This work aims to base the didactics and aesthetics of the inclusion of film viewing in law classrooms. Through the analysis of the film Tony Manero (2008) by director Pablo Larraín, the characteristics of the transcendent master class as an open space for different participants, media and knowledge (in contrast to the master class merely expository) will be addressed, and then present Jacques Rancière’s theory of the aesthetic regime of art, which, in its application to cinema, is based on what he calls the «suspense tragedy». This interdisciplinary conjunction will give us the guideline to reunderstand phenomena belonging with Law (violence in this case) in its full complexity, thus allowing the intellectual emancipation of the student and the teaching-learning space.
Camilo Andrés Arancibia Hurtado, Universidad de Valparaíso
Camilo Arancibia Hurtado es abogado, magíster en Derecho de la Universidad de Chile, máster en Literatura Comparada: Estudios Literarios y Culturales de la Universidad Autónoma de Barcelona y estudiante de doctorado en Filosofía de la misma casa de estudios. Además, es profesor de Derecho y Literatura, y de Derecho Civil en la Escuela de Derecho de la Universidad de Valparaíso.
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How to Cite
Arancibia Hurtado, C. A. (2020). Cinema enters the law classrooms: the emancipation of “Tony Manero” (2008). Revista Pedagogía Universitaria Y Didáctica Del Derecho, 7(2), pp. 263–278. https://doi.org/10.5354/0719-5885.2020.57811