The roto on the screen: the urban popular type in the classical chilean cinema
The figures of roto and huaso are considered popular types of the chileanity. The researcher Santa Cruz Achurra points out that during the Chilean cinema of the 1940s we can find greater presence of the huaso in relation to the roto on the movies. From this information, our objective in this article...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2017 |
| País: | Brasil |
| Institución: | Universidade Federal de Santa Maria (UFSM) |
| Repositorio: | Revista Animus (Santa Maria. Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.pkp.sfu.ca:article/24789 |
| Acceso en línea: | https://periodicos.ufsm.br/animus/article/view/24789 |
| Access Level: | acceso abierto |
| Palabra clave: | Chilean Roto. Chilean Cinema. Classical Cinema. Roto Chileno Cinema Chileno Cinema Clássico |
| Sumario: | The figures of roto and huaso are considered popular types of the chileanity. The researcher Santa Cruz Achurra points out that during the Chilean cinema of the 1940s we can find greater presence of the huaso in relation to the roto on the movies. From this information, our objective in this article is not to seek answers to this phenomenon, but to analyze how the figure of the roto became an important element present in the Chilean cultural industry in the first half on the 20th century, and thus it was absorbed by the local film production. Finally, we will focus our studies on the comic actor Eugenio Retes, specifically in the film El gran circo Chamorro (1955), directed by José Bohr. |
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