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2015 | OriginalPaper | Chapter
History, Fiction and the Politics of Corporeality in Pablo Larraín’s Dictatorship Trilogy
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The historical film — defined here as a fiction film based on historical events — commits a sacrilege according to conventional wisdom: it transgresses the boundaries between documenting history as a verifiable truth, expressed in and confirmed by the use of archive, and fictionalizing this history into a fantasy, considered subjective and therefore somewhat unreliable. Within academia, this notion of a strict line of separation between history and fiction has, of course, been thoroughly debunked. Maybe Raul Hilberg’s rhetorical question puts it best: If we cannot write poetry any more after Auschwitz, why should writing history be possible?1