This article proposes a new mode of understanding the entanglement of ecological and postcolonial questions in contemporary Chilean filmmaking, through the lens of directorial subjectivity. Both Tierra sola (Solitary Land, Tiziana Panizza, 2017), and El botón de nácar (The Pearl Button, Patricio Guzmán, 2015) contest hegemonic structures of belonging by constructing an alternative ‘oceanic archive’. Yet where Guzmán's metaphorical meditations on indigenous connections to the ocean risk collapsing into romanticism and replicating colonial visuality, Panizza's reflexive conception of filmmaking as a situated and embodied practice facilitates a subtler understanding of cinema's political engagement in this sphere.

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“收集海洋的回报”：当代智利电影中的后殖民海洋生态

本文提出了一种通过导演主体性的视角来理解当代智利电影制作中生态和后殖民问题纠缠的新模式。Tierra sola（Solitary Land，Tiziana Panizza，2017 年）和El botón de nácar（The Pearl Button，Patricio Guzmán，2015 年）都通过构建另一种“海洋档案”来争夺霸权结构。然而，在古兹曼对本土与海洋的联系的隐喻性思考可能会陷入浪漫主义和复制殖民视觉的风险，而帕尼扎将电影制作作为一种情境化和具体化的实践的反思性概念有助于更微妙地理解电影在这一领域的政治参与。