The History Of Peruvian Cinema And More Representative Film

The history of Peruvian cinema and more representative film

It is in this context where some films impacted and created a precedent in the Peruvian imaginary. One of them is the mouth of the wolf, which focuses on the killing of 32 peasants of the Ayacuchana de Socos community. In addition, it shows us the tension between the police and the population, as well as the abuses and abuses by these first. One of the police will be questioned the actions of his companions and will have a series of internal conflicts, which end when he decides whether or not to participate in the slaughter of the settlers. This plot and the way it was addressed caused great shock, according to Valdez (2005):

The wolf’s mouth is the Peruvian film on which the most has been written and discussed in the media. The factors that caused this constant debate and position of various civil and military sectors are diverse. The film was the first to deal with the issue of internal armed conflict since the beginning of it in 1980, so there was an expectation in various sectors concerned with the events of violence that were happening. His critical position to contrasubversive strategies caused social and political sectors that requested a greater hard hand in the conflict to be pronounced in various media (…) The film, to this day, is one of the highest grosers in history of Peruvian cinema, with about one million viewers. [He had a constant repetition] in open television channels, where it is forced projection when Peruvian film cycles are made.

In this regard, we propose that for many average Lima, the most important mass media referent referring to the internal armed conflict, composed of audiovisual images that are impregnated in collective memory, is the mouth of the wolf (pp. 60-63)

In this way, the author tells us how important the film was in the political scene and how he influenced the mentalities of the people by developing his judgment and active role in the same society. He also marked a path to future films with technical and enriching preparations.

On the other hand, the second stage of Peruvian cinema in the context of the armed conflict was between 1994 and 2003. An important fact of this stage is that it coincides with the mandate of Alberto Fujimori and the violations of the DDs intensify. H H. or abuses to the Constitution by high command of the forces of order. Likewise, the control of a large part of the national media, through extortion or bribery occurred gradually. Corruption towards government institutions linked to economic or controlling activities, and especially to the electoral instances, also formed relevant part. It is in this context, when Peruvian cinema is facing difficulties, according to Valdez Morgan (2005):

(…) European co -production begins to decline since the mid -eighties due to the opening of the films market in Eastern Europe after the fall of the Berlin wall. Countries such as France, Germany, England and Italy, which in past decades financed and consumed many of the most recognized Peruvian productions, transferred their capital to the new productions from former socialist countries. As a product of this phenomenon, national production did not have the necessary means to produce many of the feature films (…) If we also take into account that there is a lack of inventiveness in the national film industry to design not very expensive and effective projects from the point In view of the argument, or that in general they attract the already reduced film public, it is not surprising that in 1995 only a national film was released (P. 89)

In the aforementioned, the historian implies that the Peruvian producers did not have enough economic means to carry out films and if they were carried out, it was unlikely to recover what was invested by the little attendance of the public. This caused some producers to close. However, over time the film market is recovering by the economic improvement of the 90s, thus reflecting in the creation of new multiple system rooms called “multiplexes” in high -class districts Lima and later in those of the middle class and even In the cones. In addition, the Cineclubes and the film libraries dependent on cultural centers and universities such as the Indiscreta window, art art of the University of Lima resurfaced.

One of the most representative films was Papel, which focused on the internal armed conflict. This film tells John’s story, a defendant of terrorism who was pardoned and we see through his memories the story about his people, why he was arrested, the hiking threat and the relationship with his mother , etc. What Valdez (2005) refers to, this film was cataloged at that time as the highest gross make it more empathic and human.