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La Obra Cinematográfica Como Representación Colectiva De Las Memorias Populares: El Caso De Latinoamérica En Los Años Sesenta the Cinematographic Work as a Collective Representation of Popular Memories: the Case of Latin America in the Sixties
| Content Provider | Semantic Scholar |
|---|---|
| Author | Flores, Silvana Padilha |
| Copyright Year | 2008 |
| Abstract | In this article I develop the use of cinematographic works in Latin America (during the sixties) as ideological instruments that let us board the question of recovery of popular memorials. Inserted in a highly political context and influenced by discussions about colonialism and the theory of compromise of Sartre, we found in the cinema production of this region a will to incite spectator through art about the creation of a new identity that includes Latin American people. These works are documents, audiovisual testimonies; but the historian that will examine them won’t be, this time, only the studious, but people itself. These films will pretend to be spokesmen of memory: cinematographic discourse turns narrator of an identity. These films, that have a militant tone, will take this “minorities” as essential protagonists of change and as constructor subjects of representations facing the ones that are elaborated by hegemonic discourse. The films are not conceived as an individual act but as a collective work, assuming the conception of groups that are not conceived outside a community. Latin American cinema of the sixties finished with the idea that to elaborate an artistic approved object the referent it must have is the successful paradigms of Hollywood. It understood that national culture as not a mere element of exhibition destined to inflate the euro centrist conquering ambition. |
| File Format | PDF HTM / HTML |
| Alternate Webpage(s) | http://publicacionescienciassociales.ufro.cl/index.php/perspectivas/article/download/7/7 |
| Language | English |
| Access Restriction | Open |
| Content Type | Text |
| Resource Type | Article |
