Contemporary Peruvian Cinema: History, Identity and Violence on Screen

✍ Scribed by Sarah Barrow (editor)

• Publisher: I.B.Tauris
• Year: 2018
• Tongue: English
• Leaves: 274
• Category: Library

✦ Synopsis

The political violence that erupted towards the end of the twentieth century between the Peruvian state and militant group `Shining Path' left an indelible mark on the country that resonates even today. This study explores representations of the insurgency on screen, and asks what these tell us about the relationship between state, fiction cinema and identity in Peru. In the process, Sarah Barrow highlights the Peruvian experience as a paradigm for the wider study of film-making in societies faced with violence and terrorism.
This book provides in-depth analyses of the pivotal films from the 1980s through to the present day that interpret the events, characters and consequences of the bloody conflict. Setting the films in the context of a time of turbulent transition for both Peruvian society and cinema - addressing developments in film policy and production - it reveals the attempts by filmmakers to reflect, shape, define and contest the identity of a fractured population. By interrogating important themes such as memory, trauma and cultural responses to terrorism, chapters explore local perception of nationhood, and highlight links to other Latin American cinemas and global issues. Featuring discussions of the work of Francisco Lombardi, Marianne Eyde, Fabrizio Aguilar and Josue Mendez, amongst others, this detailed investigation of the growing success and political importance of the industry's output traces the complexities of modern Peruvian history.

✦ Table of Contents

Cover
Author bio
Endorsement
Series information
Title page
Copyright information
Tables of contents
List of plates
Acknowledgements
Introduction: Peruvian Cinema and Culture
Histories of Violence
Diversity in Context
Contemporary Peruvian Fiction Cinema
In Focus: Writing on Peru and Peruvian Cinemas
1 Cinema, State and National Identity
Crisis and Legislation of the 1970s
Neoliberal Reforms of the 1990s
Cinema After Fujimori: Impact of Political Turmoil
2 Cinema, Transition and Turmoil
Conflicting Identities and National Crisis: La boca del lobo (Francisco Lombardi, 1988)
Production Contexts
Framing Nation and Violence
The Characterisation of Violence
Rejecting Violence
The Hybridisation of National Identity: Ni con dios ni con el diablo (Nilo Pereira del Mar, 1990)
Production Contexts
Framing Nation and Violence
Resisting Change
Identity, Violence and Social Responsibility: Alias la gringa (Alberto ‘Chicho’ Durant, 1991)
Production Contexts
Framing Nation and Violence
Revealing Structural Violence
3 Cinema, Oppression and Ideology, 1992–2000
Female interventions: La vida es una sola (Marianne Eyde, 1993)
Production Contexts
Framing Nation and Violence
The Pain of Remembering
Identity, Agency and Social Development: Anda, corre, vuela …/Run, Walk, Fly … (Augusto Tamayo, 1995)
Production Contexts
Framing Nation and Violence
New Portraits of Society
Creating an Icon: Coraje/Courage (Alberto Durant, 1998)
Production Contexts
Framing Nation and Violence
Shifting Landscapes
4 Cinema, Memory and Truth, 2000–2004
Shaping Memories of National Trauma: Paloma de papel/Paper Dove (Fabrizio Aguilar, 2003)
Production Contexts
Framing Nation and Violence
Negotiating Visions of Trauma
Stasis, Dislocation and Open Wounds: Días de Santiago/Days of Santiago (Josué Méndez, 2004)
Production Contexts
Framing Nation and Violence
Cinema as Social Testimony
5 New Generations and Open Wounds, 2005–2016
Seeking Closure
Fractured Continuities
Conclusion
Notes
Introduction: Peruvian Cinema and Culture
1 Cinema, State and National Identity
2 Cinema, Transition and Turmoil
3 Cinema, Oppression and Ideology, 1992–2000
4 Cinema, Memory and Truth, 2000–2004
5 New Generations and Open Wounds, 2005–2016
Bibliography
Books
Newspaper/Web Sources
Filmography
Index
Plates