Antagonism and Imaginaries of Plurality in Bolivian Cinema

Nowadays, Bolivian cinema is living a period of great activity in a unstable identitarian landscape, wherein negotiations and conflicts between the different national subjectivities are no longer able to be represented within antagonistic patterns producing uniformity. Firstly, this article deals wi...

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Main Author: Valeria Canelas
Format: Article
Language:English
Published: Iberoamericana / Vervuert 2018-03-01
Series:Iberoamericana. América Latina - España - Portugal
Subjects:
Online Access:http://journals.iai.spk-berlin.de/index.php/iberoamericana/article/view/2447
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author Valeria Canelas
author_facet Valeria Canelas
author_sort Valeria Canelas
collection DOAJ
description Nowadays, Bolivian cinema is living a period of great activity in a unstable identitarian landscape, wherein negotiations and conflicts between the different national subjectivities are no longer able to be represented within antagonistic patterns producing uniformity. Firstly, this article deals with Jorge Sanjinés’ Filmography in order to offer an explanatory hypothesis to answer why his last productions seem to have been less engaging for national identitarian dynamics. Secondly, an analysis of a series of short films by the Socavón Cine Collective will take place, so as to underline the most important political gestures displayed by their novel audiovisual rhetoric, which have managed to devise a language capable of a more acute examination of the identitarian plurality present in Bolivia.
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spelling doaj.art-61f13817c0da4d1394f9d4f87c3e62712022-12-21T17:45:48ZengIberoamericana / VervuertIberoamericana. América Latina - España - Portugal1577-33882255-520X2018-03-011867638310.18441/ibam.18.2018.67.63-831914Antagonism and Imaginaries of Plurality in Bolivian CinemaValeria CanelasNowadays, Bolivian cinema is living a period of great activity in a unstable identitarian landscape, wherein negotiations and conflicts between the different national subjectivities are no longer able to be represented within antagonistic patterns producing uniformity. Firstly, this article deals with Jorge Sanjinés’ Filmography in order to offer an explanatory hypothesis to answer why his last productions seem to have been less engaging for national identitarian dynamics. Secondly, an analysis of a series of short films by the Socavón Cine Collective will take place, so as to underline the most important political gestures displayed by their novel audiovisual rhetoric, which have managed to devise a language capable of a more acute examination of the identitarian plurality present in Bolivia.http://journals.iai.spk-berlin.de/index.php/iberoamericana/article/view/2447Bolivian CinemaIdentityRepresentationHospitalityModernity
spellingShingle Valeria Canelas
Antagonism and Imaginaries of Plurality in Bolivian Cinema
Iberoamericana. América Latina - España - Portugal
Bolivian Cinema
Identity
Representation
Hospitality
Modernity
title Antagonism and Imaginaries of Plurality in Bolivian Cinema
title_full Antagonism and Imaginaries of Plurality in Bolivian Cinema
title_fullStr Antagonism and Imaginaries of Plurality in Bolivian Cinema
title_full_unstemmed Antagonism and Imaginaries of Plurality in Bolivian Cinema
title_short Antagonism and Imaginaries of Plurality in Bolivian Cinema
title_sort antagonism and imaginaries of plurality in bolivian cinema
topic Bolivian Cinema
Identity
Representation
Hospitality
Modernity
url http://journals.iai.spk-berlin.de/index.php/iberoamericana/article/view/2447
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