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Appropriation cinema at the dawn of the digital age: Reflections from Harun Farocki's work
(Universidad de Lima, 2020-12-01)
Harun Farocki's work (1944-2014) has spanned for more than five decades, and has dealt primarily with the image, its meanings, its relationship with the mass ideology, and the possibilities and limits of its automation and mechanization in the digital age. By means of the found footage technique, Farocki has established throughout his career different analytical strategies that have allowed him, through his film works, to propose an exhaustive review and criticism of the image and its implications. This essay seeks to propose reflections, based on Farocki's work, on the politics of the image, the relationship with the author/producer, and its role in ideological, political and social spheres.
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Cine actual y representación queer: la heteronormativa fórmula de la industria cinematográfica
(Pontificia Universidad Católica del Perú, 2023-11-22)
Cinema is a form of artistic expression that has a significant impact on society, which implies that it is not limited to entertainment, but that its content also has great relevance in the perceptions of individuals. Thus, through film productions, topics such as racism, classism, machismo, among others, have been addressed. In particular, this essay will address the representations of the LGBTIQ+ community, which has had more and more relevant characters on the screen; which, although it seems like an important advance in community acceptance, hides still latent stigmatizations. In that sense, this essay aimed to demonstrate that LGBTIQ+ representations in films and series of the 21st century, for the most part, are denigrating and inappropriate because they have been constructed from heteronorm. To support this statement, the archetypes present in the cinema that constructs queer characters were studied and their condition as reinforcers of stereotypes was demonstrated. In this way, techniques are evident within the film industry that prevent full inclusion in respect of sexual identities.
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Using cinema to enhance moral reasoning and cognitive complexity of Amazonian indigenous leaders
(Routledge, 2025-01-01)
Several research studies acknowledge the pedagogical and ethical potential of cinema, as well as its utility for moral education. With this in mind and utilizing a mixed-method approach, this paper presents the qualitative changes in cognitive complexity and moral reasoning observed in a group of Amazonian indigenous adults after their participation in an intercultural moral education program using film discussions. Participants were nine Shipibo-Konibo, Awajún and Asháninka peoples, with formal education, and familiar with cinema, from the Amazonian region of Ucayali, Peru. To assess cognitive complexity, the McDaniel and Lawrence scale was employed, while moral reasoning was evaluated using the Heinz dilemma. Qualitative content analysis revealed a development in cognitive complexity and moral reasoning among certain participants. The results are discussed with an emphasis on aspects of the program that can be replicated when working with Amazonian indigenous peoples.
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CÉSAR VALLEJO: FROM THE POEM TO FILM
(Asociación Peruana de Retórica, 2026-02-15)
El presente artículo explora la relación entre la obra literaria de César Vallejo (poesía y teatro) y el cine, y postula que el autor desarrolla un pensamiento cinematográfico intermedial propio que se sustenta en el concepto de “doble”. A partir de un marco histórico-crítico se identifica un vacío teórico en la bibliografía: la ausencia de un dispositivo conceptual que articule el tránsito de la literatura vallejiana hacia lo cinematográfico. Así, se propone el concepto del “doble” para llenar este vacío, entendiéndolo como un pensamiento de desdoblamiento que articula un pensamiento estético como traducción entre medios. Mediante textos poéticos, obras de teatro (Lock-out, Colacho hermanos, La piedra cansada) y proyectos fílmicos inconclusos de Vallejo se reflexiona cómo la escritura asimila procedimientos del cine (montaje, visualidad, gesto o simultaneidad escénica). Entonces, el doble funciona como núcleo estructurante de una estética híbrida que desborda los límites genéricos al punto de configurar un espacio creativo entre la literatura y el séptimo arte. Se concluye que Vallejo anticipa una visión del cine como arte total de vocación masiva y humanista, y en el que convergen su impulso lírico y dramático. En suma, este pensamiento de lo doble evidencia el carácter revolucionario e inclusivo de su propuesta artística.
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