Three regional filmmakers from the Southern Andes in the Peruvian field of film

• Autor: Gutiérrez, Gonzalo
• Formato: artículo
• Fecha de Publicación: 2022
• Institución: Pontificia Universidad Católica del Perú
• Repositorio: PUCP-Institucional
• Lenguaje: español
• OAI Identifier: oai:repositorio.pucp.edu.pe:20.500.14657/194440
• Enlace del recurso: https://revistas.pucp.edu.pe/index.php/lacolmena/article/view/26699/25064; https://repositorio.pucp.edu.pe/index/handle/123456789/194440; https://doi.org/10.18800/lacolmena.202201.002
• Nivel de acceso: acceso abierto
• Materia: Regional cinema; Cinematographic field; Legitimacy; Social inequalities; Cultural hybridization; Cine regional; Campo cinematográfico; Legitimidad; Sigualdades sociales; Hibridación cultural; https://purl.org/pe-repo/ocde/ford#5.04.01

The main objective of this article is to provide an overview of the so-called Peruvian regional cinema. A logic of the cinematographic field in Peru is defined and it seeks to locate there three regional filmmakers from the Andean south: Jacqueline Riveros (Huancayo), Jaime Huamán (Abancay) and Flaviano Quispe (Juliaca). Now, what do these struggles for legitimacy in the Peruvian cinematographic field consist of and how do they occur? This research** argues that one of the factors that determines the struggles for legitimacy in the cinematographic field is the sociocultural origin and the (adverse) conditions of regional filmmakers in the Peruvian cinematographic field. These are examined in relation to categories and concepts worked from the sociology of culture; in particular, by the authors Pierre Bourdieu and Néstor García Canclini, and from a qualitative methodological approach. The substantial findings revolve around the perspective with which the problem in question is approached. The scarce literature regarding Peruvian regional cinema has largely opted for descriptive communication approaches, or for the analysis of discourse and content of the representations in the films. In the case of this article, it is decided to focus on the actors themselves (the filmmakers) and identify their objectives, bets, positioning strategies and different tensions in the search for legitimacy in the referred field.