A STUDY HISTORICAL AND ANTHROPOLOGICAL ABOUT THE FILM LA NACIÓN CLANDESTINA
In this text, looking up some links between history, anthropology and film from the analysis of theBolivian film "La Nación Clandestine", produced by filmmaker Jorge Sanjinés and released in 1989. The filmportrays historical and cultural elements of the Aymara people, whose protagonist Seb...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2012 |
| País: | Brasil |
| Institución: | Universidade Estadual do Maranhão (UEMA) |
| Repositorio: | Outros tempos |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs2.outrostempos.uema.br:article/7 |
| Acceso en línea: | https://www.outrostempos.uema.br/index.php/outros_tempos_uema/article/view/7 |
| Access Level: | acceso abierto |
| Palabra clave: | Cinema Colonialismo Aymara Cine Colonialism |
| Sumario: | In this text, looking up some links between history, anthropology and film from the analysis of theBolivian film "La Nación Clandestine", produced by filmmaker Jorge Sanjinés and released in 1989. The filmportrays historical and cultural elements of the Aymara people, whose protagonist Sebastian, a member of this ethnic group. Through this character, the filmmaker assembles a web of tensions and interethnic conflicts, highlighting the complex relationships between indigenous and non-indigenous, given the context of the military coup in Bolivia in the 1960s. A feature associated with the film is produced by Jorge Sanjinés Italian realism, which aimed to 'films with the people, showing the social and political realities in various spaces. The film seeks to existing relationships within the Aymara community, their cosmology, social organization structure, practicesand rituals performed by indigenous, to then make the parallel with the non-Indian society in Bolivia, which turns into hiding practices produced for centuries by ethnic groups. Hence the name "La Nación Clandestine", because it presents a Bolivian native who becomes illegal within their own territories immemorial. Approachwill this movie production by the bias of anthropology of colonialism, in view of the permanence of internal colonialism in Bolivia, after the process of independence. The film is riddled with complexities and providesimportant considerations to think about the relationship between universes indigenous and non-indigenous people within a nation-state that produces inside "clandestine nations." |
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