Browsing by Author "Lupera Villavicencio, María Fernanda"

Filter results by typing the first few letters
Now showing 1 - 1 of 1
  • No Thumbnail Available
    Item
    El cine: Forma de auto representación de los imaginarios colectivos Kichwa Otavalo
    (Universidad Técnica de Ambato, Facultad de Jurisprudencia y Ciencias Sociales, Posgrado, Maestría en Comunicación, Desarrollo y Cambio Social, 2019-07) Lupera Villavicencio, María Fernanda; Jiménez Sánchez, Álvaro
    The present investigation is developed with the objective of analyzing the forms of representation of the filmmakers Kichwa Otavalo in his cinema through a process of identification of the characteristics of narrative, image and audio, observing the reflection of cultural identity through the creation and recreation of reality and the product of different creative and technical processes that develop. This research is based on the application of a qualitative methodology, from a process of reflection through documentary and bibliographic research, as well as the observation and analysis of six films made by Kichwa Otavalo directors and interviews to two filmmakers of the works that were the object of study of the present. Through these obtained data, self-representation can be established as a form of expression through cinema, either premeditatedly or through the spontaneity of the cultural context of the directors, knowing their concepts and application processes within the cinematographic language. say, the narrative, the image and the audio. This work has allowed us to generate an approach to what it means to make films from the multiple realities that exist among Ecuadorian filmmakers, in this case the Kichwa Otavalo cinema, knowing the symbolic elements that make up his works and the discursive delineation that his works imply creative and technical processes, so we propose the following question for the development of this research: Is this cinema produced to create processes of identity claims? And from a glance at the historical processes of Ecuador, we elucidate that the representation of the peoples tends to be a stereotype in the collective imagination, partializing a mistaken concept that revolves around the figure of the indigenous person who has been endowed with characteristics with which they do not identify themselves, that is to say, the wild, uncivilized and mystical indigenous. Does community cinema thus emerge as a necessary tool for self-representation as Kichwa Otavalo?