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Poéticas y políticas de la movilidad en el cine del Abya Yala
Munoz Marquez, Lina Maritza
Munoz Marquez, Lina Maritza
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Abstract
Traditionally, images of indigenous people in film are often misrepresented and based on a colonial gaze that reinforces stereotypes and romanticizes indigenous histories and cultures. Yet, during the late 20th century, in large part due to the availability of new and affordable media technologies, indigenous people in Latin America began to use these resources to craft their own images, tell their own stories, address issues affecting their communities, and transmit knowledge within and beyond those communities. Nevertheless, these films, often characterized as “experimental films”, remain unexamined in their own terms. My goal is to do an in-depth study that questions this characterization as another form of colonialism and that contributes to the process of decolonizing the academy proposed by indigenous intellectuals such as Linda Tuhiwai Smith, a Maori scholar, and by Latin American scholars like Walter Mignolo and Catherine Walsh. Drawing from intellectual work on and by indigenous scholars and from a theoretical and critical interdisciplinary framework that is built around the concept of mobility (Cresswell, Adey, Urry, Deleuze, Vizenor, Kowii), my dissertation contributes to a richer understanding of the different mechanisms that indigenous peoples themselves have been using to fight for their sovereignty, self-representation, self-determination, and social justice. Specifically, I consider indigenous cinema as a space to explore the role that mobility has had in the participation, reconfiguration, and rearrangement of indigenous communities in the contemporary world. In Latin American countries, particularly in Colombia, Ecuador, and Chile, the mobility of indigenous communities has generally been understood as the result of Western oppression and associated with forced displacements. However, I argue that the repositioning of the indigenous gaze in film productions has allowed indigenous peoples to register, explore, and produce different processes of physical and symbolic mobility. These processes have in turn enabled them to rethink or reconstruct elements considered inherent to their subjectivities such as identity, race, space, fixity, and oppression.
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Date
2021-05-31
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University of Kansas
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Keywords
Latin American studies, Cine indígena, Comunidades indígenas en Sur América, Identity / Identidad, Indigenous film in Latin America, Memory / Memoria, Mobility / Movilidad