Out of the Shadows: ‘New’ Peruvian Cinema, National Identity and
                        Political Violence

Barrow, Sarah

doi:10.3828/mlo.v0i0.18

Cited by 3 publications

(2 citation statements)

References 1 publication

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“…Peruvian fiction cinema continues to influence the formation of a sense of collective identity [14], then it is necessary to promote the debate on the imaginaries it proposes. When analyzing certain cultural manifestations in Peru, including the cinema, identification models with a racist matrix were found that are confused with the cultural: the aristocrat "pituco", the "criollo" astute, the "cholo-chicha", the Andean-traditional, the Afrodescendant or "zambo", the European "gringo", the Asian-Chinese, the jungle-"charapa" [15].…”

Section: Citizenship and Diverse Identities In Peruvian Cinemamentioning

confidence: 99%

Identity and Citizenship from the Post-truth in Peruvian Cinematographic Fiction

Aybar-Cabezudo¹,

Espinoza-Robles²

2022

Advances in Social Science, Education and Humanities Research

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Cinema has always been a mirror of reality, therefore it is important to reflect on the role of Peruvian cinematography in the construction of identity and citizenship. The identity reflected in stories that are capable of generating a sense of national belonging among their audiences and citizenship understood as the condition that recognizes the characters in fiction with social and political rights. Since the boom of Peruvian commercial cinema, starting with the film Asu Mare, dozens of Peruvian films have been released each year with great public acceptance. That is why the research aimed to know how are the representations that build models of identification and citizenship from the Peruvian commercial cinematographic fiction in box-office films. The research was carried out from the interpretive paradigm with a qualitative approach through a case study. A content analysis guide was applied to three films of the musical comedy genre that develop multiple stories and are aimed at a young adult audience, produced by Tondero Films (Peru), which were a box office success in the year of their release. The analysis categories from a narrative perspective were: characters, context and conflict. The main results of this research showed that the characters have hegemonic traits, they have no agency, no past and do not correspond to Peruvian identification models. The situations and conflicts draw a conservative society that maintains heteronormative values and excludes representations that reflect the diversity of the Peruvian context where the story unfolds. The post-truth of the author's cinematographic truth becomes evident by offering a narrative that does not question the public with a story that, without ceasing to be commercial, has an artistic proposal. The article contributes to the research line of communication and film studies and opens a debate on what Peruvian cinema is and what elements from the narrative are likely to be valued to consider a production as national.

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Section: Citizenship and Diverse Identities In Peruvian Cinemamentioning

confidence: 99%

Identity and Citizenship from the Post-truth in Peruvian Cinematographic Fiction

Aybar-Cabezudo¹,

Espinoza-Robles²

2022

Advances in Social Science, Education and Humanities Research

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“…Letztere konzentrierte sich auf eine Gemeinde in den Anden, die zwischen den Rebellen von Sendero Luminoso und den Soldaten der Regierung gefangen war (vgl. Barrow 2014).…”

Section: Gefühleunclassified

DEMETRIOS PRIZE 2019! Die Darstellung des intergenerationellen Traumas im Film La teta asustada von Claudia Llosa - The Representation of Intergenerational Trauma in the Film La teta asustada by Claudia Llosa

Soydan¹

2019

JOSHA

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One of the winners, Yasemin Soydan, from Germany explains Media are used to (re)construct memories and to create a historical consciousness. They tell the events of a country or of a person's life and recall past experiences. In addition, the ignorant are enlightened. (Cinema) films are a particularly popular medium because they can portray the past in a different way than, for example, political science or history.

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Negotiating Neoliberal Demands on Contemporary Cinema: The Role and Influence of the Socially Committed Film Producer in Peru

Barrow

2018

Contemporary Latin American Cinema

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Out of the Shadows: ‘New’ Peruvian Cinema, National Identity and Political Violence

Abstract: This article is part of a broader project on violence and identities in Peruvian fiction cinema, with specific reference to the interplay between the Shining Path conflict and national film policy.

Cited by 3 publications

References 1 publication

Identity and Citizenship from the Post-truth in Peruvian Cinematographic Fiction

Identity and Citizenship from the Post-truth in Peruvian Cinematographic Fiction

DEMETRIOS PRIZE 2019! Die Darstellung des intergenerationellen Traumas im Film La teta asustada von Claudia Llosa - The Representation of Intergenerational Trauma in the Film La teta asustada by Claudia Llosa

Negotiating Neoliberal Demands on Contemporary Cinema: The Role and Influence of the Socially Committed Film Producer in Peru

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