Political activism before the premiere: indigenous audiovisual production, knowledge otherwise and gender complementarity in the Wiwa film Ushui.
Audiovisual production by indigenous collectives around the world has been growing for decades. Academic analyses disagree on whether the films express an alterity that has never been subsumed by Western modernity, or just confirm that ethnic communicators are as influenced by modernity as any other...
| Publicado en: | Critical Arts: A South-North Journal of Cultural & Media Studies Vol. 30; no. 6; pp. 754 - 770 |
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| Autores principales: | , |
| Formato: | Artículo |
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Taylor & Francis Ltd
Dec2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=122554289&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 122554289 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 02560046 CTA jtl: Critical Arts: A South-North Journal of Cultural & Media Studies issn: 02560046 maglogo: N pubinfo: dt: Dec2016 vid: 30 iid: 6 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 122554289 10.1080/02560046.2016.1263675 ppf: 754 ppct: 16 formats: fmt: @attributes: type: P size: 831KB tig: atl: Political activism before the premiere: indigenous audiovisual production, knowledge otherwise and gender complementarity in the Wiwa film Ushui. aug: au: Restrepo, Paula Valencia, Juan Carlos affil: Universidad de Antioquia Universidad Javeriana su: Audiovisual materials Activism Wiwa (South American people) Filmmaking Gender sug: subj: Audiovisual materials Activism Wiwa (South American people) Filmmaking Gender keyword: activism audiovisual Colombia gender complementarity Ushui Wiwa ab: Audiovisual production by indigenous collectives around the world has been growing for decades. Academic analyses disagree on whether the films express an alterity that has never been subsumed by Western modernity, or just confirm that ethnic communicators are as influenced by modernity as any other audiovisual production collective. This article develops a critique of these latter scholarly analyses, because they mostly focus on end products, not on the situated analysis of their contexts, the production processes, the intercultural interactions and knowledge otherwise that result in the films. We focus on the production process of the filmUshui, created by the indigenous Wiwa people of Colombia. We show that although there are no pure, totally uncolonised spaces anymore, the breadth of cosmologies present in Latin America and many other regions of the world-system has never been fully subsumed. The analysis of the making ofUshuiallows us to witness the everyday expression of the cosmo-experiences of the Wiwa people and the way film-making becomes more of an organisational and political means for them than the artistic, genre-defying, alterity-proving vehicle that academic scholars commonly discuss. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Critical Arts: A South-North Journal of Cultural & Media Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Critical Arts: A South-North Journal of Cultural & Media Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
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