Descolonización y cine: la propuesta indígena de Jorge Sanjinés hoy

Autores

  • Núria Vilanova American University

DOI:

https://doi.org/10.5195/bsj.2012.66

Palavras-chave:

CEFREC, industria cinematográfica, Insurgentes (2012), La nación clandestina (1989), teoría, estética y narrativa cinematográfica de Sanjinés, Yawar Mallku (1969)

Resumo

Este artículo explora la herencia del cine de Jorge Sanjinés en el cine latinoamericano actual y muy específicamente en el boliviano. La idea central argumenta que a pesar de la favorable coyuntura política que vive Bolivia con la llegada de Evo Morales a la presidencia en el año 2006, la declaración de Bolivia como un Estado plurinacional y el creciente protagonismo de aymaras y quechuas en la esfera política nacional, el cine indígena, como lo vislumbró Sanjinés, no se ha desarrollado lo suficiente. El artículo plantea la dificultad de lograr que la industria cinematográfica nacional e internacional sea capaz de incorporar un tipo de películas que no responde a las expectativas de un público convencional más o menos mayoritario, que no hace concesiones al espectador occidental ni recurre a los filtros necesarios para allanar su comprensión y persuadirle cinemato- gráficamente.

 

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Publicado

2012-12-29

Edição

Bolivian Studies Journal Vol. 19 (2012-2013)

Seção

Articles

Licença

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