Imaginarios de las infancias en el cine mexicano del narcomundo: los casos de Vuelven y Noche de fuego
In this article we ask ourselves about the construction of childhood imaginaries in recent Mexican cinema (2017-2021). We chose to limit ourselves to the narcoworld cinema because we consider that the inclusion of children’s points of view has been what has marked the transformation of this genre in...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2022 |
| País: | España |
| Institución: | Universidad de Murcia |
| Repositorio: | DIGITUM. Depósito Digital Institucional de la Universidad de Murcia |
| OAI Identifier: | oai:digitum.um.es:10201/124270 |
| Acceso en línea: | https://doi.org/10.6018/reapi.529981 http://hdl.handle.net/10201/124270 |
| Access Level: | acceso abierto |
| Palabra clave: | Filmic imaginaries Childhoods Narco-violence Mexican cinema Imaginarios fílmicos Infancias Narcoviolencia Cine mexicano CDU::7 Bellas artes::79 - Diversiones. Espectáculos. Cine. Teatro. Danza. Juegos.Deportes |
| Sumario: | In this article we ask ourselves about the construction of childhood imaginaries in recent Mexican cinema (2017-2021). We chose to limit ourselves to the narcoworld cinema because we consider that the inclusion of children’s points of view has been what has marked the transformation of this genre in the last five years. We selected the films Tigers are not afraid (Issa López, 2017) and Prayers for the stolen (Tatiana Huezo, 2021), as they feature groups of boys and girls who inhabit the bowels of the narco world and who, beyond being victims of narco-violence, appear as transforming subjects of their environment, generating survival strategies. In the first place, we define film imaginaries as the set of symbols and images that, through specific cinematographic elements, give meaning to individual and collective identities in the film’s fictional world. Then, we present the analysis results in three axes: childhood-adulthood, boys-girls, and game-reality. Finally, we highlight the relevance of studying the filmic imaginaries of childhoods, not only to account for a specific cultural phenomenon but also to investigate the paths that cinema opens from childhood in the dark reality of the narcoworld |
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