in the infliction of pain, ‘The dissolution of pain and postdictate violence into words reveals another dimension of torture—that the survivor is Guzman e stil haunted by the words of the torturers to the point of repeating them in his frame disp testimony: “We will come back for you; we know something about you, so we 177-178) h willl come back for you soon.” Santiago also associates the words of his torturer history dor with time as it drags: “And that transforms minutes and seconds into hours that of irre SL ee EEmory so affected 1s, Nevertheless, he ruinous char- seatens to disap- > ttle ofthe film the Chilean cul- sainsthin began dach to th crime the disappeared the fen lab bme a projfilmic nga mentory in framing ruins in ae: ‘OCHET are their memo- ved, recalls “the y incontact with ‘her testimony, , how are you?” \ new voice that ine Scary (1985: d the torturer in 5 pain are over- for the torturer, ‘dy and pain are ofthe body and Cecilia contrasts go, another wit- atiago’s descrip- ands hitting the ass described by -ansformation of fers to “the tele- nreated by the ects, a linguistic so obscures the tion of pain and at the survivor is ating them in his tboutt you, so we As of his torturer ‘onds into hours Rodrigues FRAMING RUINS 137 and centuries, because you are always waiting for them to come back again to take you to the bed or to hit you.” History decays into images, not into stories, but stories amplify terror. The fear produced by the voice of the torturer is an open wound at the heart of Santiago's testimony. Still haunted by the memory of torture, he has internal- ized the speech of his torturer, which perpetuates itself in the form of a threat (“We will come back for you soon”), By repeating the words of his torturer, Santiago plays the role of the voice described by Scarty and takes it beyond the torture scenario: the loss of voice experienced by the prisoner could become the petsistence of the voice of the torturer in the testimony of the torture survivor. ‘The temporal distortion provoked by terror at the time of confinement con- taminates the testimony of the witness. The survivor ends up acting out the ‘traumatic memory in the expanded temporal frame of terror (“And that trans- forms minutes into hours and centuries, because you are always waiting for ‘them to come back". In El caso Pinochet Guzman juxtaposes the horror of torture narrated by Santiago with the familiar ambiance of Santiago's apartment. Terror threatens to penetrate Santiago’s life when he repeats the words of his torturer. The sequence, however, does not end with “the appropriation of the world into the torturer’s arsenal” (Scarry, 1985:45). Scarry warns us that “the translation of all the objectified elements of pain into the insignia of power,” “into an emblem of the regime's strength,” is always a fraud (56). Guzmén suggests this fraud through the visual track by highlighting the tension between telling terror {Santiago's testimony) and framing ruins (the ruins of Pinochet's dictatorship as a pro-filmie space). ‘The sequence of Santiago's testimony is divided into two parts. In the first part, the images we see on the visual track do not illustrate Santiago's descrip- tion of the physical and psychological abuse he suffered in Villa Grilmaldi, one of Pinochet's torture centers. Guzman combines talking-head shots of Santiago with takes showing the empty interior of an abandoned house in ruins. When Santiago mentions the dry submarine, Guzmin cuts from Santiago's face to the interior of a bathroom in ruins with a partially destroyed bathtub. Other shots of destroyed bathtubs, broken walls, and cracks in the tiles appearing through- out this sequence bear witness to an irreversible structural deterioration. Later in the film, when Guzman shows this place again as itis visited by Judge Juan Guzmén, viewers realize that the film set corresponds to the ruins of one of Pinochet's torture centers. Most of the houses and buildings that became part of Pinochet's clandestine network of terror had been partially destroyed before the end of the dictatorship (see Richard, 2008; Taylor, 2008). Pinochet wanted to hide the evidence of state-sponsored terrorism that would lead to prosecu- tions for crimes against humanity. Framing the ruins of terror as a wounded pro-filmic space in an advanced siage of deterioration becomes an allegory of the damaged national sovereignty of Chile after Pinochet's arrest in London, a postdictatorship sovereignty based on the impunity of the dictator. When ‘Guzman explores the ruins of the dictatorship using a rigid camera style, the frame displays a desolate pro-filmic space calling to mind what Benjamin (1998: 177-178) has observed about the allegorical character of ruins: “In this guise history does not assume the form of the process of an eternal life so much as that of irresistible decay.” He shows the ruins of the torture center not as “the158 LATIN AMERICAN PERSPECTIVES insignia of power” or “the emblem of the regime’s strength” but as allegorical fragments bearing witness to the historical collapse of Pinochet's terror. Although Santiago declares his fear, the visual track reminds us that itis a fear lost in the ruins of terror. In the second part ofthe sequence, Guzmén offers silent portrait of Santiago at home. Through various close-ups, he explores some of Santiago's belong- ings: his slippers, his books, some photographs of him with a young woman who could be his daughter and a large photograph of Allende hanging on the wall behind his bed. How can we interpret this shift from a pro-filmie space associated with terror and destruction (the ruins of Pinochet's clandestine tor- ture centers) to another pro-filmic space that looks like home? The role of ruins in allegory, as the theatrical setting for the petrification of history, contrasts with the dynamicrole of film discussed by Benjamin in "The Work of Artin the ‘Age of Mechanical Reproduction,” where he considers cinema as a weapon (‘the dynamite of the tenth of a second”) that achieves the destruction of the “prison-world” of modern subjectivity (1968: 236). By revealing hidden aspects of daily life through close-ups and slow motion, cinema transforms our view of interior spaces and liberates new perceptions of reality. In a similar way, ‘Guzman uses cinema as a weapon to destroy the "prison-world” of Pinochet's terror, still active in Santiago's memory, by showing “its far-flung ruins and debris” (Benjamin, 1968: 236). And by going from the pro-filmic space associ- ated with terror and destruction to the pro-filmic space of Santiago's home, he shares with his viewers a new perception of reality, revealing that terror is a political fraud that cannot destroy Santiago's domestic space. This episode explores the tension created by a memory in ruins that bears witness to vio- lence and survival. As it reveals the persistence of the speech of the torturer in the voice of the survivor, recalling the temporal expansion of terrot, it also shows that terror is no longer “at home.” ‘After Pinochet's arrest in London, terror assumed the ambiguous and transi- tory character of allegory2 Guzmédn’s approach to Santiago's testimony in El caso Pinochet reveals the changing nature of terror. Asa story, terror expands its temporal dimension, amplifying its effects beyond the torture scenario, But terror also becomes a site of “petrified unrest” for those trying to cover up their involvement in crimes against humanity. And, finally, a5 “far-flung ruins and debris,” terror “goes away empty-handed” (Benjamin, 1998:233) while Santiago (both the survivor and the city) receives us with open arms. FRAMING A LANGUAGE IN RUINS: THE LOSS OF SPEECH IN LA ISLA DE ROBINSON CRUSOE In Laisla de Robinson Crusoe there is a sequence in which various members of the Chilean navy try to use the only public telephone in the town of San Juan Bautista. Compared with other sequences in Guzman’s postdictatorial documentaries, in which the military is represented as an authoritarian force opposing civil society, this episode offers a more human image of the military? ‘Guzmén's approach, however, isnot so simple as to create an empathic engage- ment with the image of the Chilean navy. Instead of presenting a harmonious encounter between civilians and the military, Guzinan shows how the public telephone obs lows is a descr Voice of the What? For hx Cut to black, Voice of thes here in Juan’ Cut to black, Voice of thet tocall.” Cut to black! Voice of the! can hardly he Cut to black! Voice of the] Finally, the las ship” (el buque them. At the begir hearing the vo! itis clear that efforts to get it mental value, i sailors to the j “establishing tact between a ‘After the felep ruption6f spec Taken as an evokes the faih ship Chile. In ests that Chile day, suddenly, however, kept (de golpe) prod condemned to Guzmén’ssegr everyonein Ch to phatic mate speech imposer while the voiceee ae Rodhigan (FRAMING RUINS 139 1" but as allegorical telephone obstructs the sailors’ communication with their relatives. What fol- Pinochet's terror. lows is a description of the sequence: Asus that itis fear Voice ofthe frst sailor: “Hello! Hello! Hi queen! I can hardly hear you. What? portrait of Santiago ‘What? For how long? Perfect, better this way.” trevene eae Cut toblack. Cut back to the phone. Cle ace Voie ofthe second sailor Hel? Patri? Hi! How ave you? Fine, Well Lam stil a pro-filmic space Howin Juan Fernandez” t's clandestine tor- 7 The role of ruins Cat to black. Cut back tothe phone, Ehistory, contrasts 2 Work of Artin the ‘Voice ofthe third sailor: “Hi, lite doggy! How are you? Here, thereis a huge line nema as a weapon tocall” isemctol te Cats acoder Cut bck othe phone : ansforms‘our view Voice ofthe fourth sailor: “Hello? Hi, son! How are you? Pull out the antenna, I Ina similar way, conhardly hear you. Hello? Hello? Can you hear me? Hello.” orld” of Pinochet's ar-flung ruins and Cutto black leader. Cut back to the phone, ‘lmic space associ- antiago’s home, he ‘Voice ofthe last sailor: “Hello! Hello! Hello! Hello! Hetlo!.” ing that terror is a pace. This episode Finally, the last sailor hangs up the phone as he hears the siren of “the mother ars witness to vio- ship" (el bugue madre, as Guzman calls it in the voice-over narration) calling hoof the torturer in them. n of terror, it also ‘At the beginning of the sequence, the sailors appear to be having problems hearing the voices of their relatives over the phone. At the end of the sequence, >iguous and transi- it is clear that the technical failure of the telephone has frustrated the sailors’ 1go's testimony in efforts to get in touch with their relatives. Once the telephone loses its instru- ory, terror expands mental value, it becomes a ruin. The technical failure reduces the speech of the rture scenario. But sailors to the phatic function of language, which is defined by Jacobson as \g to cover up their “establishing communication itself” (quoted in Chion, 1999:73). However, con- ar-flung rains and tact between addresser and addressee in this sequence is never established. 233) whileSantiago [Alter the telephone fails, the phatic function fails as well, leading to the inter- ruption of speech. ‘Taken as an allegory of the challenges of social reconciliation, the sequence ‘evokes the failure of the military to establish a social dialogue in postdictator- Loss ship Chile. In this respect, Patricio Marchant (quoted in Thayer, 2001: 254) sug 4SOE gests that Chilean society suffered a “loss of speech” after the 1973 coup: “One day, suddenly, many of us became speechless, completely speechless. Others, arious members of however, kept talking.” In Marchant’s view, the coup (¢! goipe) suddenly town of San Juan (de golpe) produced a loss of speech, but not all the members of society were 's postdictatorial condemned to silence (Oyaraiin and Thayer, 2000: 9; sce also Marchant, 2000). vuthoritarian force Guzmén’s sequence evokes this loss of speech as a limiting experience affecting, ge of the military? everyone in Chilean society. By reducing the speech of members of the military ‘empathic engage- to phatic material, Guzman shows that not even they can avoid the loss of ting a harmonious speech imposed by Pinochet's terror. The Chilean sailors keep talking nonsense show the public while the voices of their relatives disappear.140 LATIN AMERICAN PERSPECTIVES “The image of the public telephone in Guzmén's film isa technological ruin disappearance that links its users to a language in ruins (the nurturing flow of Pinochet's non- exposes viewe sense). The location of the public telephone in the town of San Juan Bautista mony and offe ‘opens another allegorical angle: the residents of the island of Robinson Crusoe nial excess of t seem to be attached to the same culture of terror because many of them sup- ported Pinochet in the 1988 plebiscite. As Jorge Ruffinelli (2008: 215) has com: Ihented, Guzmén’s La isla de Robinson Crusoe is a documentary that makes us c think about the anomaly of the Juan Fernéndez Archipelago in postdictator- ship Chile “not only because ofits alienation (which could symbolize the 18 Documenta ‘years of dictatorship) but also because of its Pinochetist affiliation.” Following dated.* Framir Ruffineli, we could argue that La isla de Robinson Crusoe is an allegory of the years before | isolation of the dictatorship supporters after Pinochet's arrest in London. exposes viewe ‘The film also confronts us with the challenges of approaching a common lan- trast, framing {guage of socal reconciliation. Guzman is very conscious of the role of language displaying the End speech acts in the recoreiliatory process, but he is skeptical about the pos- exposing terrc sibility of developing a language of social reconciliation in conversation with stuins as archit the military. Ashe declares in an interview for Pagina 12 (1999): "Ido not believe forms of politi that the military will ever ask for forgiveness; it is not in their nature. That of national so” means that we are still at their mercy, even to never achieve reconciliation.” In. lence. As visit La isla de Robinson Crusoe Guzmén explores the challenges of social reconeiliae ruin in Guzm: ion when he frames the language of the military as a language in ruins. For ual registers ( hhim the speech of the military is trapped in the ruins of language, a language and moving), wounded after the coup. The technical failure of the telephone and the redue- unrest” and "i ton of the sailors’ speech to phatic material are allegorical fragments of a lan- ‘The teleph guage in ruins that forecloses the possibility of social reconciliation. approach bec: “This sequence also evokes Patricio Marchant’s characterization of the poetic sovereignty as sibilities of the loss of speech. Marchant (2000: 213-214) associates the hess this becomes Df speech with the possibility of a new genre that would try to articulate the contained wit ‘commentary on national catastrophe. In transferring the loss of speech to the language in 1 sailors, Guzmén offers such a commentary: the Chilean military cannot erp Guzmén to ge the disaster of language resulting from the coup. The commentary is poptic in the limits of re that two types of interruption help to create its cinematic shythm: the’ pauses with the non as the sailors they try to hear whether someone is answering and the cut to offers a profo black leader separating the sailors’ performances, The interruption of the cin- relation to “n ‘ematic flow of images bears witness to a language in ruins that is not only facts. Those w Verbal but also visual: the language of cinema, Guzman reminds us that fram- reality that C: ing.uins isnot only about the ruins inthe frame and in the on-screen space (the (or teach) whi telephone as a technological ruin) but also about a screen in ruins that unravels Screening ¢ the ruin of the frame. The cut to black leader points to the limits of cinematic representatio Janguage, @ language that also bears witness to its own ruin. ance and corr "Taken as a poetic commentary on.a national catastrophe, this sequence also ity.” Framing ‘evokes Carlos Casanova’ (2001: 158) poetic reelaboration of Agamben’s (1999) therefore an ¢ conception of witnessing in the age of human disappearance, the nonlanguage tocome in the of testimony. Against the nonsense of the military, Guzmédn evokes the poetic 1994: xviii fexcess of testimony to reveal the challenges of social reconciliation. The caesuras go beyond th ‘of his poetic sequence project the nonlanguage of those who announce them: are still waiti selves by arriving in silence. This sequence is a call to remember those who disappeared in Chile after the coup at the very moment when human rsee ane Rodriguer/FRAMINO RUINS iL nological ruin disappearance vanished as a juridical concept from Pinochet extradition. It Pinochet's non- exposes viewers toa language in ruins that bears witness wo the excise of testi- n Juan Bautista ony and offers a new site for justice Itis poetic justice: to recehve the testimo- obinson Crusoe vial axcess of the disappeared ast occurs in the spacing of nonlanguage, ay of them sup- 8: 215) has com- y that makes us CONCLUSION: IN THE RUINS OF THE FRAME in postdictator- ymbolize the 18 on.” Following, allegory of the rest in London 5a common lan- role of language Documentaries and allegories have something in common: both become dated Fraining rains in the context of Chile a memoria obstinada (filmed two years before Pinochet's arrest in London), is an allegosica} operation that Exposes viewers tothe torments of memory in a culture of forBeM ss Incon- sae franing the ruins of torture camps in El aso Pinochet is Guzméay’s wy of displaying the ruins of the dictatorship after Pinochet's arrest ip ‘London while alabout the pos- texposing terror asa political fraud. Both documentaries, however, approach nversation with exposing itectaral fragments allegorizing not only the collapse of specie “{donotbelieve forms of political power (socialist and authoritarian) but also the ‘vulnerability err onal sovereignty in postdictatoral Chile, which is still haunted by vie Knees As visible fragments referring to architectonic deterioration, images of see i vend’ postdictatoral films highlight the tension between to vis Tr registers (the archival and the pro-ilmic), two regimes of the AB (till Jgnd moving), and tivo dimensions of history stage! by the ruin (petrified unrest” and “inevitable decay”). ‘The telephone sequence in La isla de Robinson Crusoe offers 3 different approach because its allegorical operation does not rely on Haig Chilean ition of the poetic ae creighty asan architectonic ruin. Instead, itprojects@ language rains, and ssociates the loss oo ery a poetic commentary on 2 national catastrophe that cannoy Pe "to articulate the eee ined within the limits of the frame or the screen. Framing the ruts of Janguage in the interval opened by the nonlanguage of Festivony allows Gasman to question the limits of on-screen and off-screen space, Fe confronts, the limits of presentation by juxtaposing the nonlanguage of an Ap BATE aaa nethe nonlanguage of testimony. In “Stains on the Negative” 2008: 5) he ng and the cut to fiers a profound meditation on the new challenges for documentary film in uption of the cin- cae ttom ko “nonvisible reality”: “Today, itis not enough to collect deta and s that is not only fect Those who move in this space willnever be ableto show us the nonvisible inds us that fram reality that Cervantes or Kafka saw. We have to go beyond: we have to show -sereen space (the {or tech) what we do not know, we have to show what we cannot see.” uins that unravels Sonsoning a language it ruins that exposes viewers to the ruins of cinematic imits of cinematic representation becomes a form of hospitality in the age of husnat disappear- Pree hi respondi to Guzmén’s deeper understanding of “nonvisible rea! this sequence also ity” Framing rains inthe ruins ofthe screen, as in La isla de Robinson Crusoe, is ‘Agamben’s (1999) teerefore an ethical requirement with politcal dimension, Ikevokes 9 polls the nonlanguage teenein the “non-contemporaneity with itself of the living present” (Derrida, ‘evokes the poetic Gone euii-xi, A politics of memory worthy of the name always invites 1 66 go beyond the frames of representation. The challenges social reconciliation ation, The caesuras o announce them- BOT waiting for us in the ruins ofthe frame, outside the screen. ‘remember those rent when human, teir nature. That zconciliation.” In social reconcilia- age in ruins. For uuage, a language ve and the reduc- agments of a lan- iation. 3 of speech to the ary cannot evade antary is poetic in ythm: the pauses:142_LATIN AMERICAN PERSPECTIVES NOTES 1. Silvio Caiozzi was the fist Chilean filmmaker to approach the forensic Iab as pro-flmie space in Fernando ha ouelto (1998). 2, Nolly Richard (2004a [1998] discusses the ambiguity of terror in postdictatorship Chile when she refers to the detention and prosecution of General Manuel Contreras for his role as director of Direccin de Inteligencia Nacional (National Intelligence Center—DINA), Pinocher’s main repressive apparatus. 43, Guizmén shows the contrast between the military and civ society in postdictatorship Chile inthe sequence about the National Stadinm in Chil, ke memoria obstinad, where he juxtaposes mages ofthe past (the National Stadium asa concentration camp) with images ofthe present (he National Stadium as a sports facility where Colo-Colo fans celebrate the victory of their soccer team while under surveillance by police). 4. For Marchant (2000), the coup marks the collapse of language, while the use of the word ‘compatiero (comwade) isthe language event that marked the consolidation of Allendo's Unidad. Popular as ahistorical event. 5. Thissequence was filmed about a month after the English Lords’ decision of March 24, 1999, establishing that Pinochet could be extradited only for crimes of torture. It could be interpreted ‘asa commentary on the national catastrophe that remains unsolved because the decision avoided ‘cases of human disappearance, 6. Chanan (2007: 21) suggests that “documentaries tend to suffer a problem of dating.” REFERENCES: Agamben, Giorgio 11999 Renmans of Auschsitz. New York: Zone Books. ‘Aufderheide, Patricia ‘2002 “The importance of historical memory: an interview with Patricio Guzmén.” Cinnste 27 @:2-25, Benjamin, Walter 1968 Iiwminaions. 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Soom after lectuas, mos among them ¢ cations, and must importe Pinochet's cos place in these. militancy thn documentary to bear witne interviews, a1 Tan promt ales, ta mayor istas de docun denuncias y ‘obras mas im Augusto Pinc (que tomaron Ie msiltancia « derechos hum aleance de toe reflexiones pa Keywords: In this counts there is anoth that contains where someon who no tonge but én this co ‘that contains Javier Campo is reviewed magez conuthor, with A fn Argentine (20¢ Universidad dol politcal scientist LATIN AMERICAN ‘bor 007700865 © aU Lain smerh