Identity and Citizenship from the Post-truth in Peruvian Cinematographic Fiction

DOI

10.2991/978-2-494069-25-1_27How to use a DOI?

Keywords

Identity; Post-truth; Peruvian Cinema; Citizenship

Abstract

Cinema has always been a mirror of reality, therefore it is important to reflect on the role of Peruvian cinematography in the construction of identity and citizenship. The identity reflected in stories that are capable of generating a sense of national belonging among their audiences and citizenship understood as the condition that recognizes the characters in fiction with social and political rights. Since the boom of Peruvian commercial cinema, starting with the film Asu Mare, dozens of Peruvian films have been released each year with great public acceptance. That is why the research aimed to know how are the representations that build models of identification and citizenship from the Peruvian commercial cinematographic fiction in box-office films. The research was carried out from the interpretive paradigm with a qualitative approach through a case study. A content analysis guide was applied to three films of the musical comedy genre that develop multiple stories and are aimed at a young adult audience, produced by Tondero Films (Peru), which were a box office success in the year of their release. The analysis categories from a narrative perspective were: characters, context and conflict. The main results of this research showed that the characters have hegemonic traits, they have no agency, no past and do not correspond to Peruvian identification models. The situations and conflicts draw a conservative society that maintains heteronormative values and excludes representations that reflect the diversity of the Peruvian context where the story unfolds. The post-truth of the author’s cinematographic truth becomes evident by offering a narrative that does not question the public with a story that, without ceasing to be commercial, has an artistic proposal. The article contributes to the research line of communication and film studies and opens a debate on what Peruvian cinema is and what elements from the narrative are likely to be valued to consider a production as national.

Copyright

© 2023 The Author(s)

Open Access

Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

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TY  - CONF
AU  - Oscar Alfredo Aybar-Cabezudo
AU  - Lorena Teresa Espinoza-Robles
PY  - 2022
DA  - 2022/12/10
TI  - Identity and Citizenship from the Post-truth in Peruvian Cinematographic Fiction
BT  - Proceedings of the 2022 International Conference on International Studies in Social Sciences and Humanities (CISOC 2022)
PB  - Atlantis Press
SP  - 285
EP  - 293
SN  - 2352-5398
UR  - https://doi.org/10.2991/978-2-494069-25-1_27
DO  - 10.2991/978-2-494069-25-1_27
ID  - Aybar-Cabezudo2022
ER  -