By Eva Karene Romero
This e-book is devoted to the examine of Paraguayan movie, fairly small cinemas and flicks which signify a socio-politically charged point of view that has beforehand been neglected in Latin American experiences. Romero demonstrates that those motion pictures are serious to realizing the dynamics of politics and cultural id in Latin the USA as a complete. An in-depth exploration of the Latin American post-dictatorial transition of energy Romero investigates this modern situation throughout the dynamics of race, classification, gender, and sexuality. every one bankruptcy takes a movie or movies as its leaping off element, then zooms out to surround components of the nationwide political, fiscal, social, and old context. Romero analyzes probably the most urgent social matters in Paraguay whereas reflecting at the strength of cultural discourse via film.
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Additional info for Film and Democracy in Paraguay
When the reception of both Cuchillo and Semana are read against each other, these differences shed light on how Cuchillo deals with the horrors of State-sponsored homophobic persecution in a way that encapsulates contemporary homophobia in the individual of Pedro Costa, neatly laying the issue to rest. In contrast, Semana enrages spectators as it directly confronts the contemporary elite with their complicity and their own erotically excessive sexuality while blurring the line between the public/ private sphere, weakening the exceptions and privileges that intimate life is supposed to offer under the traditional nationalist, heteronormative, religious regime.
41 The Indian (or in the case of Hamaca, the campesino) is seen as static, rooted in the past and passively subjected to the forces of modernity. The past as something that naturally must be lost is prescribed as the temporality of the Indian, who sadly—but inevitably—must fade away, also. Through this temporal association, dominant white culture does not bare any responsibility for the marginalization and genocide of indigenous peoples, because it was “no one’s fault” that they could not adapt to modernity.
French analyzes González’s work with the aid of Freud’s theories around war trauma and the compulsion toward repeating or revisiting traumatic experiences. K. 49 French sees the tendency toward sacrifice as a natural characteristic of the Paraguayan subject in González’s work. French also finds the topic of intergenerational trauma in other Paraguayan literature and the concept that trauma can be handed down from generation to generation. She even mentions the critiques of excessive determinism such psychoanalytic theories have received.
Film and Democracy in Paraguay by Eva Karene Romero