Coraje Del Pueblo/The Courage of the People, 1971)
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This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Revolution and pachakuti : political and indigenous cinema in Bolivia and Colombia Wood, David Michael John The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 1 Revolution and pachakuti Political and indigenous cinema in Bolivia and Colombia A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy David M. J. Wood Department of Spanish and Spanish-American Studies King's College, University of London October 2005 2 Abstract This thesis focuses on cinema and video made by and about indigenous or subaltern people and communities in Bolivia and Colombia, and discusses the interaction between different cultural notions of social change and of aesthetic representation. It centres on the productions of Jorge Sanjines' Bolivian Ukamau Group, and of Marta Rodriguez's Fundaci6n Cine Documental in Colombia. Previous studies of these filmmaking collectives have tended to view them under the banner of either national cinematic traditions; the artistic and political avant-garde often termed as the 'New Latin American Cinema'; or a longer history of indigenous film and media. This thesis is bound by none of these categories, but asks how they overlap, mutually inform and alter one another. By combining close textual analysis with wider contextual and historical accounts of the films' production and distribution, it examines the linkages between aesthetic form, cultural memory and political action. It thus begins with an account of the national and international circulation of militant avant-garde indigenista and revolutionary cinema in the 1960s and 1970s, showing how these groups inserted their work into existing and nascent political and cultural movements, infrastructures and networks. It discusses how the film collectives' early works converted existing national tropes of the primitive into potential subjects of continental revolution. It argues that methodological and textual innovations have increasingly opened films up to the cultural and political expressions of their participants, and converted them into fields of intercultural dialogue and debate. It proposes that even videos made by indigenous people themselves are inevitably mediated by aesthetic, technological and institutional structures, and considers some of the strategies that indigenous intellectuals and video-makers have employed in response. This thesis concludes that the most effective political cinemas have been those that have acknowledged and gained strength from their own status as mediations between different political, cultural and ideological spheres; between European-derived notions of social change (revolution) and Andean ones (pachakuti). 3 Table of contents Acknowledgements 4 Introduction. Revolution and pachakuti 7 Chapter 1. Indigenous cinema across continents 26 The dream o/two continents 36 Textual operations 49 Coproducing identities, contesting national space 61 Chapter 2. Primitive revolutionaries 79 Agarrando Pueblo: Fathoming the madman 80 Chircales: Anthropology in the entrails of the nation 87 Revoluci6n and Ukamau: Indigenismo and the avant-garde 95 Fragmenting the national myth 100 Towards a popular indigenous melodrama 107 Breaking through the text 117 Chapter 3. Class, race and a cinema with the people 120 Testimonies of massacre: Contesting class and ethnicity 127 Realism and reconstruction 140 Revolutionising cinema verite 149 Chapter 4. In search of indigenous narrative form 156 Yawar Mallku and revolutionary unity 163 Challenging modernity in La naci6n clandestina 176 Andean rationalities: Campesinos and Nuestra voz de tierra, memoria y futuro 189 The marvellous and the diglossic: models of cultural interaction 206 Chapter 5. Post-revolutionary indigenismos: from authors to activists 214 From celluloid to new technologies: the limits of the profane 222 The politics oftaste 235 Strategic and Inappropriate Others 253 Conclusion. The radical uses of media 269 References 286 4 Acknowledgements The present work would not have been possible without the generous provision of the School of Humanities Research Studentship at King's College London, which funded me throughout my period of doctoral study. For financial assistance with fieldwork trips to Bolivia, Colombia and Belgium, I am grateful to the University of London Central Research Fund and the Society for Latin American Studies, as well as several Small Grants for Humanities Research from the School of Humanities, and a number of bursaries from the Department of Spanish and Spanish-American Studies, both at King's College London. Those who provided me with assistance, guidance and encouragement during my research periods in Bolivia and Colombia are too numerous to list here in full, and I am much indebted to them all. I would, though, like to give special mention to a number of individuals and institutions. The range and depth of material I consulted would have been far poorer and narrower had it not been for the hard and valuable work of the staff at the Fundaci6n Cinemateca Boliviana in La Paz and the Patrimonio Filmico Colombiano in Bogota, as well as the Cinemateca Distrital in Bogota, the Escuela de Cine y Televisi6n at the Universidad Nacional in Bogota, and the Centro Colombo Americano in Medellin. I would particularly like to thank Elizabeth Carrasco at the Cinemateca Boliviana and Alejandra Orozco at the Patrimonio Filmico for sharing with me their encyclopaedic knowledge of the materials they hold, for attending to me always with patience, good humour and enthusiasm, and for showing me friendship throughout my stays in La Paz and Bogota. lowe much to all those in both countries who make and write about films, and who kindly gave up their valuable time to offer me both advice and access to materials. 5 In Bolivia, I am especially grateful to Veronica Cordova, Mela Marquez, Maria Eugenia Mufioz, Gustavo Portocarrero, Ivan Sanjines and Juan Pablo Urioste; in Colombia, to Carlos Bernal, Juan Diego Caicedo, Marta Rodriguez and Mady Samper. All of those people have inspired me by showing genuine interest in my work, providing me with stimulating ideas and providing signposts and contacts, helping me to find my way around unfamiliar territory. Special thanks must also go to Pablo Franssens, who shared with me his fascinating tales of distributing Latin American films in Europe during my brief visit to Bevrijdingsfilms in Leuven, Belgium in April 2004, relating his experiences to me with a rare enthusiasm late into the night, and allowing me to occupy his studio to view rare 16mm copies of a number of the Ukamau Group's films. Back in the UK, I would like to thank Carlos Osorio for his kind assistance in helping me to access films from Colombia in the early stages of my project. F or her unstinting belief, support and encouragement over the last three years I must thank Catherine Boyle, whose guiding hand has been instrumental in helping me to define and refine this project, and in seeing it through to its end. David Rodowick's advice and confidence in my work have also proved invaluable. I would like to express my gratitude to Freya Schiwy and Mark Betz, as well as to two anonymous reviewers for the Bulletin of Latin American Research (BLAR), for their extremely thorough readings of and helpful comments on drafts of parts of this work. A version of part of Chapter 2 will be published in a forthcoming number of BLAR. Last but by no means least, I cannot overstate the importance of Ariadna Acevedo's contributions to the completion of this thesis. Her tireless proofreading and editing have been crucial in improving the coherence, accessibility and accuracy of this work, while her faith, wise words and calming influence have consistently helped me to see the light at the end of the tunnel. Any errors or omissions are, of course, entirely my own responsibility. 6 A note on translations: In direct quotations from films and texts, where no English verSIOn is cited all translations from Spanish and French are my own. Similarly, English release titles have been used wherever subtitled versions are available; all other English film titles are my own translations. 96,693 words. I declare that the work presented in this thesis is my own and it has not been submitted for a degree at another university. -. ---------------------------------