Subjetividades en crisis y conflicto social en el cine venezolano contemporáneo: Desde allá (2015), La familia (2017) y La Soledad (2016).
Venezuelan cinema has reached its highest international visibility during the last decade. More recently, the escalation of the political crisis, the massive exodus of artistic and technical talent, as well as the reduction of subsidies have undermined the film industry. Additionally, local filmmake...
| Publicado en: | Revista de Estudios Hispánicos Vol. 54; no. 2; pp. 409 - 430 |
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| Formato: | Artículo |
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Washington University
jun2020
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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=146135565&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 146135565 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 0034818X 2BR jtl: Revista de Estudios Hispánicos issn: 0034818X maglogo: N pubinfo: dt: jun2020 vid: 54 iid: 2 pid: 11468 pub: Washington University artinfo: ui: 146135565 10.1353/rvs.2020.0034 ppf: 409 ppct: 21 formats: fmt: @attributes: type: P size: 1.1MB tig: atl: Subjetividades en crisis y conflicto social en el cine venezolano contemporáneo: Desde allá (2015), La familia (2017) y La Soledad (2016). aug: au: VALLADARES-RUIZ, PATRICIA su: Motion pictures La Familia (Film) La Soledad (Film) Homosexuality Vigas, Lorenzo sug: subj: Motion pictures La Familia (Film) La Soledad (Film) Homosexuality Vigas, Lorenzo ab: Venezuelan cinema has reached its highest international visibility during the last decade. More recently, the escalation of the political crisis, the massive exodus of artistic and technical talent, as well as the reduction of subsidies have undermined the film industry. Additionally, local filmmakers have been forced to circumvent official censorship. As a consequence, socio-political criticism tends to be subtle and adopts less evident mechanisms of expression, when compared to other cultural practices such as the visual arts, literature, and popular music. Nonetheless, contemporary Venezuelan cinema has become a creative vantage point from which to examine the current social polarization and economic crisis. In this article, I examine male subjectivities in crisis in three films: Lorenzo Vigas's Desde allá (2015), Gustavo Rondón Córdova's La familia (2017), and Jorge Thielen Armand's La Soledad (2016). More particularly, I analyze how--from the intimate sphere--social inequalities challenge the res publica and symbolically question political power through the denunciation of a failed state. In these critical interventions, I pay special attention to the articulation of discourses of hopelessness, individual failure, and loss. pubtype: Academic Journal doctype: Article src: R language: Spanish refInfo: copyright: @attributes: flag: Y custom: Copyright of Revista de Estudios Hispánicos is the property of Washington University 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: Revista de Estudios Hispánicos holder: Washington University dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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