Hyperrealism as Postmemory in Pablo Larraín's No (2012)

This paper discusses Pablo Larraín's use of pastiche and hyperrealism in his 2012 film No and how these aesthetic strategies relate to contemporary Chilean issues of memory, postmemory, and the experience of collective trauma by subsequent generations. I argue that the focus on advertising of Larraín's film doesn't take away from its weightier examinations of the political and social fallout of the Pinochet regime, but rather acknowledges the very particular tensions and dis-encounters in that process.