3. Producción
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Item type:Publication, Do executioners have souls? La última tarde and La hora final: Representations of the "Insurgent" character in Peruvian fiction cinema(Springer, 2020-12-17)This chapter identifies the different approaches to representing the "insurgent" in Peruvian fiction cinema, highlighting the tensions between cinema as a cultural industry and the national discussion of memory about the armed conflict of 1980-2000. The complexity of the characters in La última tarde [One Last Afternoon] (2017) by Joel Calero and La hora final [The Last Hour] (2017) by Eduardo Mendoza is analyzed in comparison to other representations of the "insurgent" in the country's cinematic tradition, and in the relation to the discourses on memory that form part of the paradigm of human rights. It also discusses the limitations that the production and exhibition conditions of fiction films in Peru bring to the cinematic representation of this specific character type. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Filming horror in post-conflict Peru: Making and marketing La Casa Rosada(Springer, 2020-12-17)This chapter adopts an anthropological perspective to analyze the conditions, the modes of production, circulation, and exhibition of the film La casa rosada [The Pink House] (2017) by Ayacuchean director Palito Ortega Matute. The film recreates the impact of the armed conflict of 1980-2000 on the everyday lives of Ayacucheans at the time. Michael Herzfeld's concept of "cultural intimacy" is used to explore the film's highly artisanal and familial approach to filmmaking, which fostered a distinctive emotional connection with the local audience, triggered by their own memories of the ways that the city of Ayacucho experienced the conflict.