LOS INICIOS DEL CINE SOBRE EL CONFLICTO EN COLOMBIA: GUERRILLAS, ‘LA VIOLENCIA’ Y UNA INTERPRETACIÓN DEL PASADO PARTICULAR

IF 0.1 Q3 HISTORY Historia Actual Online Pub Date : 2020-06-15 DOI:10.36132/HAO.V2I52.1867
A. Isidro
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引用次数: 2

Abstract

Colombian cinema has become, since de beginning of the armed conflict (1964-2016), in a weapon of representation, reconsideration, reconstruction and distribution of multiple views about the causes, development and different historical stories regarding the belic event. These cinematographic interpretations have evolved along the process, creating ideas based on a multiplicity of ‘guilty parties’, which go from more simplistic explanations to the acknowledgement that the conflict is a combination of different violences and with diverse graduation, depth and development. In this paper, we will demonstrate that, in general, the cinema witch starts in 1964 with El rio de las tumbas, creates its own way of narrating the recent Colombian past, something maintained until today with its own variations. We could consider this story as a romantic vision on political violence.
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哥伦比亚冲突电影的起源:游击队、“暴力”和对特定过去的诠释
自武装冲突(1964-2016)开始以来,哥伦比亚电影已经成为一种再现、反思、重建和传播关于这场邪恶事件的原因、发展和不同历史故事的多种观点的武器。这些电影解释在这个过程中不断发展,创造了基于多重“犯罪方”的想法,从更简单的解释到承认冲突是不同暴力的组合,具有不同的毕业,深度和发展。在本文中,我们将证明,总的来说,电影女巫从1964年的El里约热内卢de las tumbas开始,创造了自己的叙述哥伦比亚最近的过去的方式,这种方式一直保持到今天,并有自己的变化。我们可以把这个故事看作是对政治暴力的浪漫幻想。
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