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" Revolution and pachakuti : "
Wood, David Michael John
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Latin Dissertation
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| Record Number
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1096071
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TLets424439
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| Main Entry
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Wood, David Michael John
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| Title & Author
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Revolution and pachakuti :\ Wood, David Michael John
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| College
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University of London
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| Date
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2005
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| student score
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2005
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| Degree
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Ph.D.
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| Abstract
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This thesis focuses on cinema and video made by and about indigenous or subalternpeople and communities in Bolivia and Colombia, and discusses the interaction betweendifferent cultural notions of social change and of aesthetic representation. It centres onthe productions of Jorge Sanjines' Bolivian Ukamau Group, and of Marta Rodriguez'sFundaci6n Cine Documental in Colombia. Previous studies of these filmmakingcollectives have tended to view them under the banner of either national cinematictraditions; the artistic and political avant-garde often termed as the 'New LatinAmerican Cinema'; or a longer history of indigenous film and media. This thesis isbound by none of these categories, but asks how they overlap, mutually inform and alterone another. By combining close textual analysis with wider contextual and historicalaccounts of the films' production and distribution, it examines the linkages betweenaesthetic form, cultural memory and political action.It thus begins with an account of the national and international circulation ofmilitant avant-garde indigenista and revolutionary cinema in the 1960s and 1970s,showing how these groups inserted their work into existing and nascent political andcultural movements, infrastructures and networks. It discusses how the film collectives'early works converted existing national tropes of the primitive into potential subjects ofcontinental revolution. It argues that methodological and textual innovations haveincreasingly opened films up to the cultural and political expressions of theirparticipants, and converted them into fields of intercultural dialogue and debate. Itproposes that even videos made by indigenous people themselves are inevitablymediated by aesthetic, technological and institutional structures, and considers some ofthe strategies that indigenous intellectuals and video-makers have employed inresponse. This thesis concludes that the most effective political cinemas have been thosethat have acknowledged and gained strength from their own status as mediationsbetween different political, cultural and ideological spheres; between European-derivednotions of social change (revolution) and Andean ones (pachakuti).
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University of London
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