NO FUTURE: The Colonial Gaze, Tales of Return in Recent Latin American Film

Humanities Vol 11 N°2, 2022 https://doi.org/10.3390/h11020045

Autor: Miguel L. Rojas-Sotelo; Center for Latin American Studies, Duke University, Durham, California del Norte, USA; mlr34@duke.edu;  https://orcid.org/0000-0001-6129-7782

Keywords: Bolivian cinema, Brazilian cinema, Colombian cinema, indigenous cinema, coloniality, tercer cine, decoloniality, Latin American cinema

Abstract: The past is certain, the future an illusion. Contemporary films such as Ivy Maraey: land without evil (Juan Carlos Valdivia 2013), Embrace of the Serpent (Ciro Guerra 2015), The Fever (Maya Da Rin 2020), and Bacurau are border films, from the genre of contact films. They announce how coloniality maintains a grip on frontier territories in the Americas. These films also present particular indigenous visions that challenge western epistemes and confront audiences with particular ways of being in the world, where the modern subject finds its limit. The article introduces a critical perspective on cinema as a colonial tool, producing forms of capture that are part of the modern archive and the notion of linear time. These films also build on cinematic traditions such as tercer cine and afro-futurism, and are strong on concepts such as cosmopolitanism, resistance, and subalternity. They present forms of adaptation, reaction, return, and redemption while maintaining the status of cinema as a capturing device, entertainment, and capital investment (the triad of destruction in modernity/coloniality).

Idioma: inglés 

Publicación: 18 de marzo del 2022

Volumen: Humanities 2022, Vol 11, N° 2.

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