Small Cinemas of the Andes
New Aesthetics, Practices and Platforms
- 2023
- Book
- Editors
- Diana Coryat
- Christian León
- Noah Zweig
- Publisher
- Springer International Publishing
About this book
This book examines the emergence of small cinemas of the Andes, covering digital peripheries in Ecuador, Bolivia, Peru and Colombia. The volume critically assesses heterogeneous audiovisual practices and subaltern agents, elucidating existing tensions, contradictions and resistances with respect to established cinematic norms. The reason these small cinematic sectors are of interest is twofold: first, the film markets of the aforementioned countries are often eclipsed by the filmmaking giants of Mexico, Brazil and Argentina; second, within the Andean countries these small cinemas are overshadowed by film board-backed cinemas whose products are largely designed for international film festivals.
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Table of Contents
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Frontmatter
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Chapter 1. Introduction: Theorizing and Contextualizing Small(er) Cinemas of the Andes
Diana Coryat, Christian León, Noah ZweigThe chapter delves into the rise of small(er) cinemas in the Andean region, focusing on Ecuador, Bolivia, Peru, and Colombia. It explores how these independent, grassroots, and low-budget film sectors challenge established cinematic norms and offer alternative representations of culture and identity. The text discusses the historical context, the impact of digital technologies, and the unique challenges faced by these cinemas. It also highlights the importance of these cinemas in reflecting the diverse experiences and struggles of subaltern populations. The chapter provides a detailed analysis of various case studies, offering insights into the creative processes and the societal impact of these small(er) cinemas.AI Generated
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AbstractThis edited volume examines the emergence of small(er) cinemas of the Andes, covering independent, grassroots and largely off-the-radar, low-budget audiovisual sectors in Ecuador, Bolivia, Peru and Colombia. The contributors of this volume’s sixteen chapters were invited to critically examine the heterogeneous audiovisual practices, emergent discourses and subaltern agents that they study through the concept of “small(er) cinemas,” as elaborated in Coryat and Zweig (“New Ecuadorian Cinema: Small, Glocal and Plurinational.” International Journal of Media & Cultural Politics 13, no. 3 (2017): 265–285). -
Filming Smaller Nations
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Frontmatter
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Chapter 2. Filming the Andes: Contemporary Aesthetic Configurations of the Andean World
Karolina RomeroThe chapter delves into the rich tapestry of contemporary Andean cinematic representations, focusing on the aesthetic and narrative strategies employed by filmmakers to depict the Andean world. It examines films that challenge traditional notions of 'Andean realism' and explores the plurality of Andean identities and community practices. The analysis covers films like Wiñaypacha, Killa, Retablo, and La sinfónica de los Andes, highlighting their unique approaches to time, space, and community representation. The chapter also discusses the impact of digital technologies and the expansion of 'small cinemas' on Andean filmmaking, emphasizing the heterogeneity and innovation in these cinematic practices. By moving away from essentialist views, the chapter offers a fresh perspective on the complex and diverse world of Andean cinema.AI Generated
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AbstractThere is an important corpus of films produced in the region that feature the representation of the Andes as a central element. This chapter aims to investigate the main narrative approaches and aesthetic characteristics that comprise depictions of the Andean world in Latin American cinema in recent decades. The author considers the ways in which the notion of “small(er) cinemas” contributes to studying the diversity of cinemas produced in the Andean region, since doing so permits her to discuss both the conditions of production and the deployment of “small cinemas” in this unique context. -
Chapter 3. Technological Appropriation and Audiovisual Sovereignty in an Indigenous Key
Pablo Mora CalderónThe chapter 'Technological Appropriation and Audiovisual Sovereignty in an Indigenous Key' delves into the burgeoning audiovisual practices of Indigenous peoples in Colombia since the 2010s. It highlights the political and cultural factors driving this emergence, including advocacy for communication rights and the establishment of Indigenous film festivals. The text explores the appropriation of digital technologies by Indigenous communities, such as the Arhuaco, Kogui, and Wiwa peoples, and their integration into traditional cosmologies. It also discusses the demand for audiovisual sovereignty, emphasizing the need for Indigenous control over media representation. The chapter concludes by examining the potential impact of these technological shifts on Indigenous cultures and the broader societal implications of their growing media presence.AI Generated
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AbstractThe audiovisual practices of native peoples in Colombia have been on the rise. At the beginning of the twenty-first century the number of Indigenous collectives dedicated to the production of audiovisual content could be counted on one hand. Today a complex scenario has emerged that includes different modes of production, practices, aesthetics and strategies involving more than sixty Indigenous collectives. This chapter introduces the analytical categories of indigeneity and visuality. It discusses the appropriations of the technological repertoires of the Arhuaco, Kogui, Wiwa, Embera, Makuna and Nasa peoples and the demands for audiovisual sovereignty articulated by national Indigenous organizations. -
Chapter 4. Indigenous Audiovisual Producers of Ecuador: An Integral Practice of “Cosmovivencia”
Eliana ChamputizThe chapter delves into the practice of 'cosmovivencia' in Indigenous audiovisual production, analyzing four key components: self-representation, content design, audiovisual dynamics, and Indigenous techniques. It also highlights the work of CORPANP, an Indigenous collective that has coined the term 'cosmovivencia' to describe the lived experience of Indigenous peoples. The chapter discusses the importance of self-representation in breaking away from anthropological views and the need for inclusive public policies to support Indigenous cinema. It also explores the challenges and triumphs of Indigenous filmmakers in representing their cultures authentically and the significance of 'cosmovivencia' in understanding Indigenous life and communication.AI Generated
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AbstractThis chapter is a personal testimony of the author, an Indigenous filmmaker from Ecuador, and part of the binational Pasto people. It relates the experience of the audiovisual collective that she co-founded, Corporation of Audiovisual Producers of Nationalities and Peoples (CORPANP). It examines Indigenous audiovisual production as it relates to self-representation, self-determination, content design, collective creation and Indigenous techniques. It discusses the concept of cosmovivencia, which describes not just how Indigenous people see the world, but how they live it. -
Chapter 5. Indigenous Audiovisual Practices, Post-National Discourses and Poetics of the Small
Christian LeónThe chapter delves into the evolution of Indigenous audiovisual practices, tracing their trajectory from the 1980s to the present. It discusses key concepts such as 'Fourth World cinemas' and 'Indigenous media,' and explores the work of Alberto Muenala and Amaru Cholango, two influential Indigenous artists in Ecuador. The text highlights the political and cultural significance of their work, emphasizing their role in challenging colonial narratives and promoting self-representation. It also examines the broader context of Indigenous video production, including the role of organizations like CLACPI and the impact of technology on Indigenous expression. The chapter concludes by positioning Indigenous audiovisual practices as a form of 'small visualities,' emphasizing their importance in the broader landscape of global visual cultures.AI Generated
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AbstractThis chapter critically reviews the literature on Indigenous video and the fundamental concepts that have been developed to grasp its complexity and put it in dialogue with subaltern and post-national visual cultures. It outlines the trajectory of communicative and cultural debates on Indigenous audiovisual practices as a background to study the work and thought of Alberto Muenala and Amaru Cholango, two Indigenous artists and pioneers in the use of video in Ecuador. Based on the conceptions of these two filmmakers, Indigenous audiovisual practices are defined as decolonial, post-national and intercultural forms of video creation within the context of minority poetics and small audiovisual expressions. -
Chapter 6. Audiovisual Practices and Production of the Commons
Luz Estrello, Julio César Gonzales Oviedo, Amanda Gonzales CordovaThe chapter delves into the evolution of community audiovisual practices in Latin America, tracing their roots back to the New Latin American Cinema movement and the principles of popular communication. It discusses the theoretical frameworks that have emerged to understand these practices, including the notion of the 'commons' and the production of shared goods. The chapter also highlights various case studies, such as Indigenous video movements and educational initiatives, to illustrate the diverse ways communities are using audiovisual media for self-representation and social change. By analyzing these practices through the lens of the commons, the chapter offers a fresh perspective on the political and cultural implications of community-driven media production.AI Generated
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AbstractThis chapter analyzes audiovisual practices that are frequently associated with the term “community cinema.” The authors’ situate their approach to this concept within the debate on the production of the commons, a framework that emphasizes the social and material relations that make audiovisual practices possible, as well as the political and social networks that sustain them. The chapter first reviews the literature on community audiovisual practices and related film movements such as the Latin American popular, Indigenous video, and development communication. It then discusses the authors’ conceptual framework when analyzing community audiovisual practices. The chapter references case studies of collectives and organizations located in Peru that, like their collective Maizal, engage in audiovisual practice at the borders of hegemonic fields.
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Images of the Small Community
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Chapter 7. Recovering One’s Own Voice to Redefine What is Visible, Desirable and Possible: La Escuela Audiovisual Al Borde
Ana Lucia Ramírez MateusThe chapter delves into the creation of the Escuela Audiovisual Al Borde, a school dedicated to empowering sexual and gender dissidents in South America to produce autobiographical documentaries. It discusses the school's methodology, which emphasizes collaborative learning and the importance of telling personal stories to challenge dominant narratives. The chapter also explores the challenges faced by participants in making their stories visible and the impact of these documentaries on both individual and collective levels. By sharing personal experiences and creating a supportive community, the Escuela Audiovisual Al Borde has become a pioneering force in community cinema, offering a platform for marginalized voices to be heard and seen.AI Generated
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Abstract“Our stories also deserve to be told” is a slogan of the Al Borde Audiovisual School, a transfeminist and artivist community film project that has toured South America since 2011, producing autobiographical documentaries with communities that inhabit the margins of gender and sexuality. This chapter, written by the founder of the film school, examines the history, pedagogy, distinctive features and trajectory of this groundbreaking audiovisual project. It also analyzes how the embodied gaze, which circulates through gender and/or desire, redefines what is visible in cinema from both behind and in front of the camera. The chapter then discusses several of its autobiographical documentaries, which challenge the cis-heteronormative perspective of dominant cinemas. It reflects on the affective and political potentialities of the autobiographical documentary made in the community, which activates changes in the ways one looks, in order to build cinemas tailored to the needs and wishes of its makers. -
Chapter 8. Ojo Semilla: Weaving Feminisms Through Community Cinema
Diana Coryat, Carolina Dorado Lozano, Karla Valeri Morales AguayoOjo Semilla is a community cinema project that brings together women from various backgrounds to create films that represent their experiences and perspectives. The chapter discusses the feminist pedagogies and intercultural collaborations that underpin the project, focusing on the creation of three short films in the Valle del Chota region of Ecuador. It highlights the importance of collective scripting, workshops, and exercises that foster trust and dialogue among participants. The films produced, such as 'Carillas: Mujeres fuertes y aguerridas', 'El retumbar de las voces', and 'Mujer Montaña', embody the principles of feminist community cinema and offer a unique perspective on women's lives and struggles. The chapter also emphasizes the transformative power of the creative process and the importance of feminist filmmaking in challenging dominant narratives and aesthetics.AI Generated
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AbstractThis collectively written chapter places Ojo Semilla’s itinerant laboratory of audiovisual practices in dialogue with feminist theories, concepts and pedagogies. It examines how Ojo Semilla’s community-based, intercultural and decolonial workshops open spaces for Afro, Mestiza, Indigenous, rural and urban women to shape their own narratives and aesthetics. It analyzes how the process of audiovisual creation facilitates the recovery of women’s stories, experiences, and historic memory. A discussion of three of its short films demonstrate how Ojo Semilla’s productions use diverse genres to explore the themes of bodily and territorial autonomy. The chapter argues that feminist community cinema is a plural construction that enables its participants to make their voices and demands heard and felt. -
Chapter 9. From the Festival-as-Event to the Festival-as-Process: A Journey Through Community Film Festivals in Colombia
Natalia López CerqueraThe chapter delves into the proliferation of community film festivals in Colombia, examining their role in circulating alternative audiovisual productions and strengthening local communities. It discusses the concept of community cinema, the origins and contexts of these festivals, and their unique processes that foster education and empowerment. By analyzing six prominent festivals, the study highlights the festivals' significance in promoting community-driven narratives and building networks among marginalized communities.AI Generated
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AbstractThis chapter analyzes the emergence and growth of six regional community film festivals in Colombia. It first offers a brief literature review of scholarly works about community cinema. The category of festivals from the peripheries, the emergence of exhibition circuits and the appropriation of peripheral audiovisualities are discussed and put in dialogue with the category of community cinema. The author proposes that these community film festivals are better understood as long-term processes that go beyond the temporality of an event. She argues that they arise from a territorialized sense of the audiovisual, for which they are referred to as “festival-processes.” This chapter also discusses, through several case studies, how these festival-processes set in motion a series of pedagogical and educational processes that are designed to strengthen communities. -
Chapter 10. Eco-Territorial Cinema: An Intercultural, Translocal, and Expanded Community Process
Yadis Vanessa Vanegas-ToalaThe chapter delves into the emergence of eco-territorial cinema, a form of community filmmaking that combines intercultural, translocal, and expanded community processes. It focuses on Ecuador, where diverse social actors use community cinema to defend territorial rights and environmental justice. The Etsa-Nantu/Cámara Shuar laboratory is highlighted as a key example, showcasing how indigenous and non-indigenous communities collaborate to produce films that raise awareness about ecological struggles. The chapter also discusses the broader significance of community cinema in activist communication practices, emphasizing its role in fostering political agency and self-representation. It concludes by underscoring the importance of these emerging communicational practices in the context of the eco-territorial turn.AI Generated
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AbstractThis chapter proposes a rereading of community cinema in dialogue with the notion of “small(er) cinemas,” “hybrid media activism” and the “eco-territorial turn,” as an emerging political-communication practice that is part of the repertoires of the eco-territorial defense networks struggles against the extractive industry in the Ecuadorian Amazon. Using multisited ethnography, the author analyzes the production and exhibition practices of the Etsa-Nantu/Cámara-Shuar audiovisual creation laboratory, which generates cinema with and from the view of the Shuar people, who are threatened by mining, oil, hydroelectric and logging industries. The chapter proposes the notion of eco-territorial community cinema that includes an “expanded community” perspective in an intercultural key, connecting indigenous and non-indigenous actors, as well as translocal elements since this is revitalized in various urban and rural areas. -
Chapter 11. Notes Toward a History of Amateur Filmmaking in Guayaquil
Libertad GillsThe chapter delves into the rich history of amateur filmmaking in Guayaquil, Ecuador, starting from the early works of Augusto San Miguel in the 1920s to the contemporary experimental videos of Gustavo Valle. It highlights the creative and experimental nature of amateur films, which have often been overshadowed by the country's professional and industrial cinema. The narrative focuses on the lives and works of key figures such as Eduardo Solá Franco and Joseph Morder, connecting their stories to broader themes of art, culture, and politics. The chapter argues that amateur filmmaking in Guayaquil deserves recognition as an integral part of Ecuadorian cinema history, offering a fresh perspective on the country's film heritage.AI Generated
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AbstractThis chapter sheds light on Guayaquil's amateur film history, with a close look at the works of the most prolific amateur filmmakers from the 1920s to the present. The author argues that these filmmakers and films have been very important in Guayaquil's film history, even if they have been systematically excluded from it. She argues that some of Ecuador’s most creative and experimental films have been made by amateur filmmakers in smaller and nonprofessional film formats. Likewise, the chapter looks at amateur film in relation to national identity politics and proposes that these films and filmmakers extend past national borders and connect Ecuador to film practices and artistic explorations in other parts of the world. -
Chapter 12. Ay De Mí Que Ardiendo,…¡Puedo! An Extensive Note on María Galindo’s Bastard Cinema
Viola VarottoThis chapter delves into the extensive audiovisual work of María Galindo, a Bolivian artist and activist known for her 'bastard cinema' approach. It explores her films and performances, which often involve street interventions and challenge traditional cinematic norms. Galindo's work is deeply rooted in political activism, particularly her involvement with the anarcho-feminist movement Mujeres Creando. The chapter discusses her films' themes, such as women's rights, sexuality, and political power, and their impact on Bolivian society. It also highlights Galindo's use of unconventional filmmaking techniques and her refusal to conform to traditional cinematic structures. The chapter provides a comprehensive analysis of Galindo's unique artistic style and its significance in the context of Bolivian politics and art.AI Generated
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AbstractThis chapter describes and analyzes the “bastard cinema” of María Galindo, Bolivian artist, radio broadcaster, writer and anarcho-feminist filmmaker. It focuses on her audiovisual production, which Galindo has been able to develop, mature and transform during thirty years of activity. The study examines her historical journey and artistic trajectory. It also traces a historical genealogy of the multiplicity of aesthetic languages that Galindo and the other members of the Mujeres Creando movement have been using since 1992. This group is a reference point for Latin America on issues of feminism, social struggle, depatriarchalization and decolonization. The author argues that Galindo embodies the relationship between politics and art in a manner similar to that of intellectuals such as Pier Paolo Pasolini and Pedro Lemebel, inhabiting a territory that is a much broader geopolitical space than that marked by a border.
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Guerrilla, Regional and Peripheral Cinema
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Frontmatter
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Chapter 13. Rethinking Subaltern “Modernities:” El Cine Chonero Popular, 1994–2015
Noah ZweigThe chapter delves into the history and significance of Chonewood, an ultra-low-budget film sector in Chone, Ecuador, that has gained immense local popularity. It explores how Chonewood films, such as El destructor invisible, Sicarios manabitas, and Los raidistas, mediate 'radical' and 'pirate' modernities through their unique narratives and production methods. The chapter also discusses the theoretical framework and historical context that underpin Chonewood's emergence and its impact on Ecuadorian cinema and society.AI Generated
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AbstractThis chapter analyzes a sector of ultra-low-budget filmmaking in the Ecuadorian coastal town of Chone. “Chonewood” is considered a small cinema in that it defies the quitocentrismo of Ecuador’s “official cinema.” The characters who comprise “Chomewood” movies tend to be Montubio (coastal peasants) in contrast to the light-skinned, middle-class urbanite characters that comprise the country’s film board-backed cinema. The author situates Chomewood filmmaking in the context of two imaginaries specific to the Montubio experience. First, there is what he refers to as “pirate modernity,” a collectivistic defiance of Ecuador’s audiovisual divide. Second, this small cinema sector has revitalized the nineteenth-century notion of “radical modernity,” an alternative notion of Ecuatorianidad, which took form during the Liberal Revolution (1895–1920). The author’s examination of various Chonewood films demonstrates that they are complex, multivalent texts through which local subjectivities of the Ecuadorian negotiated and reimagined. -
Chapter 14. Peruvian Regional Cinema
Emilio Bustamante, Jaime Luna-VictoriaThe chapter delves into the history and significance of Peruvian regional cinema, beginning with the award-winning film Wiñaypacha. It examines the factors that led to the emergence of this cinema movement, such as technological advancements and the need for cultural expression. The profiles of regional filmmakers are explored, highlighting their diverse backgrounds and approaches to filmmaking. The production, distribution, and exhibition challenges faced by these filmmakers are discussed, along with the unique genres and narrative styles they employ. The chapter also assesses the support provided by the Peruvian state and the future prospects of this cinema movement.AI Generated
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AbstractThis chapter gives an overview of Peruvian Regional Cinema, which the authors broadly define as filmmaking that takes place outside of Lima and is a low-budget cinema with artisanal forms of production and distribution using channels outside of the multiplex circuit. The chapter explains the reasons for its emergence, describes the profiles of regional filmmakers and explains how the production, filming, distribution and exhibition systems of regional films work. The chapter also analyzes the genres, as well as the narratives, used in these films. Finally, the analysis considers support provided by the state for regional filmmaking. -
Chapter 15. Minor Cinemas, Major Issues: Horror Films and the Traces of the Internal Armed Conflict in Peru
Diana Cuéllar LedesmaThe chapter examines the rise of regional cinema in Peru, particularly focusing on the horror genre in the Ayacucho region. It discusses how these films, produced and disseminated through alternative circuits, reflect the social and political tensions arising from the internal armed conflict that took place in the 1980s and 1990s. The text explores the use of local legends and oral traditions in these films, highlighting the role of orality in cultural resistance and the symbolic management of trauma. Additionally, it analyzes the impact of global influences like Hollywood and Bollywood on the regional cinema, creating a unique blend of local and international cultural elements. The chapter also discusses the significance of these films in the context of academic globalization and the epistemic relevance of orality in the production of collective memory.AI Generated
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AbstractSince the 1990s, Peru has experienced a cinematographic explosion known as regional cinema. It is a rural, self-financed, low-budget cinema that, given the difficulties of being distributed in commercial theaters, is usually distributed through alternative circuits, mainly in the regions of Puno and Ayacucho. This chapter focuses on the cinema of Ayacucho, and more specifically on the horror genre, to analyze its role in the processes of memory, trauma and reconciliation in the region after the Internal Armed Conflict (1980–2000). The author argues that horror films from Ayacucho, though they do not explicitly address the war, have a direct relationship with the real terror experienced by the Indigenous communities during those decades. To this end, aspects such as the administration of difference, the epistemic relevance of orality in the context of multiculturalism, and, finally, the bio- and necropolitical dimension of war and the handling of bodies are examined. -
Chapter 16. Colombian Popular Cinemas: Expressions from and About Violence
Luisa GonzálezThis chapter delves into the emergence and characteristics of Colombian popular cinema, focusing on four films that were sold on the streets of Santiago de Cali in 2016. It explores how the democratization of film production technology has enabled marginalized communities to create and distribute their own films, reflecting their experiences and concerns, particularly around violence. The analysis situates these films within the broader context of Latin American cinema, examining their production contexts, historical significance, and the complex interplay between local and global influences. The chapter also discusses the challenges faced by these filmmakers in terms of distribution and reception, and the importance of supporting this vital cultural sector. By providing a nuanced understanding of these films and their creators, the chapter offers a unique perspective on the plurality and diversity of Colombian cinema.AI Generated
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AbstractThis article examines a film sector in Colombia ignored by film researchers and institutions, feature films made with a minimal budget from peripheral cities that narrate local issues with mainstream narratives and aesthetics. Distributed through DVD copies sold by street vendors, as well as online platforms, these films have found an audience in popular sectors that recognize themselves and their surroundings in these films. Drawing on interviews with the filmmakers, content analysis of several films and the comments of online platform users, this chapter analyzes the production and distribution of these popular films. The study of these productions demonstrates their value by shedding light on historical violence, gender narratives and film development in Colombia. -
Chapter 17. Images of Difference in Bolivian Cinema
Sergio ZapataThis chapter delves into the transformative changes in Bolivian cinema during the twenty-first century, focusing on two films, 'Linchamiento' and 'La chola condenada por su manta de vicuña'. It explores the shift in production modes, distribution strategies, and the representation of ethnic-cultural differences. The analysis reveals how these films challenge conventional Bolivian cinema by offering alternative narratives and visual representations. The chapter also examines the political and social context of Bolivia, including the rise of the MAS party and the implementation of plurinationality, and how these changes have influenced the cinematic landscape. The films are analyzed for their unique storytelling techniques and their impact on the broader cultural field, inviting readers to rethink the notion of Bolivian cinema and its relationship to national identity and plurinationality.AI Generated
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AbstractIn this chapter, the author reflects on the aesthetics of difference, using two Bolivian films, Linchamiento (Bautista, Ronald. Linchamiento. Bolivia: Independent, 2011. https://www.youtube.com/watch?v=Dgp5366WSWo&t=22s) and La cholita condenada por su manta de vicuña (Walter and Jaime Machaca. La chola condenada por su manta de vicuña. Bolivia: Sagitario 3000, 2012. https://www.youtube.com/watch?v=6SMdwQSbBAE&t=2s). This case study allows an analysis of modes of production in a context of precarious cultural institutionality, as well as a scarce audiovisual production. Examining these two films leads to a discussion about alternative ways of creating, circulating and consuming images in the Bolivian plurinational state. To do this, the author proposes the categories “peripheral cinema” and “marginal cinema” in the Bolivian context. This chapter also examines the kind of narratives and stories these films develop and how they construct “the other.” Finally, these two films are in put in dialogue with Bolivia’s dominant cinema.
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Backmatter
- Title
- Small Cinemas of the Andes
- Editors
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Diana Coryat
Christian León
Noah Zweig
- Copyright Year
- 2023
- Publisher
- Springer International Publishing
- Electronic ISBN
- 978-3-031-32018-7
- Print ISBN
- 978-3-031-32017-0
- DOI
- https://doi.org/10.1007/978-3-031-32018-7
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